Freitag, 31. März 2017

Sun Ra And His Solar Arkestra - Cosmic Equation (The Heliocentric Worlds Of Sun Ra, Vol. I)

"Cosmic Equation" is an unofficial version of "The Heliocentric Worlds Of Sun Ra, Vol. I".
Sun Ra‘s pivotal recording "Heliocentric Worlds, Vol. I" is one of those efforts that any fan of challenging improvised music should own. Done in the spring of 1965, it parallels many of the more important statements of the time, like John Coltrane‘s movement toward unabashed free jazz, the developed music of Ornette Coleman, emerging figures like Archie Shepp, Pharoah Sanders, and a fully flowered Albert Ayler. The Solar Arkestra was a solid 11-piece group, with hefty contributions by saxophonists Marshall Allen, John Gilmore, Pat Patrick, Danny Davis, and Robert Cummings, lone trumpeter Chris Capers, trombonists Teddy Nance and Bernard Pettaway, and the exceptional bassist Ronnie Boykins, playing strictly instrumental music, with no chants or vocal space stories.

What is most intruguing about this Ra band is that the leader plays very little acoustic piano, choosing to focus his attention primarily on the bass marimba, and to a lesser extent an electrically amplified celeste. It’s the prelude of his move to a raw but technologically driven sound as the synthesizer would come into his arsenal of instruments shortly after this. There’s the deep blues of “Heliocentric,” low key until lion-roaring horns enter, but the rip-snorting attitude of “Outer Nothingness” changes the tone, as multiple layers of improvisation build only to a mezzo forte level, with a collective percussion solo and the deeply hued, resonant, wooden bass marimba as played by the leader. Ra returns to his plucky sounding acoustic piano for the improvised “Other Worlds,” then moves to the shimmering celeste while Boykins leads the charge of the full ensemble with a scattershot, fiery, chaotic, mad free bop. Perhaps a track that most perfectly represents the democratic nature of the Arkestra, “The Cosmos” features many segments stitched together, whether it be the bowed bass of Boykins stringing tied notes in seconds and thirds, Ra’s galactic celeste, or bits and pieces of the horn section stepping up and out, with the final note struck by Jimhmi Johnson’s royal tympani. An Egyptian, march-implied theme ruminates through “Of Heavenly Things” with the bass marimba and Allen‘s piccolo in the middle, “Nebulae” is a feature for the dense celeste of Ra played alone, and the conclusionary “Dancing in the Sun” is a two-minute burst of free bebop with Ra back at the piano. What makes this music so joyful and even organized is the way that individual voicings are able to both stand on their own, and work in context improvisationally. Though not quite the full-blown, magnum opus, operatic space drama the band would eventually conceive, the planted seeds from the huge tree of what they were about to accomplish are sown in this truly remarkable effort, still an event, and a turning point for early creative music. For audiophiles, there’s a cleanly pressed vinyl LP, limited edition version of only 1,000 copies, issued in 2009, replete with Sun Ra‘s Picasso-influenced black-and-white artwork. -

A2Outer Nothingness7:40
A3Other Worlds4:18
B1The Cosmos7:20
B2Of Heavenly Things5:40
B4Dancing In The Sun1:50

Sun Ra And His Solar Arkestra - Cosmic Equation (The Heliocentric Worlds Of Sun Ra, Vol. I)
(320 kbps, cover art included)

Mittwoch, 29. März 2017

Fiedel Michel - Fiedel Michel (1974)

Fiedel Michel was a German folk band, formed in Münster in 1973.

In the mid-1970s, Fiedel Michel were alsongside Elster Silberflug (from Heidelberg) and Liederjahn (from Hamburg) one of the leading German folk groups. On their albums, they combined dance tunes, traditional music and socially critical "Volkslieder". They were part of the folk and "Liedermacher" movement looking for new possibilities for a musical culture with a political awareness after the collaps of the 1968 student movement. In the face of political impotence, it was now time for the radical youth to give up the slogan "Gitarren in die Ecke" and to once agian let the songs do the talking. By this it meant the political song scene should not forgo its radicalism, but should adapt to the new conditions of the 1970s.
This is her first album, released on the Autogram label.

A1Schab ab
A2Schinderhannes-Lied / Waltrautstanz
A4O Koenig von Preussen
A5Herr von Falckenstein
A6Dat du mien Leewsten bist
A8Klagetanz / Viertouriger
B1Micheltanz / Bummelschottisch
B2Adam und Eva
B3Es geht wohl zu der Sommerszeit
B4Kommt Freunde in die Runde
B5Schneidertanz / Stoppgalopp
B7Der Schreiber im Korb
B8Mecklenburger Polka / Kreuzpolka

Fiedel Michel - Fiedel Michel (1974)
(ca. 192 kbps, front cover included)

Dienstag, 28. März 2017

Hanns Eisler - Vokalsinfonik - Vocal Symphonic Music

One of the best of the Berlin Classics line of reissued East German recordings, "Hanns Eisler - Vocal Symphonic Music" includes the only recording available of Eisler's "Lenin Requiem" - a remarkable example of Eisler's communicative twelve-tone style set to a plain text by Bertolt Brecht. Also includes the striking "Pictures from the Guide to War" - a series of miniature compositions set to captions from Brecht's antiwar picture book "Kriegsfibel" - and Eisler's "farewell to music", his 1962 "Ernste Gesänge" (Serious Songs).

