Freitag, 30. Juni 2017

VA - They Shall Not Pass - CNT Productions

From the linernotes:

"This LP contains a selection of songs released by CNT productions of Leeds between September 1981 and October 1983. It was compiled during the tenth month of the British miners' strike and is dedicated to the striking miners and their families. DEATH TO ROCK AND ROLL MONETARISM"


Redskins - Lean On Me 3:52
Sisters Of Mercy, The - Adrenochrome 2:56
Three Johns, The - Pink Headed Bug 3:27
Mekons, The - Fight The Cuts 2:02
Newtown Neurotics - Mindless Violence 2:45
Carlton B. Morgan - Shave The Ayatollah 3:52
Three Johns, The - Men Like Monkeys 4:18
Three Johns, The - Two Minute Ape! 2:15
Newtown Neurotics - Kick Out The Tories 3:48
Mekons, The - This Sporting Life 6:10
Sisters Of Mercy, The - Body Electric 4:27
Vicky Talbot - We Don't Get Fooled Again 1:27
Redskins - Unionize! 5:00

A1: recorded at Berry St. Studio. Low Noise Music. Released as CNT016 in July 183
A2: recorded at KG Bridlington. Copyright Control. Released as CNT002 in March 1982
A3: recorded at KG Bridlington. Low Noise Music. Released as CNT in January 1983. CNT011
A4 recorded at Bossa Nova Estrada Leeds, December 1977. Low Noise Music. First released as CNT008 in October 1982. Then CNT009 November 1982
A5: recorded at Elephant Studios London. Kristannar Music. Released as CNT004 in June 1982
A6: recorded in Splott, Cardiff. Low Noise Music. Released as CNT00666 in March 1983
B1: recorded at Berry St. Studio. Low Noise Music. Released as CNT013 in May 1983
B2: recorded at Berry St. Studio. Low Noise Music
B3 recorded at Elephant Studios London. Kristanner Music. Released as CNT004 in June 1982
B4: recorded at Spaceward Studios Cambridge. Low Noise Music. Released as CNT001 in September 1981
B5: recorded at KG Bridlington. Copyright Control. Released as CNT002 in March 1982
B6: released in December 1982 as CNT005
B7: recorded at Berry St. Studio. Low Noise Music. Released in July 1983 as CNT016

VA - They Shall Not Pass - CNT Productions
(192 kbps, cover art included)

Mittwoch, 28. Juni 2017

VA - Primer festival internacional de la canción popular (1973)

When the socialist politician Salvador Allende dramatically won Chile´s presidential election in 1970, a powerful cultural movement accompanied him to power. Folk singers emerged at the forefront, proving that music could help forge the birth of a new society. As the CIA actively funded opposition media against Allende during his campaign, the New Chilean Song Movement (Nueva Canción) rose to prominence, viscerally persuading voters with its music. Victor Jara, a central protagonist at the time, became an icon in Chile, Latin America, and beyond for his revolutionary lyrics and life. Inti-Illimani, Quilapayun, and other musicians contributed by singing before audiences of workers outside factories or campesinos in Chile´s rural countryside.

Primer festival internacional de la canción popular is a live album released on the DICAP label (Discoteca del Cantar Popular). It features artists from Chile (Isabel Parra, Tito Fernandez, Inti-Illimani, Quilapayun, Aparcoa, from Uruguay (Alfredo Zitarossa), from Argentina (Cesar Isella( and from Finland (Agit-Prop).


A1Unknown ArtistObertura
A2AparcoaQue Se Vayan Del Canal
A3Rolando Ojeda Guantanamera
A4Marcelo Dónde Está La Paz
A5Tito FernándezCuando Sea Grande
A6Alfredo ZitarrosaChamarrita De Los Milicos
B1Isabel ParraEn Esta Tierra Que Tanto Quiero
B2Inti-IllimaniCueca De La CUT
B3Flora MargaritaA Un Ave
B4AgitpropPaz, Amistad, Solidaridad
B5César IsellaSoneto 93
B6aQuilapayúnEl Pueblo Unido Jamás Será Vencido
B6bQuilapayúnLas Ollitas

VA - Primer festival internacional de la canción popular (1973)
(256 kbps, cover art included)

VA - Premier Festival Del Nuevo Canto Latinoamericano (1982)

The "Premier Festival Del Nuevo Canto Latinoamericano" took place at the National Auditorium in Mexico City between March 30 and April 4, 1982, in collaboration with UNESCO and "Casa de las Americas". The album features songs by Roy Brown, Quilapayun, Amparo Ochoa, Daniel Viglietti and others.


