Samstag, 31. März 2018

Fred Frith & Henry Kaiser ‎– With Enemies Like These, Who Needs Friends? (1987)

This is a compilation of Henry Kaiser and Fred Frith's guitar duo records. With Enemies like These, Who Needs Friends? is a masterpiece of studio improvisation and innovative guitar techniques.

Looking back on guitar history during the 1970s and 1980s, it seems like Henry Kaiser and Fred Frith are separated by a generation. After all, Frith got his steely nerve from Henry Cow, who formed in the early 1970s, and Kaiser seemed to step into his own as a brilliant musician fully formed in the late 1970s. The pair has always been tight - and close in both age and temperament - as this set demonstrates. Kaiser and Frith alternate squiggles and wiggles and string tickles here, giving lots of attention to the details of improvised abstractions. They also sink their picks into an assembly of song structures that sometimes verges on the absurdly bouncy and beat-driven, even when at the core of their sound the pair could spin into the ether with ringing, caustic finality. Frith loves to tinker with the actual guitar, altering the machine's ability to project the expected sounds. Kaiser, by contrast, seems perfectly seated when controlling the projections and mangling, tangling, and laying them in disconnected lines. Kaiser and Frith offer one of free music's best opportunities, and this is pinnacle work for both.

"This maximum-length CD-only release consists of selections from an unreleased live album by Frith and Kaiser (1984) combined with "greatest hits" from their two out-of-print duo albums: "With Friends Like These" (1979) and "Who Needs Enemies?" (1983).
Most all of this music was improvised by one method or another. Tracks 3,4,5,7,8,12,14,15,16 were recorded without overdubbing.
Frith and Kaiser give very special thanks to our engineer, Oliver DiCicco who recorded this music with us in an especially collaborative and creative way. Thanks also to Larry Ochs and Metalanguage Records who originally issued the previously released materials on this CD. Thanks to Greg, Rich and Ray at SST for making this CD possible."        

Tracklist:

1 The Trace 2:52
2 Three Languages 9:27
3 Love In Hell 5:34
4 Twisted Memories Give Way To The Angry Pleasant 3:46
5 One Of Nature's Mistakes 2:07
6 Roy Rogers 5:01
7 It Sings 5:39
8 Drowsy Maggie 4:33
9 The Kirghiz Light 4:55
10 The Golden Eighties 5:46
11 Objects Everyday 3:06
12 The Changing Of Names 5:44
13 It Moves... 2:01
14 One-Eyed Theater 4:35
15 Dog Puppet Born Out Of A Sock 2:07
16 Hard Time Killin' Floor Blues 3:33

(320 kbps, cover art included)

Freitag, 30. März 2018

Floh De Cologne - Lucky Streik (1973)

"Lucky Streik" is a classic political "krautadelic" album released by Floh De Cologne in 1973 on the "Ohr" label.

Floh De Cologne were well-known for their humorous and satyrical approach (which gained them comparisons with other freak troupes like The Fugs or The Mothers Of Invention ). They deliver a freaky connection of agit-prop satira and madness with relentless no-barriers free jamming: Political agitation meets free-rock...

"Lucky Streik" was live recorded on 25.11.72 in the Stadthalle Gummersbach and remixed at Studio Dierks in Stommeln, Köln.

Tracklist:

1. Countdown
2. Schön ist ein Jugendtraum
3. Sozialpartner Blues
4. Kalte Wut
5. Wenn ich einmal Reich bin
6. Die Wirtschaft ist jetzt in Gefahr
7. Der Imker
8. Deine Freiheit
9. Vergleiche
10. Der Löwenthaler
11. Was ein Kommunist trinken darf
12. Wenn es brennt
13. Freie Marktwirtschaft
14. Für die Zukunft sehen wir rot
15. Saurier
16. Wir sind millionenmal so stark

Gerd Wollschon - vocals, text
Dieter Klemm - vocals, percussion
Theo Konig - vocals, sax (tenor) clariner, flute
Markus Schmidt - vocals, guitar, keyboards
Dick Stadtler - bass, guitar, piano
Hansi Frank - vocals, drums

Floh De Cologne - Lucky Streik (1973)
(192 kbps, cover art included)

Kollektiv Rote Rübe & Ton Steine Scherben - Paranoia

.
"Paranoia" is an unusual album, a cooperation of the left cabaret "Kollektiv Rote Rübe" and the alternative rock band "Ton Steine Scherben", released in 1976 on the self organized label "David Volksmund Produktion".
The music on this album is very varied, from angst-ridden sound collages like "Paranoia" to noisy proto-indie rock like "Taifuns Traum" (a pretty funny song if you understand the lyrics and wait till the end).

Other favourites of mine is "Eine Tote zuviel", a song about the oppression of workers, or "Miss Lissy Lamour" about the bleak life of a mother and wife.

This is surely not for everyone and it has its weak moments, but it is an album one should know if interested in alternative German music.

Tracklist:

A1 Entree
A2 Manchmal wenn ich so dasitze
A3 Nie wieder
A4 Die Zeiten sie ändern sich
A5 Paranoia
A6 Taifuns Traum

B1 Song der Hure Holly
B2 Das Paradies
B3 Song der Emma P.
B4 Zeitmaschine
B5 Eine Tote zuviel
B6 Horrormäuse

B7 Miss Lissy Lamour

Ton Steine Scherben & Kollektiv Rote Rübe - Paranoia (1976)
(192 kbps, cover art included)

Donnerstag, 29. März 2018

Manderley - ...fliegt, Gedanken, fliegt... (1976, Pläne)

The Dortmund based Folkrock ensemble "Manderley" belonged to the best that the german folkscene offered in the seventies. They only recorded this one album, which was released by Pläne Records. Guitarist Pit Budde and violinist Klara Brandi went ahead and founded the more famous Cochise band - probably the hottest political folk rock band in Germany from the late seveties to the mid-eighties.   