Hanns Eisler's "Lenin Requiem" has never been performed in the United States - and may never be. Eisler was nothing if not a contextual composer, and here the context is Eisler's identification with Lenin and the Russian Revolution. But this is no example of quasi-religious bombast in the style of "socialist realism" - Eisler uses advanced compositional techniques, including atonality, and for this reason the "Lenin Requiem" was never performed in the Soviet Union! It did reach the concert stage in the German Democratic Republic (East Germany), where Eisler settled after his deportation from the United States as a suspected Communist subversive in the Hollywood film industry. This is one of the rare performances - a collector's item of enduring musical worth.
The "Lenin Requiem" is perhaps one of Eisler's most satisfying works: both the music and the text by Bertolt Brecht are free of hero worship (another reason the work was disliked by the Soviet cultural apparatus), but nevertheless communicate a sense of concentrated emotive power. It is also one of Eisler's more engaging attempts to write compositions that used the most progessive techniques of his day - including the 12-tone method of his teacher Arnold Schoenberg - but in a particularly simplified form so that the untrained ear would still hear the music as music.


01 - 09 Lenin-Requiem
10 Glückliche Fahrt
11 - 15 Mitte des Jahrhunderts
16 - 18 Das Vorbild
19 - 25 Die Teppichweber von Kujan-Bulak
26 - 40 Bilder aus der Kriegsfibel
41 - 48 Ernste Gesange

Hanns Eisler - Vokalsinfonik - Vocal Symphonic Music
(256 kbps, front cover included)

Sonntag, 26. März 2017

Louis Armstrong - Swing Low Sweet Satchmo (1958)

"Swing Low Sweet Satchmo" is an unusual album in the Louis Armstrong canon - this collection of gospel songs, spirituals and homilies was the only religious album this determinedly secular musician recorded.
Backed by a gospel vocal group led by the celebrated jazz arranger Sy Oliver, Armstrong performs a variety of religious-themed favorites, including "Ezekiel Saw De Wheel" and "Didn't it Rain". There's also an affecting version of the traditional spiritual "Sometimes I Feel Like a Motherless Child".

A1Down By The Riverside
A2Go Down Moses
A3Swing Low, Sweet Chariot
A4Rock My Soul
A5Sometimes I Feel Like A Motherless Child
A6On My Way
B1Didn't It Rain
B2Nobody Knows The Trouble I've Seen
B3Ezekiel Saw The Wheel
B5Jonah And The Whale
B6This Train

Louis Armstrong - Swing Low Sweet Satchmo (1958)
(320 kbps, cover art included)

Samstag, 25. März 2017

Nuria Espert - Canta Bertolt Brecht (1967)

Núria Espert (born Hospitalet de Llobregat, Barcelona, Spain June 11, 1935) is a Spanish theatre and television actress, theatre and opera director.
She visited the Institut Maragall, a high school in Barcelona, and she started to study theatre while she was taking some courses of music and languages.
When she was 17 years old, she had to substitute the actress Elvira Noriega in the play Medea - her first great success.

When she was 19 years old, she married the actor Armando Moreno, who would become her manager later. They both founded a theatre company in 1959, which started in the Teatro Recoletos in Madrid. In the 1960s the company won permission to stage the first Spanish productions of plays by Brecht and Sartre.

The single "Canta Bertolt Brecht" was released in 1967.
ASurabaia, Johnny
B1Cancó Del Vuit Elefants = Lied Vom Achten Elefanten
B2Cançó Del Fum = Das Lied Vom Rauch
(ca. 192 kbps, cover art included)

Donnerstag, 23. März 2017

Lee Perry Presents Megaton Dub Vol. 1


Certainly eccentric, Lee "Scratch" Perry is reggae's most influential producer, with a career that spans the entire history of the music.
He started at Coxsone Dodd's Studio One label, first as a talent scout, then as producer. Moving on to other labels, he recorded hit after hit for Jamaican artists, assembling the original Wailers and producing their earliest — some say best — tracks.

Perry has also done extensive solo work, composing, arranging and singing his own records. With the help of a studio band, the Upsetters (named for one of his aliases), Perry has forged a dub reggae style that's idiosyncratic and revolutionary — full of shifting, echoey rhythms and weird sound effects. His characteristic sound is unique — extended grooves layered like fog, with odd vocals and percussion shimmering in the dense mist.

This hard-to-find album collects 10 tracks of pure Scratch dub: Sometimes odd, sometimes wonderful and crucial.

Dem No Know Dub
Conscious Man Dub
Such Is Dub
Corn Picker Dub
Rasta Dub
Freedom Dub
Megaton Dub
Dreamer Dub
School Girl Dub
Simon The Sorcerer

Lee Perry Presents Megaton Dub Vol. 1
(192 kbps)

Mittwoch, 22. März 2017

VA - Singt eener uff´n Hof - Kurt Tucholsky als Kabarettautor

On 10 May 1933, a remarkable act of barbarism, a prelude to the many worse ones that followed, took place in the city of Berlin. Students from the Wilhelm Humboldt University, all of them members of right-wing student organizations, transported books from their university library and from other collections to the Franz Joseph Platz; adjacent to the university. Accompanying their actions with declaimed denunciations of the authors, they proceeded to toss thousands of titles, by writers famous and obscure, foreign and native, into the flames of an already ignited bonfire. The egregiously primitive act lasted for hours, interrupted only by the incantation of Nazi songs and a speech by Propaganda Minister Joseph Goebbels.

Among the 20,000 volumes hurled into the flames were the writings of Henri Barbusse, Franz Boas, John Dos Passos, Albert Einstein, Lion Feuchtwanger, Friedrich Förster, Sigmund Freud, John Galsworthy, André Gide, Ernst Glaeser, Maxim Gorki, Werner Hegemann, Ernest Hemingway, Erich Kästner, Helen Keller, Alfred Kerr, Jack London, Emil Ludwig, Heinrich Mann, Thomas Mann, Karl Marx, Hugo Preuss, Marcel Proust, Erich Maria Remarque, Walther Rathenau, Margaret Sanger, Arthur Schnitzler, Upton Sinclair, Kurt Tucholsky, Jakob Wassermann, H.G. Wells, Theodor Wolff, Emilé Zola, Arnold Zweig, and Stefan Zweig.