01. América Latina – Nicomedes Santa Cruz
02. En la vida todo es ir – Roy Brown
03. Flor de metal – Los Flokloristas
04. Espigas de libertad – Lilia Vera
05. Siringuero – Luis Rico
06. El sombrero azul – Alí Primera
07. Luz negra – Quilapayún
08. Cuando salgas luna llena – Noel Nicola
09. Epitafio a Juan ‘N’ – Amparo Ochoa
10. Las hormiguitas – Daniel Viglietti
11. Somos los hijos del maíz – Luis Enrique Mejía Godoy y Mancotal
12. Canción con todos – César Isella

VA - Premier Festival Del Nuevo Canto Latinoamercano (1982)
(192 kbps, cover art included)

Dienstag, 27. Juni 2017

VA - Die Zwanziger Jahre - Musik zwischen den Kriegen

"Die Zwanziger Jahre" is a compilation with sinfonic music written between 1924 and 1929 in the time "between the wars". It was released in 1988 on the Thorofon label. "This edition represents an attempt to provide ... an overview of the ... musical scene in Berlin of the 1920's and 1930's",


  1. Franz Schreker : Kleine Suite für Orchester; RSO Berlin / Dirigent: Hans-Georg Ratjen
  2. Grete von Zieritz : Präludium und Fuge für Klavier; Horst Göbel, Klavier
  3. Ernst Krenek : Symphonie für Blasinstrumente und Schlagwerk op. 34; RSO Berlin / Dirigent: Hans-Georg Ratjen
  4. Karol Rathaus : Sonate für Klarinette und Klavier op. 21; Alois Brandhofer Klarinette / Horst Göbel, Klavier
  5. Kurt Weill : "Zu Potsdam unter den Eichen"; Staats- und Domchor, Berlin/ Dirigent: Christian Grube
  6. Hanns Eisler : "Palmström" Studien über Zwölfton-Reihen; Junko Ohtsu-Bormann, Sopran / Orchester Akademie des BPhO
  7. Hans Pfitzner : Sechs Liebeslieder op. 35; Katharina Richter, Sopran / Holger Groschopp, Klavier

(192 kbps, cover art included)

Montag, 26. Juni 2017

VA - New Orleans Rhythm & Blues - Good Rockin' Tonight

Half a century after holding jazz over the baptismal font, New Orleans breathed new life into Black popular music when the time came for rhythm & blues. 

In the wake of the great pianists – from a city whose culture was decidedly rainbow-coloured (Professor Longhair, Archibald, Champion Jack Dupree) –, a new generation of singers appeared post-war and tackled a conjugation of swing and blues with incomparable verve. Along with Fats Domino, who was the figurehead of the new wave, a multitude of creators came to light: shouter Roy Brown, bandleaders Dave Bartholomew and Paul Gayten, crooner Larry Darnell, adolescent duo Shirley & Lee, not to mention Guitar Slim, a flamboyant guitarist capable of electrifying the crowds whose first recordings were made with Ray Charles.

1Mardi Grass in New Orleans (1949)
Professor Longhair2:55
2Heavy Heart Blues
Champion Jack Dupree2:37
3Careless Love
Fats Domino2:22
4Crescent City Bounce
5Her Mind Is Gone
Professor Longhair2:41
6She Won't Leave No More
Little Joe Gaines2:31
7Growing Old
Smiley Lewis2:26
8Good Rockin' Tonight
Roy Brown3:00
9Black Bitin' Woman
Chubby Newsome2:12
10Good Jax Boogie
Dave Bartholomew2:47
11Where You At?
Lloyd Price2:22
12Long About Midnight
Roy Brown3:15
13For You My Love
Larry Darnell2:39
14The Fat Man
Fats Domino2:49
15Country Boy
Dave Bartholomew3:06
163 x 7 = 21
Jewel King1:52
17I'll Never Be Free
Paul Gayten3:09
19Bald Head
Professor Longhair2:34
20Lawdy Miss Clawdy
Lloyd Price2:35
21I'm Gone
Shirley & Lee2:24
22The Things That I Used to Do
Guitar Slim3:05