Manderley was found in 1975 in Dortmund. The band played folk and rock music with political lyrics. In 1976 they recorded in just two weeks at "Ton am Dom", Cologne the album "...fliegt, Gedanken, fliegt...", which was releasd on the Pläne label.

The re-release on CD contained two bonus tracks that were recorded Jan. 1986 live at the Fritz-Henssler-Haus, Dortmund.

Tracklist:

1 Sagt mir, wer sie sind
2 Bluhs
3 No. 6
4 Der Traum des Schmieds
5 Eine andere Frau
6 Fliegt Gedanken, fliegt
7 Da muss doch wohl ein Ausweg sein
8 Ballade vom kleinen Florestan
9 Erinnerungen an Les Saintes Maries de la Mer
10 Sacco's Brief
11 Komm mit mir
12 You'd better listen
Bonus Tracks:
13 You'd better listen (live)
14 Jeder Traum (live)

Manderley - ...fliegt, Gedanken, fliegt... (1976, Pläne)
(320 kbps, cover art included)

Montag, 26. März 2018

Quilapayún - Basta (1969)

"Basta" ("That’s enough!/Das genügt!") is an album that was released by Quilapayún in 1969. It brings together popular and folk songs from Latin America, the former USSR, and Italy. This album included "La muralla"/"The wall" - one of the most popular folk songs in Latin America - based on the text of a poem by the Cuban poet Nicolás Guillén.

The vocal arrangements reach their peak in “Bella Ciao”, “Por montañas y praderas” and “Patrón.” This album – as "X Vietnam" - shows the internationalism of Nueva Cancion Chilena/ New Chilean Song.

The liner notes below are from the original "Basta" album release in 1969 and in the re-edition of the album in Italy in 1974, but may not appear with more recent editions:
"The importance of the role that art has to play for the revolutionary movements of our people was addressed for the first time in our country by a historical letter - that serves as an introduction to this recording - that was signed by the first leader of the proletariat cause in Chile, Luis Emilio Recabarren.
Since its inception our group has defined its work as committed with the interests of the proletariat, and hasn’t concealed, nor will it ever conceal, its political aims. This is born of a need to remain forever loyal to the nascent truth that impels and mobilizes our people towards the hour of its authentic historical realization.
All artists that have the opportunity to give their work to the revolutionary cause should do so, and in that manner not only do they fulfill their responsibility with the working class but also with art itself. Given that in an era of exploitation and misery, of subjugation, of cruel and unjust wars, of unrestrained egoism and selfishness, of repression that violate the will of the people, which seek to liberate themselves from imperialism and capitalism; artists that remain on the fence and profit from their privileged position within society – which in a thousand ways aims to bribe and alienate them – betray the very essence of art.
An essence, which yearns to liberate, to educate, to elevate mankind.
Bourgeois society wants art to be another factor contributing to social alienation; we artists should transform it into a revolutionary weapon, until the contradiction that actually exists between art and society is finally surpassed.

This surpassing is called revolution and its motor and fundamental agent is the working class. Our group, loyal to the ideals of Luis Emilio Recabarren, sees its work as a continuation of what has already been achieved by many other popular/folk artists. This side of the trenches has been occupied by artists whose names are forever linked to the revolutionary struggle of our people; the first Luis Emilio Recabarren, the latest: Violeta Parra and Pablo Neruda. The example they have given us is the light that guides us."

Tracklist:
  1. ”A la mina no voy” (I won’t go back to the mine) (Colombian folklore)
  2. ”La muralla” (The wall) (Nicolás Guillén - Quilapayún)
  3. ”La gaviota” (The gull) (Julio Huasi – Eduardo Carrasco)
  4. ”Bella ciao” (Goodbye, my beautiful) (Italian folk - Italian partisans Hymn)
  5. ”Coplas de baguala” (Verses of Baguala) (Argentinian Folk)
  6. ”Cueca de Balmaceda” (Cueca dance for Balmaceda) (Popular)
  7. ”Por montañas y praderas (Over mountains and prairies) (Soviet Red Army Hymn)
  8. ”La carta” (The letter) (Violeta Parra)
  9. ”Carabina 30-30" (A commonly used rifle) (from the Mexican Revolution)
  10. ”Porqué los pobres no tienen...” (Why don’t the poor have...) (Violeta Parra)
  11. ”Patrón” (Landlord) (Aníbal Sampayo - Uruguayan folk)
  12. ”Basta ya” (Enough, already!) (Atahualpa Yupanqui)
Quilapayún - Basta (1969)
(256 kbps, cover art included)

Donnerstag, 22. März 2018

Joan Baez & Ennio Morricone - Sacco And Vanzetti (OST)

Ennio Morricone is well known in the film music business for his westerns and mafia film scores. But in his enormous output one can also find gems in many other genres. Sacco and Vanzetti was a film by Italian director Giuliano Montaldo about the execution of two apparent political agitators in the 1920s. With this film Morricone found a wonderful opportunity for blending his masterful melodramatic themes with a vocal performance of enormous magnitude: that of Joan Baez.

Baez, also a socially active voice in the early sixties (at those times in good company with the likes of Bob Dylan and Simon and Garfunkel), complemented Morricone's main theme in such a way that it has transcended the borders of film music and has become an immortal ballad for freedom and liberty for all. Her three part ballad is heartwrenchingly beautiful and poignant, even thirty years later. The lyrics are based on the texts of the liberties and rights of the individual in the USA ("give me your tired and your poor" refers to the inscription at the base of the statue of liberty). Morricone underscores her vocal performances almost in counterpoint but does not distract from the effectiveness of Baez's vocals.