The next day, and in the weeks following, there was a massive reaction in the world press, especially since many other German university towns imitated this infamous act. German newspapers reported in triumph that Germany was beginning to purge itself of the alien and decadent corrupters of the German spirit, while newspapers and magazines abroad, from as far away as China and Japan, responded in surprise and shock. Even then, some knowledgeable journalists recalled the prediction of the poet Heinrich Heine, who had said a century earlier: "Where one burns books, one will soon burn people."

The album "Singt eener uff´n Hof - Kurt Tucholsky als Kabarettautor" features interpretations of Kurt Tucholsky lyrics, recorded between 1920 and 1966., with artists like Paul Graetz, Kate Kühl, Trude Hesterberg, Claire Waldoff and Ernst Busch.

VA - Singt eener uff´n Hof - Kurt Tucholsky als Kabarettautor
(256 kbps, cover art included)

Dienstag, 21. März 2017

New Age Steppers - Foundation Steppers (On-U Sound, 1983)

Rallying around the considerable talents of British producer/modern dub mastermind Adrian Sherwood, the New Age Steppers were not so much a band as they were a loosely knit aggregation of musicians from some of Britain's best avant-garde post-punk/funk bands. There was Ari Up from the Slits, Mark Stewart from the Pop Group, and John Waddington and Bruce Smith from Rip, Rig & Panic. Along with the usual gang of suspects employed by Sherwood's dynamically creative On-U Sound (George Oban, Style Scott, Eskimo Fox) studio, the sound ofthe New Age Steppers was that of cut-and-paste dub mixing, psychedelic swirls of found sounds, dissonant aural collages, sinewy reggae riddims, and odd, semi-tuneful vocals. Not for the faint of heart, the music created by Sherwood and his Steppers was among the most exhilarating and consistently challenging to come out of Britain during the early post-punk era. It wasn't always accessible, but it has few peers in terms of ingenuity and daring. Highly recommended to those whose musical tastes occasionally reside on pop's radical, experimental fringes.

The third and final New Age Steppers album (unless one considers the Creation Rebel dub sets), "Foundation Steppers" is dominated by Bim Sherman's magnificent vocals, with the majority of his showcases then segueing into a lengthy dub interlude, to complete one of the finest "traditional" reggae albums in the On-U canon. Assuming, of course, that a traditional album would find space for "Five Dog Race," an earthquake instrumental that Adrian Sherwood would return to on several occasions in the future. Lol Coxhill, Doctor Pablo, and Prince Hammer have all distinguished subsequent versions of this mighty rhythm. Another dub, the sparser "Mandarin," is equally forthright, but the key moments here are the vocal tracks - the buoyant "Memories," the confidential "Misplaced Love," and the pushy "Vice of My Enemies" (reworking the old "Rebel Party" rhythm) all testify to Sherman's mighty presence - to the point where the absence of the Steppers' most familiar vocalist, Ari Up, is scarcely even noticed.

New Age Steppers - Foundation Steppers (On-U Sound, 1983)
(192 kbps, front cover included)

Montag, 20. März 2017

Newport Broadside - Newport Folk Festival 1963

The most collectible of the 1963 Newport Folk Festival albums, "Broadside" - as its title implies - serves up the hottest topical songs and performers to appear that weekend; 1963 marked the apogee of the folk protest movement, Broadside magazine was its mouthpiece, and Newport 1963 was the finest hour for all.

It only follows, then, that this album should also emerge as the greatest tribute to that age of impassioned innocence. Bob Dylan opens and closes the LP with a pair of duets - the first, with Pete Seeger, is a jolly singalong assault on the Hugh Hefners of this world, while the closing "With God on Our Side," alongside Joan Baez, is a revelation, a reminder of the days when Dylan and Baez, the king and queen of folk, really did seem ready to rule the world.

A pair of Tom Paxton songs are equally remarkable. A gentle "Rambling Boy" is graced by a genuinely melodious audience singalong, while "The Willing Conscript" is as funny (and pertinent) today as it surely was in 1963, with the Vietnam conflict just beginning to escalate, and lessons in bayonetting, disembowelling, and dismembering the enemy were indeed a vital component of any youth's education.

Further proof that the finest folk is that which retains its relevance no matter what the prevailing musical and cultural climate is delivered by Sam Hinton's wryly punning "Talking Atomic Blues." It was originally recorded in 1950; 13 years later, just months after the Cuban missile crisis, it still blistered with every ounce of its original passion. "We hold this truth to be self-evident, that all men should be cremated equal." Newcomers Phil Ochs and Peter La Farge both impress; Englishman Bob Davenport, however, is ill-served by his unaccompanied drone through Ewan MacColl's "Come All Ye Giant Drivers," and three songs from the Freedom Singers were probably a lot more pertinent in 1963 than they sound today. Such moments of drabness are scarce, however; so scarce that if you should find a copy of this album, forget what the vinyl junkie down the road will pay for a copy. Keep it for yourself and play it till the grooves uncoil.

Newport Broadside - Newport Folk Festival 1963
(192 kbps, cover art inlcuded)

Sonntag, 19. März 2017

James Booker - Junco Partner (1976)

This solo disc by arguably the most brilliant of New Orleans' resplendent pianists shows off all the edge and genius he possessed. There may be moments on other discs of slightly more inspired playing (and this is arguable), but for a whole disc this one stands far from the crowd. You can hear some of the most awe-inspiring playing here that reflects the extremely broad background that he could, and did, draw from.