VA - New Orleans Rhythm & Blues - Good Rockin' Tonight
(192 kbps, cover art included)

Samstag, 24. Juni 2017

Richard & Mimi Fariña ‎– Reflections In A Crystal Wind (1965)

The Farinas' mix of unusual instrumentations and Dick's gift for words made them a formidable duo in the mid-sixties, his writing alternating and mixing the political, satirical, and poetic . This album showcased both's songwriting and singing talents, and backed by most of Dylan's off-duty session players, the music sounds as fresh today as then.

Richard Farina was a great poet in the great tradition of the troubador. His life ended too early as the result of a motorcycle accident. Nonetheless, he and his partner/wife Mimi Baez (sister of Joan Baez) created one of the great albums of the "beat" and new folk movement, "Reflections In A Crystal Wind". Songs on it such as "Children of Darkness" and "Raven Girl" metaphorically describe the sense of personal torment and social destruction experiemced by a whole generation during the Vietnam Era

A1Reflections In A Crystal Wind3:30
A2Bold Marauder4:24
A4A Swallow Song2:51
A5Chrysanthemum (Instr.)2:27
A6Sell-Out Agitation Waltz2:50
A7Hard-Loving Loser4:32
B1Mainline Prosperity Blues6:25
B2Allen's Interlude2:50
B3House Un-American Blues Activity Dream3:10
B4Raven Girl5:07
B5Miles (Instr.)2:53
B6Children Of Darkness4:00

Richard & Mimi Fariña ‎– Reflections In A Crystal Wind (1965)
(256 kbps, cover art included)

Freitag, 23. Juni 2017

Fabrizio De André - Vol. 1 (1967)

Fabrizio Cristiano De André (18 February 1940 – 11 January 1999) was an Italian singer-songwriter.
Known for his sympathies towards anarchism, left-libertarianism and pacifism, his songs often featured marginalized and rebellious people, Romani, prostitutes and knaves, and attacked the Catholic Church hierarchy.

Fabrizio De André was in many ways already a seasoned veteran when he released his first album in 1967. He was 27 years old, he had a wife and child, and he had been writing and recording singles for the small Karim label since 1961. While recognition took a while, by late 1966 De André was hot news. His last singles had done well, Mina was about to record one of his songs, and Karim was quick to put out an LP compilation of his early songs, "Tutto Fabrizio De André". In the meantime, De André broke with Karim and signed a record deal with renowned producer Antonio Casetta, who offered him much better production values, as well as proper national distribution. De André was even given his choice of musical producers, and he picked top Ricordi arranger Giampiero Reverberi. Casetta's gamble paid off, with "V.1" reaching number two in the Italian charts, and winning the Italian Music Critics' Album of the Year award. Since most of his early material was being released almost simultaneously in the Karim compilation, De André was forced to write entirely new material for his debut album - something that didn't always came easy for the hardly prolific Genovese songwriter. Indeed, "V.1" included two Georges Brassens translations and a previously released song co-written with Paolo Villaggio to complement the seven brand new De André originals.

Having to come up with new material may ultimately have made the album stronger, since many of the new songs shared similar themes and De André was always at his best when making concept- or theme-based albums. Whether it was intended or not, the album seemed designed for maximum controversy, with every song questioning or mocking established values of the Italian conservative bourgeoisie, notably on the issues of religion and sex. Even the sequencing contributes to this impression, as "V.1" seems to comprise two mini-suites: songs one through four deal with Catholic doctrine's taboos (including suicide, the desacralization of marriage, and the humanity of Christ), while songs five through eight propose casual sex and prostitution as better, or more sincere, alternatives to the stifled sexuality of bourgeois marriage. Among the latter songs are the classics "Bocca di Rosa" and "Via del Campo," both offering a glimpse into one of De André's favorite galleries of characters, the world of prostitutes, their customers, and the town's zealous bigots. The first is a raucous tarantella and the second a solemn waltz: these two songs constitute an excellent example of De André's range of expression as he manages to examine the same subject from the compassionate to the farcical. The highlight of the record, however, is a stunning rendition of Georges Brassens' "La Marche Nuptiale." In his exquisite Italian translation, De André replaces the gentle irony of the original with a mixture of world-weariness and sympathy for humanity that renders the song achingly moving. De André was the first to recognize that he had a veritable Brassens obsession, and the influence of the legendary French songwriter in De André's early work is unmistakable. In this light, "Marcia Nunziale" is one of those instances when the disciple surpasses the master.