Morricone did not employ a large orchestra; his usual orchestra for Italian movies in the seventies varied from 25 players to about 55 players. Here, the sheer simplicity of thematics, combined with an extremely effective orchestration, clearly shows an optimal effect of dramatic scoring, as the music lives on far beyond the reach of the film itself. The hopelessness for Sacco and Vanzetti is wonderfully depicted by heavily melancholic strings and woodwinds and Morricone's innovativity even reaches as far as creating a theme for the electric chair, consisting of a synthesizerlike sound, resonating and undulating with a chilling intensity. (In previous themes there is some reference to this sound, as if looking forward to an ominous ending.) The Here's To You finale again repeats some of the finest moments of thematical material, accompanied by Baez's unique vocal talents. If anyone does not know this particular piece, this is certainly the chance to hear Morricone at his very best! Although Ennio Morricone has done some remarkable things with vocal performers, this collaboration with Joan Baez is one of his most successful endeavors. A modern masterpiece of film scoring!

Tracklist
A1Hopes Of Freedom
A2The Ballad Of Sacco & Vanzetti - Part 1
A3In Prison
A4The Ballad Of Sacco & Vanzetti - Part 2
A5Sacco And His Son
B1The Ballad Of Sacco & Vanzetti - Part 3
B2Freedom In Hope
B3To Die Is A Duty
B4The Electric Chair
B5Here's To You

Joan Baez & Ennio Morricone - Sacco And Vanzetti (OST)
(192 kbps, cover art included)

VA - Woody Lives! (1987)


Woodrow Wilson Guthrie was born in the oil boom town of Okemah in 1912. After a hard early childhood he went on the road when only 13 years old after his mother was debilitated by Huntington´s Chorea, the incurable nerve disease which eventually killed Woody himself in 1967.

During the years leading up to the Second World War he was with the refugees of the Dust Bowl on their trail westward, with the migrant workers in the California orchards, in the factories and mines where workers struggled for union recognition to gain better pay and conditions, with the black Americans against the prejudice facing them and during the war he was in the navy. Throughout all these experiences and a life full of tragedy his faith in people and his belief that the ordinary person would win in the end never faltered.

The idea of this album was to record a musical tribute from Scotland and England to mark the 20th anniversary of Woody Guthrie's death. This is the German release on PLÄNE label in the 1988, with Rod Clements, Dick Gaughan, Ray Jackson, Bert Jansch, Rory McLeod, Rab Noakes and Pat Rafferty.

"I hat a song that makes you tink you´re not any good! I hate a song that makes you think you are just born to lose. Bound to lose. No good to nobody. No good for nothing. Beacuse you are either too odl or too young or too fat or too thin or too that. Songs that run you down or songs that poke fun at you on account of your bad luck or yourd hard travelling..." - Woody Guthrie, December 3rd 1944

Tracklist:
01 Ray Jackson - Hard Travellin´
02 Bert Jansch - This Land Is Your Land
03 Dick Gaughan - Vigilante Man
04 Rab Noakes - Pretty Boy Floyd
05 Rory McLeod - Plane Wreck At Los Gatos (Deportee)
06 Rab Noakes - Philadelphia Lawyer
07 Rory McLeod - Do Re Mi
08 Dick Gaughan - Pastures Of Plenty
09 Rory McLeod - Tom Joad
10 Ray Jackson - Will You Miss Me

VA - Woody Lives! (1987)
(192 kbps, front & back cover included)

Mittwoch, 21. März 2018

Georges Brassens - In Great Britain (1973)

"France's most popular singer in concert, Cardiff 1973".

Georges Brassens (22 October 1921 – 29 October 1981) was a French singer-songwriter and poet.
He wrote and sang, with his guitar, more than a hundred of his poems, as well as texts from many others such as Victor Hugo, Paul Verlaine, or Louis Aragon. In 1967, he received the Grand Prix de Poésie of the Académie française.

Between 1952 and 1976, he recorded fourteen albums that include several popular French songs such as Les copains d'abord, Chanson pour l'Auvergnat, La mauvaise réputation, and Mourir pour des idées. Most of his texts are black humour-tinged and often anarchist-minded.

This album was recorded on October 23rd, 1973 at the Sherman Theatre in Cardiff.



Tracklist:

A1 Dans L'Eau De La Claire Fontaine 2:15
A2 Les Sabots D'Helène 3:10
A3 Saturne 3:15
A4 Le Vieux Léon 3:55
A5 La Chasse Aux Papillons 2:50
A6 Bonhomme 2:45
B1 La Non-Demande En Mariage 4:25
B2 La Mauvaise Réputation 2:50
B3 Chanson Pour L'Auvergnat 3:15
B4 Le Gorille 3:55
B5 Les Copains D'Abord 2:55

Georges Brassens - In Great Britain (1973)
(320 kbps, cover art included)

Dienstag, 20. März 2018

Vladimir Vissotski – »Von der Erde« und andere Lieder (Pläne,1980)

Vladimir Vissotski doesn't need any explanations. These songs were recorded at Studio Résonance for Le Chant Du Monde, Paris. Scans include text sheet with lyrics in Russian and German as well as press info in German. The track titles are in German, but Vladimir sings in Russian.

Tracklist:
01. Alarmtrommeln – Über die neue Zeit 2:42
02. Lied von der Erde 2:21
03. Er kam nicht aus der Schlacht zurück 3:15
04. Morgengymnastik 1:58
05. Abschied von den Bergen 2:55
06. Erschießung des Echos in den Bergen 2:38
07. Die Söhne ziehen in den Kampf 2:27
08. Hinauf 2:54
09. Im Finstern 2:08
10. Schwarze Kittel 3:33
11. Der Boxer 1:16
12. Störche 4:13
13. Massengräber 1:22
14. Der Gipfel 1:40
Total time: 35:13

Musicians
Vladimir Vissotski: music & lyrics
K. Kazansky: guitar & arrangement
Claude Pavy: guitar
Pierre Moreilhon: bass
Hubert Tissier: bass

Vladimir Vissotski - »Von der Erde« und andere Lieder (Pläne,1980)
(ca. 256 kbps, cover art included)

Enrico Medail Canta Ferré – Nè Dio Nè Padrone (1977)

 

"Medail est un poète, et c'est pour ça qu'el ne m'a jamais tradi. Et puis, il a du talent, et puis il chante bien. Ecoutez-le. Vous ne l'entendrez jamais su "Hit Parade" de la merde. Et c'est bien comme ça. Il me ressemble et bravo!" – Léo Ferré

This album is Enrico Medail's only recording with songs from Léo Ferré translated into Italian.