You can hear his classical training and the brilliance of his interpretive skills in "Black Minute Waltz." He follows this with a version of Leadbelly's "Good Night Irene," which shows off his raucous bordello style of playing and voice. The disc goes on showing off the eclectic variety of influences that make up this man's music.

This disc also displays the man's prodigious composing and arranging talents. Though he was regarded as eccentric and crazy, even by New Orleans' accepting standards (he was a flamboyant, black substance abuser, and a homosexual, who spent time both in Angola State Prison and a mental institution), he was considered a musical genius and thus given a certain amount of leeway.

An absolute must if you like New Orleans music.      


01. Black Minute Waltz
02. Good Night Irene
03. Pixie
04. On The Sunny Side of the Street
05. Make a Better World
06. Junco Partner
07. Put Out the Lights
08. Medley
09. Pop´s Dilemma
10. I´ll Be Seeing You

James Booker - Junco Partner (1976)     
(256 kbps, cover art included) 

Samstag, 18. März 2017

Mark Stewart - Jerusalem (On-U Sound, 1982, vinyl rip)

Originally posted in October 2010:

Tomorrow I will visit a screening of the documentary “On/Off: Mark Stewart from Pop Group to Maffia” with Mark as a special guest.

The film retraces Mark Stewart’s steps and paths from the early days of The Pop Group right up to the present. Director Toni Schifer followed the singer around for a full two years and the result is said to be a crafted and detailed, often intimate portrait of the artist, supplemented by interviews with Mark Stewart himself, Adrian Sherwood (On-U Sound), Daniel Miller (Mute), Nick Cave, Mick Harvey, Doug Wimbish, Skip McDonald, Keith LeBlanc, Gareth Sager (The Pop Group, Rip Rig and Panic) and many others, plus live recordings and music clips.

Celebrating this very special event we will post some of Mark Stewarts recordings, starting with a vinyl rip of the On-U Sound single "Jerusalem" from 1982.

Mark Stewart - Jerusalem (On-U Sound, 1982, vinyl rip)(320 kbps, front cover included)

VA - Gypsy Knights - Les Grandes Figures Du Jazz Manouche

Jazz manouche, or "traveler jazz", melds elements of traditional Roma (gypsy) music with early swing; this impassioned, rousing music relies mostly on the percussive playing of stringed instruments like the guitar and violin, sans drums. The uncontested master of the art form remains Belgian guitarist Django Reinhardt, who joined with jazz violinist Stéphane Grappelli in the 1930s to form the all-string Quintette de Hot Club de France, thus introducing jazz manouche to the world. Occasionally a jazz manouche band will use a horn player—American jazz greats like Louis Armstrong and Coleman Hawkins played with Django when they toured Europe, and Django shared the bill with Duke Ellington's big band at Carnegie Hall in the 1940s. Such trans-Atlantic exchanges brought Django's musical leverage to the U.S.; American guitarists from Jimi Hendrix to Willie Nelson have cited Django's playing as a formative influence.

Paris-based record company Le Chant du Monde, which specializes in world music, offers a new releases that celebrate the legacy of Django Reinhardt: Gypsy Knights: Les Grandes Figures du Jazz Manouche is a compilation of songs by the greats among Django's disciples and includes three performances by the master himself. The CD explores the full range of jazz manouche expression, from Django and Grappelli on the classic "Djangology, to the moody tango "Davïdo of guitarist Mandino Reinhardt (Django's cousin), to the contemporary swing sound of guitarist Dorado Schmitt's "Balladorado, one of only two ballads on the disc. The CD isn't limited to gypsy guitar: Florin Niculescu turns out a formidable "Lady Is A Tramp" on the violin and accordionists Marcel Loeffler and David Rivière evoke a jazz-age musette on "Pont de Venise" and "A Saint Ouen", respectively. Rivière also performs with the well-known manouche group Les Pommes de Ma Douche on the blues tune "Saint Pierre Blues" and the spry "Fleure Bleue". Also of note: appearances by celebrated gypsy guitarists Angelo Debarre and Biréli Lagrène. -


       1. Djangologie - Django Reinhardt
2. Antsela - Tchavolo Schmitt
3. Entre Amis - Angelo Debarre, Ludovic Beler
4. B.L. - Biréli Lagrène
5. Choukar Gaiga - Mandino Reinhardt
6. Sinti Rhapsodie - Dorado Schmitt, Pierre Blanchard
7. Lady Is A Tramp - Florin Niculescu
8. Pont De Venise - Marcel Loeffler
9. Saint Pierre Blues - Les Pommes De Ma Douche
10. Swing 42 - Django Reinhardt
11. Valse A Dora - Tchavolo Schmitt
12. Come Into My Swing - Angelo Debarre, Ludovic Beler
13. Bireli Hi Gogoro - Biréli Lagrène
14. Davido - Mandino Reinhardt
15. Balladorado - Dorado Schmitt, Pierre Blanchard
16. Romantique Voyage - Raphael Fays
17. Fleur Bleue - Les Pommes De Ma Douche
18. A Saint Ouen - David Rivière
19. Valse A Tchavolo - Angelo Debarre, Tchavolo Schmitt
20. Blues Clair - Django Reinhardt

VA - Gypsy Knights - Les Grandes Figures Du Jazz Manouche
(256 kbps, small cover art included)

Freitag, 17. März 2017

Inti-Illimani - Viva Chile! (Pläne, 1973)