Uncommon in Italy at the time, "V.1's" sleeve included the songs' full lyrics, thus reinforcing the image of De André as a "singer-poet." Again, this was pretty much an unheard of concept in Italy back then, where music, and particularly, vocal prowess (a heritage of opera) normally took precedence over lyrics. While not the only one starting to work in that vein, (the names of Gino Paoli, Francesco Guccini, or Luigi Tenco also come to mind; Tenco committed suicide; one of the songs on "V.1" is dedicated to him). De André's provocative yet cultivated style was immediately perceived as uniquely different, if not revolutionary. If controversy was his original goal for his debut album, he more than successfully achieved it, as several of his pieces were banned by the RAI. Furthermore, the song "Carlo Martello" was briefly brought to trial on charges of obscenity because of its irreverent portrait of the hapless King Charles Martel coming back from the war horny as a toad. Nothing came out of the trial but excellent publicity for De André as the enfant terrible of the new Italian song. In fact, "V.1" was instrumental in modernizing Italian popular music and establishing the singer/songwriter (cantautori) genre that would dominate the 1970s and beyond.    


Preghiera In Gennaio
Marcia Nuziale
Si Chiamava Gesù
La Canzone Di Barbara
Via Del Campo
Caro Amore
Bocca Di Rosa
La Morte
Carlo Martello Ritorna Dalla Battaglia Di Poitier
Fabrizio De André -  Vol. 1 (1967)
(320 kbps, cover art included)    

Donnerstag, 22. Juni 2017

Count Ossie‎ - Remembering Count Ossie: A Rasta "Reggae" Legend

With club owner and producer Harry Mudie picking up almost all songwriting credits and adding "overdub percussion and sound effects," it seems like something fairly fishy could be going on here. But here's the big warning: this music is way far removed from any early preview of the Mystic Revelation of Rastafari grounantion chants that would make Count Ossie a rasta reggae legend. Call it proto-ska if you like, with Ossie as the lead drummer on roughly recorded, 2 1/2-3-minute songs that include 13 unreleased tracks. They were probably cut in the pre-Skatalites late-'50s or early-'60s, since the copyright is 1961, and recognizable '50s R&B touches pop up in some vocal tracks.

It wouldn't be surprising if Count Ossie was just part of the backing band on many songs, since the drums don't dominate the set, and Rico Rodriguez's trombone and Big Bra Gaynair's tenor sax are the chief solo voices. It is pretty fascinating, though, to hear proto-Rasta lyrics so early in the Jamaican music game on "So Long (The Negus Call You)" and "One Bright Morning." "Leaving This Land" hits the religious theme again with percussion driving, and "Swinging for Joy" is actually "Swing Low, Sweet Chariot" done Rasta/JAH-style done with a very strong Rodriguez solo and nice responses from Gaynair. You can almost hear the Mystic Revelation stage coming in the ragged vocal celebration and repeated chorus of "Going Home to Zion Land" or the devotional lyric to "Serve Him and Live" with its '50s R&B melody quote.

"Hello Sharon" continues in that vein (someone even shouts out "Do it, Dadd-i-o!" before the solos) but it's teen romance all the way, and "I Would Give My Life" doo wops on out JAH-style with smooth Gaynair and brassy Rodriguez. (You gotta wonder what Count Ossie would think of these songs being released now under his name). Mudie's maneuvers on the effects' front don't really damage "Fire Engine" or "Gun Fever (Remix)," but they do cheapen "Herb I Feel" in its obvious quest for the ganja anthem audience. On balance, Remembering Count Ossie is no lost treasure trove for casual listeners or seekers of early Nyabinghi percussion chants. The music has some historical value, and it's a pleasant enough listen, but is probably best left to historians of Jamaican music.      