Léo Ferré (24 August 1916 – 14 July 1993) was a Monegasque French poet and composer, and a dynamic and controversial live performer, whose career in France dominated the years after the Second World War until his death. He released some forty albums over this period, composing the music and the majority of the lyrics. He released many hit singles, particularly between 1960 and the mid-seventies. Some of his songs have become classics of the French chanson repertoire, including "Avec le temps", "C’est extra", "Jolie Môme" or "Paris canaille".

Along with Serge Gainsbourg, Jacques Brel and Georges Brassens, he is considered one of the greatest French-language singer-songwriters of all time, but unlike Brel and Gainsbourg, or even Charles Aznavour, his songs are little known in the English-speaking world. Ferré also gained a large following as an anarchist, and is often seen as the archetypal French protest singer.

Ferré’s songwriting was famously incisive and attuned to the issues of the day, but also poetic. He mixed revolt with love and melancholy, sophisticated lyricism with slang and shouts, and rhyming verse with prose monologues. He moved from music-hall to symphonic music and spoken word, breaking free from traditional song structure, inventing his own dramatic and innovative musical territory. He also popularized the French poètes maudits, such as François Villon, Charles Baudelaire, Paul Verlaine, and Arthur Rimbaud, as well as acclaimed French poets from the 20th century such as Guillaume Apollinaire and Louis Aragon, by setting many of their poems to music.

Tracks
01. Gli stranieri 06:26
02. Rotterdam 03:00
03. I poeti 02:45
04. La notte 03:54
05. Nè Dio nè padrone 02:32
06. La malinconia 04:01
07. È solo lei 04:16
08. Thank you Satan 03:25
09. L'età in fiore 04:07
10. Signora miseria 02:05

Musicians
Enrico Medail: vocals, lyrics
Cesare Poggi: pianoforte, arrangiamenti
Cecilia Vallini: flauto
Sergio Almangano: violino
Giorgio Azzolini: contrabasso
Tonino Paolillo: tecnico
Registrato alla Mondial Sound, Milano

Enrico Medail Canta Ferré – Nè Dio Nè Padrone (1977)
(ca. 256 kbps, cover art included)

VA - Burg Waldeck Festival 1967 - Chanson Folklore International

This double album documents the fourth Burg Waldeck Festival, 1967. The festival theme was "Das engagierte Lied" ("The engaged song"), three thousand people came to attend the concerts and lectures given by forty-two different groups, solo performers, and speakers.

Refelcting the gradual politicization of the festival, the artists were all asked to answer four questions about the politically engaged song and their own artistic commitment. The organizers stated in the festival programm: "The fourth festivl should openly discuss not only the difficult questions of our society, but also the difficult question about the form of artistic engagement."

As´well as the usual figures of Degenhardt, Schobert and Black, Hedemann, Wader, Mossmann, Mey and Hüsch there were also several first time appearances including the author Erich Fried and the gypsy jazz group Schnuckenack Reinhardt. The GDR was "officially" represented in the form of the Brecht singer Hermann Hähnel and by Inge Lammel and Erna Berger from the Institut für Arbeiterlieder of the Akademie der Künste in East Berlin. They presented a workshop on Wolfgang Steinitz´s research on the German democratic folk song. In the discussions, however, they were asked uncomfortable questions about Wolf Biermann and the suppressed Liedermacher scene in the GDR, questions which they dodged or were not able to answer.

A unprecedent event was the concert of Alex Kulisiewicz from Poland, who performed in the clothes of a concentration camp prisoner. With broken voice and alarming authenticity he sang songs he had gathered as an inmate at Sachsenhausen. After the war he had written down from memory seven hundred pages of songs and texts in four languages.

Burg Waldeck Festival 1967 - CD 1
Burg Waldeck Festival 1967 - CD 2
(192 kbps, front cover included)

Sonntag, 18. März 2018

Franz K. – Rock in Deutsch (1973)

 

Review from "The Crack in the Cosmic Egg":

Formed in Witten in 1969 as Franz Kafka. In their early days they were one of those very Teutonic underground rock bands, akin to Ton Steine Scherben or Lokomotive Kreuzberg, with a hard-edged agit-rock style. By the time of their debut (becoming just Franz K.) they had matured their sound from the early days of Fugs and Mothers style theatre in German.

SENSEMANN featured just two side-long tracks offering a great deal of freedom for invention, with aggressive German lyrics and similarly angular freaky guitars characterising their sound. A psychedelic hard-rock twist on Ton Steine Scherben perhaps.

Franz K. continued for many years, ROCK IN DEUTSCH is also reputedly good, but on later albums (at least another nine!) the vocals took over and they moved to a more mainstream rock and cabaret mixture, totally lacking the innovation of their debut.


Tracklist
1. Schieß und marschier 3:53
2. Cabora Bassa 2:29
3. Peterlied 12:52
4. Räder 4:13
5. Big Boss 7:04
6. Mackie Messer 2:48
7. Rita B. 6:05


Musicians
Peter Josefus: Bass, Vocals
Mick Hannes: Guitar
Werner Becker: Piano, Organ
Stefan Josefus: Drums

Franz K. – Rock in Deutsch (1973)
(ca. 320 kbps, cover art included)

Franz K. - Wir haben Bock auf Rock

Band history translated from Wikipedia:

In 1969, Franz K. was established by Mick Hannah (guitar, born 15 July 1951), Peter Josefus (bass, vocals, November 6, 1951, † 14 November 1997) and Stefan Josefus (drums, born 24 February 1947). First, the trio played blues and impressively covered blues-rock from bands like Cream, Jimi Hendrix, Ten Years After – down to jazz/crossover. Initially they held gigs e.g. combined with local political cabaret of their roadie Manfred Günther, after 1970 they worked often together with lyricist Arnold Leifert. The style was in this period increasingly rocking up to hard rock.