For well over 30 years, Inti-Illimani (the name translates as "Sun God") has held a beacon for Chilean music, both the traditional folk styles and the more contemporary nueva cancion. Back in 1967 a group of students at Santiago's Technical University formed a band to perform folk music. Taking their name from the Aymaran Indian language of the Andes, they began playing traditional music - something few did back then - and quickly earned a reputation around the capital, becoming more and more adept on their instruments. By the '70s they'd grown into a political beast, taking on the nueva cancion (literally "new song") of many young groups, and being quite outspoken lyrically - enough to be forced into exile in 1973, where they'd stay for 15 years. However, they refused to be cowed by the Chilean dictatorship. Basing themselves in Rome, Italy, they continued to record, and toured more heavily then ever before, earning a powerful reputation around the globe, and becoming very unofficial ambassadors of Chilean music, as well as opponents to the ruling regime. In addition to performing with a number of famous, political figures like Pete Seeger and Mikis Theodorakis, they were included on the famous 1988 Amnesty International Tour, along with Sting, Peter Gabriel, and Bruce Springsteen.
This was not the first album to be released by the Chilean folk group Inti-Illimani. But it was the first of the group's albums to emerge from a new life as exiles in Rome; so, literally, this spirited music of revolution and rebellion was recorded within a short stroll from the type of hearty lunchtime pasta that is more likely to inspire a siesta. The decisive summarization of thoughts that sometimes occurs as a preamble to dreamland is a nice way to describe the choice of both repertoire and final program sequence. "Viva Chile!" lays bare the musical roots of this ensemble, in large part a style of folk music from the Andes that has unfortunately become a trifle stereotyped due to overexposure. In the case of Inti-Illimani, the growth from this original starting point has been lush, extending into a challenging form of expression known as nuevo cancion, or new song. Rich emotions and musical surprises bloom almost constantly from these pieces. In combination with politics, as in "Venceremos" or "Cueca de la C.U.T.," it becomes a garden that any lover of protest songs will want to sit in and meditate. Sniffing along while the military industrial complex is overthrown is hardly the only sweet bouquet provided, however. From the very start of the album, intricate and terrifically mixed percussion breaks provide some of the finest moments. "Cueca de la C.U.T." is simply amazing, sounding like small drunken men have invaded the speaker box with wooden mallets. Instrumental pieces involving various combinations of stringed instruments such as guitar, tiple, and charango are also part of the program, a style that the group seems to have downplayed in later releases. "Ramis," "Tatati," and "Subida" are short and simple treats; "Longuita" utilizes a picking style that sounds like country & western, though it is uncertain what country. "Venceremos" is the big vocal hit, an anthem among anthems, and as is typical in the effective sequencing, it is sandwiched between two of the instrumentals.           
This album was released in different countries on different labels, in Germany on the Pläne label as part of the "Serie Sieg".
  • 01. Fiesta de san Benito - 3:41
  • 02. Longuita - 2:00
  • 03. Cancion del poder popular - 3:04
  • 04. Alturas - 3:02
  • 05. La segunda independencia - 2:37
  • 06. Cueca de la C.U.T. - 1:46
  • 07. Tatati - 3:32
  • 08. Venceremos - 2:29
  • 09. Ramis - 2:22
  • 10. 'Rin' del angelito - 3:23
  • 11. Subida - 2:03
  • 12. Simon Bolivar - 2:46
Inti-Illimani - Viva Chiloe! (Pläne, 1973)
(256 kbps, cover art included, vinyl rip)

VA - Original Jamaican Soundsystem Style - 21 R'n'B Scorchers

It'll take a while to explain this record to your friends, but what a concept. To be brief, Jamaican sound systems were once hungry for music (hard to imagine since rocksteady and reggae records would soon be issued as fast as newspapers), so the DJs turned to the world of American R&B.

"Original Jamaican Sound System Style" features many of the American tunes Jamaican DJs were spinning in the '50s, and it's evidence that they had excellent taste. The liner notes are fantastic, and you can't even pretend that every song on here isn't anything but jaunty and rollicking Friday night fish-fry fun. But don't forget that the sound systems overdrove these tracks through monolithic but cheap speakers; they mixed the tracks in with their own Jamaican R&B, and entranced audiences with shouts of babble. To hear it would be amazing but the ultraclean digital remasters here only hint at the experience. It's unfortunate that no one dug up a tape of the real deal, but this is evidence that someone should try.

       1. Safronia B - Calvin Boze
2. Monkey Speaks His Mind - Dave Bartholomew
3. Live It Up - Ernie Freeman
4. Let's Make A Whole Lot Of Love - Dodgers
5. I'm Gone - Shirley & Lee
6. I'm In The Mood For Love - Fats Domino
7. Little Bitty Pretty One - Thurston Harris
8. Tears On My Pillow - Little Anthony & The Imperials
9. Strator-Cruiser - Joe Lutchers
10. Secretly - Jimmie Rodgers
11. Someone Like You - Faye Adams
12. It's Over - James 'SugarBoy' Crawford
13. The Vow - Gene & Eunice
14. If You Don't Want Me Baby - Ray Johnson
15. Blue Moon - Lynn Hope
16. One Scotch, One Bourbon, One Beer -Amos Milburn
17. Waiting & Drinking - Calvin Boze
18. One Night - Smiley Lewis
19. Be My Guest - Fats Domino
20. 3 x 7 = 21 - Jewel King
21. Return To Me - Ernie Freeman

VA - Original Jamaican Soundsystem Style - 21 R´n´B Scorchers
(192 kbps, cover art included)

Inti-Illimani - Hacia La Libertad (1975)

For well over 30 years, Inti-Illimani (the name translates as "Sun God") has held a beacon for Chilean music, both the traditional folk styles and the more contemporary nueva cancion. Back in 1967 a group of students at Santiago's Technical University formed a band to perform folk music. Taking their name from the Aymaran Indian language of the Andes, they began playing traditional music - something few did back then - and quickly earned a reputation around the capital, becoming more and more adept on their instruments.