African Shuffle
So Long (Negus Can Call You)
Air Horn Shuffle
Gun Fever
Fire Escape
One Bright Morning
First Gone
Babylon Gone
Music Go Round And Round
Leaving This Land
Swinging For Joy
Going Home To Zion Land
Count Ossie Special
Sodom And Gomorrah
Serve Him And Live
Herb I Feel
Hello Sharon
I Would Give My Life
Gun Fever (Remix)

Count Ossie‎ - Remembering Count Ossie: A Rasta "Reggae" Legend    
(320 kbps, cover art included)

Mittwoch, 21. Juni 2017

Eddie Harris - Live At Newport (1971)

Eddie Harris hit the 1970 Newport Jazz Festival head on with his satchel of electronic sax gear, funky soul/jazz track record, and a quartet with Jodie Christian now anchored on electric piano.

Naturally there would be some funk on display ("Carry on Brother") and guest vocalist Eugene McDaniels, composer of "Compared to What," comes up with a lame, hectoring sequel, "Silent Majority." Yet a good deal of this truncated edition of Harris' Newport set is pitched at a more abstract level. "Don't You Know the Future's in Space," with its tumbling drums and outbreaks of near freeform reed trumpet (a Harris invention), is already in progress when we fade into the track, and "South Side" is a rough-and-tumble jazz sprint, with Harris delivering a complex cerebral solo.

These advanced tracks didn't win him any points with the critics of the time but hindsight reveals that harmonically as well as electronically, Harris was ahead of most of the pack. As a bonus, the LP includes a short post-set speech in which Harris prophesizes that his reed trumpet will be a godsend for brass players (who, alas, completely ignored it). 

A1Children's Song6:00
A2Carry On Brother5:07
A3Don't You Know The Future's In Space8:07
B1Silent Majority5:46
B2Walk Soft4:10
B3South Side8:52

Eddie Harris - Live At Newport (1971)
(320 kbps, cover art included)          

Sonntag, 18. Juni 2017

VA - American Folk Blues Festival '65

From 1962 until 1971, the American Folk Blues Festival was responsible for bringing dozens of the most celebrated American blues artists to audiences from England to Poland. For many of the musicians, these were the largest audiences they'd ever played to, and the first (and often only) decent money they ever made.

This album is a collection of studio sessions, recorded in Hamburg October 7, 1965, on the occasion of  "The American Folk Blues '65" concert tour produced and presented by Lippmann and Rau-


A1Fred McDowellHighway 61
A2J.B. LenoirSlow Down
A3Big Walter "Shakey" Horton    Christine
A4Roosevelt SykesCome On Back Home
A5Eddie BoydFive Long Years
A6Eddie BoydThe Big Question
B1Lonesome Jimmy LeeRosalie
B2John Lee HookerKing Of The World
B3John Lee HookerDella May
B4Buddy BoyFirst Time I Met The Blues
B5Big Mama ThorntonHound Dog
B6Doctor RossMy Black Name Is Ringing

VA - American Folk Blues Festival '65 
(320 kbps, cover art included)

Samstag, 17. Juni 2017

Lokomotive Kreuzberg - Gesammelte Werke

Lokomotive Kreuzberg was a Berlin based polit-rock band, who were launched onto the scene in early 1972 with enthusiastic help from Floh De Cologne.

They played funky krautrock with a lot of folk rock included. Gong and Mother Gong is a very good reference. The music is mainly built around the lyrics and their message to the left wing scene. The band breaks out into gospel and Canterbury prog at the twenty minutes long "Mountain Town" epic.

This "best of" compilation was released in 1994 on the Pläne label.