In 1972 they released their first album "Sensemann", and thus belonged to the pioneers of German Rock. On this LP, there were only two tracks, each of 20 minutes length. In 1973 came the second album in less progressive vain in German. Both records sold poorly, however. In the next few years Franz K. released several singles. The breakthrough came in 1977 with the album "Bock auf Rock". In the years 1978 to 1983 the band released another six albums. Then it became quiet around the band and with producer Peter Orloff they moved into the pop field.

In 1997 Peter Josefus died of lung cancer. Mid 2000, his brother Stefan released the last recording with Peter "Nachts sind deine Küsse heiß" (Your kisses are hot at night) and put together a CD with pop songs from recent years. On a concert in December 2004 in the sold-out "Zeche Bochum" Mick Hannes and Stefan Josefus played together for the first time in over 20 years. The appearence, in which only six songs were played, was held at the event "Rock for animals". In fall 2008, SPV published a double CD with the two LPs "Bock auf Rock" and "Geh zum Teufel". In the summer of 2009, Franz K. started a comeback. In September 2009, their new album "Mehr Respekt" was published. The 2010 released single "Die Gute" is the only German version authorized by Steve Miller of his world hit "The Joker". A big party for old friends was the open-air concert in their home town Witten-Annen in July 2010.

Line Up 2010: Stefan Josefus (drums), Mick Hannah (guitar), Michael "Momo" Grimm (bass, vocals), Klaus Vanscheidt (guitar), Tim Husung (drums, percussion).

Tracklist:

A1Wir haben Bock auf Rock4:36
A2Bye bye, Johnny4:30
A3Eh, Mann!3:55
A4Der König4:15
B1Tiger4:05
B2Halt mich fest3:25
B3Halt mich fest, Teil II (Boogie)5:10
B4Condor (Instrumental)4:12

Franz K. - Wir haben Bock auf Rock
(ca. 256 kbps, cover art included)

Samstag, 17. März 2018

Mekanik Destrüktiw Komandöh – Live! Die Kriegserklärung (1982)

"Live! Die Kriegserklärung" ("Live! Declaration of war") is a rare live recordings from the West-Berlin Punk & Avantgarde scene. "Mekanik Destrüktiw Komandöh" was an interesting project between punk, industrail and avantgarde. Alexander Hacke played in the weirdest projects and became famous with Einstürzende Neubauten.

Review from RateYourMusic:
"Babies von heute sind die Soldaten von morgen" ("Today's babies are tomorrow's soldiers").
Lots of overlap on this live album with the first "Weg zum Frieden" tape. The A-side was recorded in the Kant-Kino in June 1980 and is a bit more polished, the B-side was recorded in the SO 36 a month earlier, and the sound quality is much rougher. Which is a pity, as the band seems in a great form there – its incredibly intense, theatrical, dark punk with occasional jazz notes and loads of atmosphere, and it grooves like hell on tracks like "Babies von heute". Of course, if you don't speak German, you'll miss half the fun, as Volker Hauptvogel's lyrics are just as good as the music.

Tracklist:
Side A · Live at Kant-Kino, Berlin
01. Banane/Zitrone (1:52)
02. Rhythmus der Musik (3:40)
03. Rohe Gewalt (2:23)
04. Das Mörderlied (5.23)
05. Die Superbraut (3:18)
06. Kreuzberg 36 (1:02)

Side B · Live at SO36, Berlin
01. Kleine Mädchen (1:48)
02. Das Friedenslied (4:50)
03. Babies von Heute (2:15)
04. Falsche Freunde (2:30)
05. Liebeslied (3:07)
06. Propaganda durch die Tat (2:29)
07. Spaß muß sein (3:49)
Total Time: 38:06

Musicians
Volker Hauptvogel: vocals
Alexander Hacke: guitar
Edgar Domin: bass
Uli Radtke: drums
Stefan Schwietzke: sax
(ca. 256 kbps, cover art included)

Tom Robinson Band - The Winter Of 89

This album was recorded live in 1990 by a re-formed version of the band without either Dolphin Taylor, who was playing with STIFF LITTLE FINGERS at the time or Charlie Morgan who was playing with ELTON JOHN. Basic tracks recorded at Central TV Studios for the Bedrock programme, which has subsequently been released on DVD. Studio post production by Tom.

"Motorway - Live In Concert" is a pirate version of 'The Winter of 89' thanks to an unscrupulous record company called Merlin exploiting a loophole in EU law. Having licensed the album for £3000 they sold it on to other dodgy record companies around the world. The album has now been pirated variously under the titles 'Motorway', '2-4-6-8 Motorway' and even (incredibly) 'Power In The Darkness' using different covers, crap photographs and duff or nonexistent liner notes. In some cases even the song titles have been altered. The band receive no royalties from sales of these albums.