By the '70s they'd grown into a political beast, taking on the nueva cancion (literally "new song") of many young groups, and being quite outspoken lyrically - enough to be forced into exile in 1973, where they'd stay for 15 years. However, they refused to be cowed by the Chilean dictatorship.

Basing themselves in Rome, Italy, they continued to record, and toured more heavily then ever before, earning a powerful reputation around the globe, and becoming very unofficial ambassadors of Chilean music, as well as opponents to the ruling regime. In addition to performing with a number of famous, political figures like Pete Seeger and Mikis Theodorakis, they were included on the famous 1988 Amnesty International Tour, along with Sting, Peter Gabriel, and Bruce Springsteen. It was, perhaps, their highest profile moment, at least in worldwide terms, and set the stage for their return to their homeland, where they've continued to be outspoken.

While they've remained a force in world music, their career in the U.S. was hampered by the lack of any consistent record deal until 1994, when they signed with Green Linnet offshoot Xenophile. Prior to that, only a few of their 30-plus discs made it into domestic U.S. record bins. The eight-piece lineup remained stable until 1996, when Max Berru decided to retire from music after almost three decades, shortly after the group had been celebrated with a "Best Of" disc in Italy (not to be confused with the 2000 "Best Of" on Xenophile, which collected tracks from their last four releases only). Instead of replacing him, they've continued since as a septet. 1997 saw the band honored with a U.C. Berkeley Human Rights Award for their labors in the past. Since then, although they've continued to release albums and tour, they've cut back on their earlier hectic schedule, but also widened their musical horizons, as 1999's "Amar de Nuevo" looked at the complete spectrum of Latin roots music and its Creole heritage.                

"Hacia La Libertad" was originally released in 1975 by the Italian label Dischi dello Zodiaco, later to be reprinted by other European labels.
It was the fourth studio album recorded and released by the band in the exile in Italy.


01. Arriba quemando el sol
02. El arado
03. Cancion a Victor
04. Ciudad Ho Chi Min
05. Chiloé
06. Vientos del pueblo
07. Hacia la libertad
08. Cai cai vilu
09. Canto de los caidos

Inti-Illimani - Hacia La Libertad (1975)
(320 kbps, cover art included)

Donnerstag, 16. März 2017

Leadbelly - Bourgeois Blues - Lead Belly Legacy Vol. 2

This is volume 2 of a projected 3-volume set of Lead Belly's performances recorded by Moses Asch during the 1940s. The original masters now reside in the Folkways Archive at the Smithsonian Institution.
Completely remastered from the best sources in our collections, this recording contains the highest sound quality possible. The liner notes contain extensive annotation and reflections on Lead Belly's music as you've never heard it before. Compiled and annotated by Jeff Place. "The soul expressed is full-fledged and sublime." — New England Folk Almanac


Fannin Street3:01
Bourgeois Blues2:17
Easy Rider2:50
Alabama Bound2:16
Don't You Love Your Daddy No More?3:01
Gallis Pole2:44
Leavin' Blues1:29
Midnight Special2:01
T.B. Blues3:42
Linin' Track1:14
Julie Ann Johnson0:40
John Henry2:24
Jim Crow Blues3:29
Jim Crow #22:42
Good Morning Blues #22:08
Abraham Lincoln3:10
Army Life1:46
Hitler Song4:32
Careless Love2:56
Haul Away Joe2:48
How Do You Know?/Don't Mind The Weather2:17
Skip To My Lou2:10
Red Bird2:54
Out On The Western Plains1:30
Cowboy Song1:43
You Can't Mistreat Me3:13
Diggin' My Potatoes2:33
John Hardy2:42

Leadbelly - Bourgeois Blues - Lead Belly Legacy Vol. 2
(192 kbps, cover art included)

Opal - Happy Nightmare Baby (1987)

The neo-psychedelic group Opal formed in the mid-'80s, featuring former Rain Parade guitarist David Roback and former Dream Syndicate bassist Kendra Smith. Initially, the group was called Clay Allison, but the group dropped the name after one single; Roback, Smith, and drummer Keith Mitchell released the remaining Clay Allison tracks under their own name in 1984 on the "Fell From the Sun" EP. After its release, the group adopted the name Opal and released an EP, "Northern Line", in 1985.

"Happy Nightmare Baby", their first full-length album, followed in 1987. Smith left the group during the "Happy Nightmare" tour, effectively putting an end to the band. Roback continued with vocalist Hope Sandoval; the group then metamorphosed into Mazzy Star.

At once drowsy, psychedelic, entrancing, and possessed of a sinuous spark, "Happy Nightmare Baby" may have been Opal's only album but deserves more attention than merely being a blueprint for Roback's later work in Mazzy Star. For one thing, Opal was very much its own band, with Kendra Smith's particular lyrical visions of mystic power and universe-scaling dreams and nightmares its own entity. As is her singing, though she's got less of Hope Sandoval's wistful drift and more focused control - check out the brief "A Falling Star," where the comparatively stripped-down arrangement places her singing in the foreground, notably without much in the way of echo. Roback's playing certainly won't surprise anyone per se who backtracks to this group from albums like "She Hangs Brightly", and the atmosphere of textured, moody power is evident right from the start with the wonderful early T. Rex tribute, "Rocket Machine." The compressed string swirl and steady stomp is pure Marc Bolan-via-Tony Visconti, though Smith avoids Bolan's style of warble for her own cool, something also quite evident on the slow-groove stomp of the great "She's a Diamond" and the concluding "Soul Giver." Meanwhile, other familiar elements Roback would later use are present aplenty - very Ray Manzarek-like organ lines on the mantra-chugs of "Magick Power" and "Siamese Trap," compressed acid rock solos and lots of reverb. The title track itself stands out a bit as being a bit more of a '60s Europop confection in a stripped-down 1968 setting - Roback's electric guitar adds some fire, but it's the slightly jazz-tinged rhythm and easy delivery from Smith that helps establish its own character. It's a release that stood out both in time and place (a 1987 release on SST Records, of all places!), but it stands up to future years and listens darn well.