1. Frühmorgens (3:42)
2. Leise Sohlen (3:35)
3. Fette Jahre (5:34)
4. Come Back (2:44)
5. Verfassungslied (3:00)
6. Tempo Mann (4:03)
7. Hand in Hand im Park (3:51)
8. Hey Mr. Amerika (4:46)
9. (a) Mountain Town, (b) Mountain Town Song (20:35)
10. Requiem (3:17)

Lokomotive Kreuzberg - Gesammelte Werke
(320 kbps, cover art included)

Unterm Arm die Gitarre - 15 Jahre Singebewegung 1966 - 1980 - Ein Report (Amiga 1981)

"Singe-Bewegung" and "Oktoberklub" in East Germany, part 8.

On 7 October 1949, the founding of the GDR (German Democratic Republic, often called simply East Germany) was proclaimed in Berlin. At the end of the Second World War, there were already violent disagreements between the four victorious allies: the USA, England, France and the Soviet Union. The Soviet Union wanted to found a socialist German state, while the Western powers wanted a democratic Germany.

The political officials in the Soviet-occupied zone (as the GDR was named before its foundation) carried out the preparations for founding a state very systematically. They started up the “Sozialistische Einheitspartei Deutschlands” or SED (Socialist Unity Party) and the organisation “Freie Deutsche Jugend” or FDJ (Free German Youth).
The proclamation of the constitution of the German Democratic Republic sealed the division between east and west in legal terms. Two states had arisen in Germany, both of which claimed to be the core and model for a single united Germany that was to be created in the future. With elections based on “Unity” lists of candidates, strict control and direction of government and society by the Socialist Unity Party, the GDR followed the pattern of the “people’s democracies” set up as Soviet protectorates in eastern central and southeastern European states.
Today it will have been 63ears since the founding of the German Democratic Republic (GDR).
The so called "Tag der Repblik" commemorates the 7th October 1949, at which the German Democratic Republic was constituted .
This is a good occasion to continue our series of postings dealing with the "Singebewegung" in the GDR.
This double album is a report about the "Singing movement" in the GDR, released in 1981 and giving an overview about the last 15 years. It has liner notes by Gisela Steineckert about the experiences in the years 1966 to 1980. Gisela Steineckert was a politician or functionary as well as a writer and poet, now honorary chairman of the dfb ("Democratic Women´s Association").
The "Singebewegung" was the East German variant of the Hootenanny and other folk movements and was channeled by SED and the FDJ, which does not always succeed. The songs on this album are partly shaped by this conflict between governmental control and slight irony and subversion.
(256 kbps, cover art included)


LP 1:
Sag mir, wo du stehst
Schau her
Singeklub "Geschwister Scholl" Wismar
Lied vom Schiffsbau
"Gruppe Pasaremos" Dresden
Dran und drauf
Perry Friedman
Wenn die Neugier nicht wär
Kurt Demmler
Was machen wir zu Pfingsten
Singeklub der Lessing-Oberschule Hoyerswerda
"Venceremos-Club" Berlin
Es beginnt erst der Mensch
Songgruppe der Tu Dresden
Kurt Demmler und der "Venceremos-Club" Berlin
Lied aus dem fahrenden Zug zu singen
Reinhold Andert
Im Treptower Park
"Venceremos-Club" Berlin
Singeklub Neubrandenburg
Der Tag hat uns bei der Arbeit gesehn
Singeklub der N.V.A. Neubrandenburg
Mein kleiner Bruder
Singegruppe "Spartakus" der PH Potsdam
In Potsdam wird gebaut
Kurt Demmler
Dieses Lied sing ich den Frauen (Maria)
Jahrgang '49
LP 2:
Jahrgang '49
Jahrgang `49
Liedertheater Karls Enkel
Oma Amler
Skiffle Schwerin
Gruppe Schicht
Hier wo ich lebe
Bernd Rump und Gruppe Schicht
Vor der Karte
Wir sind überall
Jahrgang '49
Saigon ist frei
Singegruppe "Spartakus" der PH Potsdam
Hamburg `78
Gruppe Schicht
Liedertheater Karls Enkel
Singeklub der P.O.S. Maxim Gorki Salzwedel
Mensch denkste denn
Singeklub der B.B.S. Des Wälzlagerwerkes Luckenwalde
Wenn`s Uus Lehrlinge nicht gäbe
Singeklub der E.O.S. Carl von Ossietzky Berlin
Betrachtendes Lied
Da sind wir aber immer noch