Artists:
TR(bs), Danny Kustow (gtr), Mark Ambler(kyb), Steve Creese (drs) EXCEPT tracks 11 and 12 which feature Paul Harvey (gtr) Winston Blisset (bs) James McMillan (tpt) Mark Ramsden (sax) and on Track 12 Steve Laurie (dr)

Tracklist:
1. Number One: Protection
2. The Winter Of '89
3. You Gotta Survive
4. Too Good To Be True
5. Martin
6. We Didn't Know What Was Going On
7. Up Against The Wall
8. Glad To Be Gay
9. Power In The Darkness
10. 2-4-6-8 Motorway
11. Atmospherics: Listen to the Radio
12. War Baby

Tom Robinson Band - The Winter Of 89
(256 kbps, front cover & alternative covers included)

Freitag, 16. März 2018

Kurt Weill - American Songbook Series (Smithsonian Collection)

The Smithsonian American Songbook Series traces the legacy of American songwriters with individual volumes devoted to a number of artists. This one featurs music by Kurt Weill in interpretationts by artist like Louis Armstong, Benny Goodman, Lotte Lenya, Bing Crosby, Lee Wiley, Sarah Vaughan and many others.
Kurt Julian Weill (March 2, 1900 – April 3, 1950) was a prominent and popular German-Jewish composer, active from the 1920s, and in his later years in the United States. He left nazi Germany in 1933 for Paris, London and then the USA in 1936. He was a leading composer for the stage who was most well known for his fruitful collaborations with Bertolt Brecht. With Brecht, he developed productions such as his most well known work "The Threepenny Opera", a Marxist critique of capitalism, which included the ballad "Mack the Knife". Weill was a socialist who held the ideal of writing music that serveda socially useful purpose. He also wrote a number of works for the concert hall, as well as several Judaism themed pieces.

Tracklist:


1. Mack the Knife -- Louis Armstrong, Louis Armstrong
2. Jenny -- Helen Forrest, Benny Goodman & His Orchestra
3. That's Him -- Mary Martin
4. September Song -- Bing Crosby
5. This Is New -- Lee Wiley
6. Green-Up Time -- Buddy Clark
7. One Life to Live -- Portia Nelson
8. Susan's Dream -- Kaye Ballard
9. One Touch of Venus -- Greta Keller
10. Moon-faced, Starry-eyed -- The Hi-Lo's
11. Speak Low -- Sarah Vaughan
12. Pirate Jenny -- Lotte Lenya
13. Lonely House -- June Christy
14. Lost in the Stars -- Tony Bennett
15. It Never Was You -- Judy Garland
16. Alabama Song -- Georgia Brown
17. Mr. Right -- Dorothy Loudon
18. There's Nowhere to Go but up -- William Roy, Julie Wilson
19. Surabaya Johnny -- Lotte Lenya
20. My Ship -- Lena Horne

Donnerstag, 15. März 2018

Christof Schlingensief - Three Radio Plays (Rocky Dutschke `68, Freakstars 3000 & Lager ohne Grenzen)

Christoph Schlingensief (born October 24, 1960 in Oberhausen, died August 21, 2010) was a German film director, theatre director, actor, author, artist, and talkshow host.

In the beginning he organized culture-events in the cellar of his parents house. Artists like Helge Schneider or Theo Jörgensmann performned at this place.
He created controversial and provocative theatre pieces as well as motion pictures. One of his main works, the so-called "Germany-Trilogy" consisting of the movies "Hundert Jahre Adolf Hitler"("A Hundred Years Of Adolf Hitler"), "Das deutsche Kettensägenmassaker"("The German Chainsaw-Massacre) and "Terror 2000" which handle three markpoints in German history of the 20th century. While "Hundert Jahre Adolf Hitler" is about the last hours of Adolf Hitler, "Das deutsche Kettensägen-Massaker" heads the German reunion of 1989 and shows a few East-German people who cross the border to visit West-Germany and get slaughtered by a psychopathic family with non-running chainsaws. "Terror 2000" is about the 1970´s Red Army Faction terror in Germany.

In 1993 he debuted as a theatre director at the Berliner Volksbühne with “100 Years of the CDU – Games Without Frontiers”. This was followed by various projects outside the theatre, such as the Mission project for drug addicts and the homeless at Hamburg Central Station in 1997, “Passion Impossible – 7 Days Emergency Call for Germany” or, in 2000, the Big Brother game for asylum seekers in Vienna, “Please Love Austria”.

In 1997 he was arrested at documenta X during an art action because he used a sign with the inscription “Kill Helmut Kohl”. In 1998 he founded the party “Chance 2000” ("Opportunity 2000") and took part in the campaign for elections to the Bundestag.

Schlingensief is an extremely provocative artist and his major targets are the German and Austrian identity.

Christof Schlingensief produced a few radio plays, we present four of them in this posting:
"Lager ohne Grenzen" about the Kosovo war, "Freakstars 3000" about the normality of handicapped people and two versions of the mind-blowing radio play "Rocky Dutschke `68".

"Rocky Dutschke `68" was produced in 1997 by the WDR (German radio station) and won the "Prix Futura". It is a remake of a theatre play for the "Volksbühne" in Berlin.
This audio collage simulates a meeting of some student activists of the 1968 generation in a radio studio: Amonst others Wolf Biermann, Marget Kleinert (editor of the "Thoughts without pain"-broadcasting) and Heiner Müller are talking about hobbys, work and Rudi Dutschke. This fake broadcasting "assimilates" German history and present and reflects some phenomenons of our trivial media society. Full of provocation and cynicism it shows the thoughtless dealings with language, music and ideologic ideas.

"One of the best radio-shows I ever experienced," as R3000 wrote about this recording over at http://themoreyouthinkaboutit.blogspot.com/ - thanks a lot for bringing the work of Schlingensief back to my attention!

Maybe you want to read the other posting about Christof Schlingensief.

Christof Schlingensief - Three Radio Plays

Mittwoch, 14. März 2018

Eddie Gale ‎– Eddie Gale's Ghetto Music (1968)

The aesthetic and cultural merits of Eddie Gale's "Ghetto Music" cannot be overstated. That it is one of the most obscure recordings in Blue Note's catalog - paid for out of label co-founder Francis Wolff's own pocket - should tell us something.

This is an apocryphal album, one that seamlessly blends the new jazz of the '60s - Gale was a member of the Sun Ra Arkestra before and after these sides, and played on Cecil Taylor's Blue Note debut, "Unit Structures" - with gospel, soul, and the blues. Gale's sextet included two bass players and two drummers - in 1968 - as well as a chorus of 11 voices, male and female. Sound like a mess? Far from it. This is some of the most spiritually engaged, forward-thinking, and finely wrought music of 1968.