A1Rocket Machine
A2Magick Power
A4A Falling Star
A5She's A Diamond
B2Siamese Trap
B3Happy Nightmare Baby
B4Soul Giver

Opal - Happy Nightmare Baby (1987)
(192 kbps, cover art included)

Mittwoch, 15. März 2017

Franz Josef Degenhardt - Väterchen Franz (1966)

The Independent wrote in November 2011, some days after Franz Josef Degenhardt died:

"With his chanson-like songs, Franz Josef Degenhardt was so ingrained in the consciousness of German speakers that it is impossible to think of an appropriate British comparison. His eloquence, seniority and track record elevated him to quasi-Dylan status wherever German is spoken. A goodly proportion of several generations knew and could sing his songs.

Degenhardt's death made the front page of the Frankfurter Allgemeine newspaper; the day after his death, his fellow Liedermacher [song-maker] Wolf Biermann turned 75; only Biermann matches Degenhardt in status. A hero of the counter-culture, Degenhardt waged what was termed "Klassenkampf mit Klampfe" ["class war with guitar"]. At points between 1965 and 1974 it seemed as if a whole generation of politically aware German youth was studiously absorbing, dissecting and drawing succour from his every word. Albums such as "Spiel nicht mit den Schmuddelkindern" ("Don't play with the grubby children", 1965) and "Väterchen Franz" ("Little Father Franz", 1967) – the latter one of many with exquisite artwork by his sister-in-law Gertrude Degenhardt – were obligatory listening for anyone with a left or liberal leaning. As an individual, I can attest that he was unfailingly courteous and approachable.

Born in 1931, after graduating in law, he took up a post at the Institute for European Law in Saarbrücken in 1961. He became a Doctor of Jurisprudence in 1966. Defending social democrats, communists and, in 1972-73, members of the Baader Meinhof gang, did not endear him to conservative West Germans.

His legal mind and training equipped him to hit home with precision in song; his writing was direct and demotic, ironical and barbed, his songs literate and literary. He admitted that, as the family breadwinner, the need to augment his salary motivated his early songs, and by the early 1960s he was making money. By 1963 his first album "Zwischen Null Uhr und Mitternacht" ("Between zero hour and midnight") was delivering squibs with a chansonnier élan that would have done Brassens and Brel proud.

He became a stalwart of the Burg Waldeck Festivals, the shoaling ground of politically engaged singers, appearing every year between 1964 and 1969. With typical flair, in 1968 he turned his back on what David Robb, in his book "Protest Song in East and West Germany since the 1960s" (2007) calls the "liberal bourgeois circles" that had taken him to heart. His manifesto was contained in the elegant simplicity of "Zwischentöne sind bloss Krampf im Klassenkampf" ("Nuances are just convulsions in the class war") – a counterblast, he sings, to people, telling him, "You only paint in black and white".

By 1975 it was estimated that he had sold 400,000 albums in West Germany, an extraordinary feat for a nation attuned to sentimental or boom-bang-a-bang Schlager, dodgy Volksmusik, second-rate beat music and James Last instrumentals. It was doubly impressive because, as part of the "68er-Bewegung" [1968 Movement], he targeted West Germany's pernicious "Berufsverbot" ("banning from a profession") system which chiefly barred those with radical views from working for the government. Displays of wry humour were as likely as his rolled rrr's. Inevitably, his work also appeared on East Germany's state-controlled Amiga record label, alongside the likes of Billy Bragg, Dick Gaughan, Ravi Shankar and Phil Collins.

He also wrote prose including the novels "Zündschnüre" ("Fuses", 1973) about the pre- and post-Nazi-era, the anti-fascist "Edelweisspiraten" ("Edelweiss pirates") and, closer to home, "Der Liedermacher" (1982). Fictions fed or bled into swathes of his songs. The lengthy title song of the magisterial "Café nach dem Fall" (2000) remains a masterpiece, an alternative "Desolation Row" confabulation with interjections about Bach, the Rolling Stones, smoking crack, Rudi Dutschke, Auschwitz and more.

His sons Jan and Kai continue the family trade of Liedermacher."

The album "Väterchen Franz" was released in 1966 on Polydor.


A1 Horst Schmandhoff
A2 Tante Th'rese
A3 Spaziergang
A4 In Den Guten Alten Zeiten
A5 Umleitung
B1 Tonio Schiavo
B2 Santacher
B3 Adieu, Kumpanen
B4 Väterchen Franz
B5 Feierabend

Franz Josef Degenhardt - Väterchen Franz (1966)
(192 kbps, front & back cover included)

Dienstag, 14. März 2017

VA - First Steps - First Recordings From The Creators Of Modern Jazz (Savoy)

Savoy Records established its reputation by being first to present some of the all time greats of modern jazz: Charlie Parker, Dizzy Gillespie, Miles Davis and Dexter Gorden. These are the radical sounds which set the jazz world on fire.

In the early 1940s, these mostly 20-something musicians, among others, were the rebels of their time. They were part of the movement that begat bebop - a swirling, improvisational, and sometimes drug-influenced reaction to the sterilized sway of the erstwhile mainstream swing sound.

For today’s young rebels who wish to reject established modes while at the same time appreciating their forbears, Savoy Jazz is re-releasing a truckload of old recordings by these seminal musical iconoclasts. First Steps captures some of bebop’s earliest and finest practitioners in the act of inventing a brusquely expressive and stylistically irreverent genre.

A fairly balanced mix of well-known and obscure names appears here, resulting in an engaging cross-section of artists with varying styles and dispositions. To uninitiated ears, it may come off as homogenous at first, but for jazz aficionados and neophytes with patience, this is a veritable minefield of sonic jewels, each one possessing the singular personality of the different performers who carved them out.

VA - First Steps - First Recordings From The Creators Of Modern Jazz (Savoy)
(320 kbps, front cover included)

Montag, 13. März 2017

André Heller - Stimmenhören (1983)

André Heller was born in 1947 in Vienna. As a poet songwriter, his work spans across a period of more than 15 years selecting diverse topics and writing for a German-speaking audience. He has worked with not only international names such as Ástor Piazzolla, Dino Saluzzi, and Freddie Hubbard, but also with Austrian artists such as Toni Stricker, Wolfgang Ambros, and Helmut Qualtinger. Heller's own poetry has been set to music. He has also sung texts by other authors. For instance, "Catherine", from 1970, was set to one of the first hits of Heller. The text came from the then still largely unknown Reinhard Mey, and the music from the Austro-Canadian Jack Grunsky.

With Werner Schneyder, he created Viennese German songs that are translated from Jacques Brel, such as "Franz" (after the Brel title "Jef"). In 1976, he published a fairy tale called, Märchen für ein Wiener Kind (English version as "A Fairy Tale for a Viennese Child"), which is part of the children's book Update on Rumpelstiltskin and other Fairy Tales by 43 Authors, which is compiled by Hans-Joachim Gelberg, illustrated by Willi Glasauer, and published by Beltz & Gelberg. Using intimate memories of traumatic childhood experiences, and insights into his life, as well as his Catholic-Jewish origin, he created songs with the title "Angstlied" (Verwunschen, 1980).

Titles like "Miruna, die Riesin von Göteborg" (Verwunschen, 1980) are, in turn, influenced by the Vienna School of Fantastic Realism. "Das Lied vom idealen Park" (Narrenlieder 1985), or, as a duet with Wolfgang Ambros, he also introduced the Bob Dylan cover, "Für immer jung" (Stimmenhören, 1983), are now titles that are part of the Austro-pop cannon. In 1983, he appeared on Stimmenhören with the song "Erhebet euch Geliebte", a song at the time of the peace movement in the early 1980s. Since the early 1980s, he turned increasingly to large public productions, installations and performances, until 1982, where his concert career came to close.

In 1985, the album, Narrenlieder, was released. Between 1967 and 1985, he published a total of fourteen LPs, twelve of those were gold records, and earned him seven times platinum. In 1991, he wrote, looking back on this period:
"I started in 1967, to put my poems together using my voice on record and in recitals before millions of people. This was following the example of Bob Dylan's first meaningful and self-published poetry [...] 1982 was certainly the zenith of that career, where I had to stop my concerts. I realized at this point, it was spoiled for me, because at 8pm, I had to act gifted in front of a few thousand listeners, just because they had paid for admission." – Heller in the liner notes of Kritische Gesamtausgabe published in 1991.
However, on his 60th birthday, Heller gave a concert in April 2007 at the Viennese Radiokulturhaus, after twenty-five years of absence from the stage in a recital entitled, Konzert für mich (Concert for me).

In 2006, thanks to the initiative of Chris Gelbmann, he released his last album called, Ruf und Echo. The 3-CD compendium is the first release in the past 20 years, containing new songs, and interpretations of old hits by artists like Brian Eno, Xavier Naidoo, Thomas D, and The Walkabouts.


Der Mikado1:43
Wie mei Herzschlag3:25
Tulios Lied4:17
Die Hundertjährige4:04
Zehn Brider6:13
Für immer jung3:54
Der erste Reif in Rimini4:17
Mir Träumte4:20
Erhebt euch Geliebte4:16

André Heller - Stimmenhören (1983)
(ca. 180 kbps, cover art included)

Samstag, 11. März 2017

Lightnin Hopkins - It´s A Sin To Be Rich (1972)

This recording brings to life "lost" sessions recorded spontaneously over a few hours in a L.A. studio in 1972. It's loose, shambolic, and thoroughly authentic. You can all but smell the stale smoke hovering in the air. Hopkins' guitar moans lazily as he banters with buddy John Lee Hooker, then spits out some surprisingly biting slide work. A historic document of the genre.                

Personnel: Lightnin' Hopkins (vocals, guitar, slide guitar, piano); John Lee Hooker (vocals, guitar); Mel Brown (guitar, electric piano, piano); Jesse Edwin Davis, Luther Tucker, Charlie Grimes, David Cohen (guitars); Clifford Coulter (piano, electric piano, melodica, bass); Michael White (violin); Joe Frank Corolla (bass); Lonnie Castile, Bruce Walters, Jim Gordon (drums).


1. Roberta
2. Katie Mae
3. Howlin' Wolf (Lightnin' Hopkins Rap)
4. The Rehearsal (for It's A Sin To Be Rich)
5. It's A Sin To Be Rich, It's A low-Down Shame To Be Poor
6. Y'all Excuse Me
7. Just Out Of Lousisiana
8. Get Out Your Pencil (Lightin' Hopkins Rap)
9. I Forgot To Pull Off My Shoes
10. Turn Me On
11. Candy Kitchen

Recorded May 16 and 17, 1972 at the Village Recorder, Los Angeles.

Lightnin Hopkins - It´s A Sin To Be Rich (1972)
(320 kbps, cover art included)