What's more is that, unlike lots of post-Coltrane free jazz, it's ultimately very listenable. Soloists come and go, but modes, melodies, and harmonies remain firmly intact. The beautiful strains of African folk music and Latin jazz sounds in "Fulton Street," for example, create a veritable chromatic rainbow. "A Walk with Thee" is a spiritual written to a march tempo with drummers playing counterpoint to one another and the front line creating elongated melodic lines via an Eastern harmonic sensibility. The final cut, "The Coming of Gwilu," moves from the tribal to the urban and everywhere in between using Jamaican thumb piano's, soaring vocals à la the Arkestra, polyrhythmic invention, and good, old-fashioned groove jazz, making something entirely new in the process. While Albert Ayler's "New Grass" was a failure for all its adventurousness, Eddie Gale's "Ghetto Music", while a bit narrower in scope, succeeds because it concentrates on creating a space for the myriad voices of an emerging African-American cultural force to be heard in a single architecture. This is militant music posessed by soul and spirit.     

Tracklist:
  1. "The Rain" - 6:30
  2. "Fulton Street" - 6:51
  3. "A Understanding" - 7:41
  4. "A Walk With Thee" - 6:09
  5. "The Coming of Gwilu" - 13:37


Eddie Gale ‎– Eddie Gale's Ghetto Music  (1968)
(192 kbps, cover art included)   

Sonntag, 11. März 2018

Bullwackies All Stars ‎- Black World Dub (1979)

"Black World" came out originally in 1979, on the Wackies’ imprint Hardwax. It’s a tough album, with Sibbles guiding the selection as well as sharing bass duties - there are versions of his classic composition "Guiding Star" and stylish Wackies heavyweight, This World; and "Tribute To Studio One" reworks Heptones "Gonna Fight / Hail Don D." as modern steppers, with the kit-drums - as throughout this album - supplemented effectively by the latest electronic innovation from Japan. Drifter and Skylarking put in appearances; and two full Joe Auxumite vocals from the solo album scheduled for release around this time, but abandoned when most of the tapes were lost. A dub version of Delroy Wilson’s "Rain From The Skies" rounds out proceedings.

Tracklist:
A1 Recording Connection 3:50
A2 Skylarking 4:22
A3 Troubled Land 3:46
A4 Morning Star 3:40
A5 United Rock 4:24
B1 Black World 4:28
B2 Simple Little Woman 5:10
B3 Tribute To Studio One 2:01
B4 Shining Star 3:01
B5 Rain From The Cloud 3:27


Bullwackies All Stars ‎- Black World Dub (1979)
(320 kbps, cover art included)

Freitag, 9. März 2018

David Bowie in Bertolt Brecht´s "Baal" (1982) - Rest in peace!

Baal is an EP by David Bowie, comprising recordings of songs written for Bertolt Brecht’s play Baal. It is also referred to as David Bowie in Bertolt Brecht’s Baal, as credited on the sleeve.

In August 1981, Bowie had begun rehearsals to appear in the BBC version of Baal. The lyrics to the songs were all translated by Ralph Manheim and John Willett. Dominic Muldowney provided all new musical settings, except for "The Drowned Girl", which was a setting by Kurt Weill done originally for Das Berliner Requiem.
In September 1981, Bowie and Tony Viscontireturned to the Hansa studios in Berlin to re-record the five songs Baal performed in the play.

“Baal’s Hymn” is a combination of the vignettes spread throughout the play, and establishes Baal’s amoral character. “Remembering Marie A” concerns Baal’s reminiscences of a past conquest, where he can remember a cloud drifting overhead, but not the face of the girl he was with. “Ballad of the Adventurers” is Baal’s aggressive lament to the death of his mother. “The Drowned Girl” relates the suicide of one of Baal’s conquests – a video clip for this song was shot by David Mallet at the same time as the one for “Wild is the Wind”. “The Dirty Song” is a short number, with Baal humiliating his lover Sophie.

His performance as Baal was transmitted on February 2, 1982, and RCA issued the EP to coincide with this. Both the play and EP were well received, with the latter reaching #29 in the UK chart, commendable considering the unconventional tracks. As well as the 7" edition (which came packaged in a double gatefold sleeve containing extensive notes pertaining to the musical content and a short biography of Bertolt Brecht) the EP was released as a 12" which gained it some play in clubs as well as radio airplay.


Tracks:

A1) Baal's Hymn
A2) Remembering Marie A
B1) Ballad Of The Adventurers
B2) The Drowned Girl
B3) Dirty Song

David Bowie in Bertolt Brecht´s "Baal" (1982)
(320 kbps, cover art included)


Donnerstag, 8. März 2018

Josh White - Presenting...

A gifted and charismatic entertainer, Josh White (1914-1969) was a blues star of the 1930s, a cabaret star of the 1940s, and a folk star of the 1950s and the 1960s. In 1963, a Billboard magazine poll ranked him America's third most popular male folksinger, surpassed only by Pete Seeger and Harry Belafonte, and ahead of Bob Dylan. White brought American folk and blues to audiences around the world and released several dozen albums, all featuring his distinctive guitar style, supple voice, and unique showmanship.

In this compelling biography, Elijah Wald traces White's journey from a childhood leading blind singers on the streets of Greenville, South Carolina, to the heights of Manhattan cafe society. He explores the complexities of White's music, his struggles with discrimination and stereotypes, his political involvements, and his sometimes raucous personal life.

White was always drawn to music and made his first recordings at age fourteen. By the 1930s he had become a recording star, with equally strong careers in blues and gospel. In the 1940s he was discovered by white audiences and regularly appeared in New York cabarets alongside such artists as Billie Holiday. He also became an outspoken proponent of civil rights and frequently appeared at rallies and benefits, as well as at the Roosevelt White House, becoming known as "the Presidential Minstrel." He was one of the few black figures to star on Broadway and appear in Hollywood films, the only black solo performer to have his own national tour, and a daring sex symbol with adoring fans on both sides of the color line.

In the 1950s, White won acclaim in Europe, then saw his achievements collapse in the polarized political ferment of the McCarthy era. Attempting to strike a balance that would keep his career afloat, he instead ended up alienating both political camps. Although still a star in England, he became the forgotten man at home until his resurrection during the folk revival.

Tracklist:
 1. Apples, Peaches And Cherries
  2. Bad Depression Blues
  3. Black and Evil Blues
  4. Fare Thee Well
  5. Frankie & Johnny
  6. Free And Equal Blues 
  7. Howlin' Wolf Blues
  8. I Gave My Love A Cherry
  9. John Henry
  10. Little Brother Blues
  11. Nobody Wants You When You're Down And Out
  12. Prison Bound
  13. Foggy Foggy Dew
  14. House Of The Rising Sun
  15. The Lass With The Delicate Air
  16. I'm Gonna Move To The Outskirts Of Town
  17. Hard Time Blues
  18. Strange Fruit
  19. Lord, I Want To Die Easy

Josh White - Presenting...
(320 kbps, front cover included)

Mittwoch, 7. März 2018

Paul Robeson - Spirituals (1945)

Born on April 9, 1898, in Princeton, New Jersey, Paul Robeson went on to become a stellar athlete and performing artist. He starred in both stage and film versions of The Emperor Jones and Show Boat, and established an immensely popular screen and singing career of international proportions. Robeson spoke out against racism and became a world activist, yet was blacklisted during the paranoia of McCarthyism in the 1950s. He died in Pennsylvania in 1976.

When he was 17, Robeson earned a scholarship to attend Rutgers University, the third African American to do so, and became one of the institution's most stellar students. He received top honors for his debate and oratory skills, won 15 letters in four varsity sports, was elected Phi Beta Kappa and became his class valedictorian.

Increasing political awareness impelled Robeson to visit the Soviet Union in 1934, and from that year he became increasingly identified with strong left-wing commitments, while continuing his success in concerts, recordings, and theatre. In 1950 the U.S. State Department withdrew his passport because he refused to sign an affidavit disclaiming membership in the Communist Party. In the following years he was virtually ostracized for his political views, although in 1958 the Supreme Court overturned the affidavit ruling. Robeson then left the United States to live in Europe and travel in countries of the Soviet bloc, but he returned to the United States in 1963 because of ill health.

Robeson appeared in a number of films, including Sanders of the River(1935), Show Boat (1936), Song of Freedom (1936), and The Proud Valley (1940). His autobiography, Here I Stand, was published in 1958.
Tracklist:

Go Down Moses2:44
Balm In Gilead2:13
By An' By2:29
Sometimes I Feel Like A Motherless Child2:31
John Henry2:27
Water Boy2:30
Nobody Knows The Trouble I've Seen2:41
Joshua Fit De Battle Of Jericho1:53
 
Paul Robeson - Spirituals (1945)   
(320 kbps, cover art included)               

Dienstag, 6. März 2018

Léo Ferré - Same (Odéon, 1953)

Although little known in English speaking countries, Léo Ferré (1916-1993) is a monument of French chanson, revered throughout the francophone world. A singer, songwriter, author, composer, and even orchestra conductor, he is mostly remembered for songs like "Avec le Temps," "Les Anarchistes," and "Jolie Môme." His career began in the cabaret and took him through four decades and a number of styles, but his best material and his popularity peak happened in the ‘60s and early ‘70s, as the generation of May ‘68 adopted him as an anarchist figure.

Léo Ferré was born and raised in the principality of Monaco, between France and Italy. Throughout his life, the artist would live and work in the two countries alternately, even recording a few songs in Italian. He completed his college studies in 1934 in Rome. Since his father refused to let him go to the music conservatory, he went to Paris for studies in law, earning a diploma in Political Sciences in 1939. The second World War dragged him into the military and upon Paris' capitulation he fled back to Monaco. He got married for the first time in 1943, began to work at Radio Monte-Carlo, and wrote his first songs.

After the Liberation (1945) Ferré gave his first performances in Parisian cabarets, encouraged by Charles Trenet, Edith Piaf, and Juliette Gréco who would sing many of his songs. His first wife divorced him in 1950. Shortly after, he met Madeleine Rabereau, who would become his second wife and have a decisive influence on his career, pushing him constantly forward. He cut his first 78 rpms for Le Chant du Monde and wrote his first piece of "serious" music, the oratorio "La Chanson du Mal-Aimé." In 1953, Ferré was signed by the record label Odéon and recorded his first LP which includes "Paris-Canaille."

In the late ‘50s and early ‘60s he recorded a series of albums devoted to French poets, interspersed with LPs of his own songs. His lyrics alternate between love topics and a social commentary that grows more and more bitter: "Thank You Satan," "Mon Général" (against Charles De Gaulle), "Ni Dieu, Ni Maître." When the events of May ‘68 take place, Ferré is at a popular and artistic peak. Now forever associated to the Anarchist movement, he let himself be transported by the younger generation. He abandoned the over-emphatic, theatrical style of singing that was also Jacques Brel's trademark, recorded and toured with the rock group Zoo, and included monologues in his concerts. In October 1970 came out the single "Avec le Temps." It became his signature song.

Starting in 1975, Ferré attempted a career in classical music, conducting orchestras for his works and classics (he recorded works by Beethoven and Ravel). For the next decade he continued to release albums and tour, but his prime had passed. His writings and television appearances were feeding his popularity more than his musical production of the time, and by 1985 he had considerably slowed down his activities. He was preparing a come back to the stage when illness struck in 1992. He died in July 1993 at age 77. 

Tracklist:

A1Monsieur William
A2La Chambre
A3Vitrines
A4Le Pont Mirabeau
B1Judas
B2Notre Amour
B3... Et Des Clous
B4Les Cloches De Notre-Dame
B5Paris Canaille

Léo Ferré - Same (Odéon, 1953)
(320 kbps, front cover included)