Donnerstag, 31. Mai 2018

Umsonst & Draußen Festival - Vlotho 1976 (Maulschnauz MOL 0002)

Some experiences with logistical problems led on to the idea to form a cooperation named 'Musikerinitiative Ostwestfalen-Lippe'. Another intention was to claim for public funds which should help to finance future events.

The next festival one year later (3/4 July) took place around a football ground and saw a similar line-up featuring Marlon Klein playing with his new REAL AX BAND and Atzen Wehmeyer who had formed EINHORN in the meanwhile. MUNJU, SKYLINE and the folk band SPARIFANKAL especially known for using lyrics with bavarian dialect, enlarged the festival's stylistical bandwith.

With 15.000 spectators in total 'Umsonst und Draussen Vlotho' was on the way to become the biggest alternative underground festival in Germany.

Tracklist:

MunjuTalk To Me5:53
EmbryoThe Bad Times Are Gone6:12
Einhorn Wer hat Angst vor Adalbert Weinstein5:57
HammerfestCross5:45
Missus BeastlySlow One (Stoppt Strauss)6:55
Real Ax BandNylon Recycled5:56
SkylineTashiro6:35
SparifankalI mechd di gean amoi nackad seng4:11

Umsonst & Draußen Festival - Vlotho 1976 (vinyl rip)
(320 kbps, cover art included)

VA - Yelé Brazil

Though not quite as expansive as "The Rough Guide to the Music of Brazil" or the four-CD "Brasil: A Century of Song" boxed set, this 16-track compilation provides a wonderful introduction to the vibrant musical cultural of Brazil, where music is an integral entity that permeates nearly every aspect of daily life.

Ara Ketu, who presents three tracks here, is representative of how seamlessly African musical traditions were integrated into the Brazilian sound, with complex syncopated percussion worked into an accessible pop sound that combines elements of African soukous and Brazilian samba. Paralamas, a Rio-based group who contributes two songs here, craftily combines Brazilian rhythms with the visceral energy of Two-Tone ska, the end result sounding a bit like a South American version of General Public. With a number of other standout tracks from diverse artists like samba/reggae fusionists Banda Reflexu and traditional drummer Dorival Caymmi, "Yele Brazil" makes a fine starting point for your Brazilian music immersion.   



Tracklist:

       1. Yele Congo - Ara Ketu
2. Coche Viejo - Paralamas
3. Venha Me Amar - Sarajane
4. Kizomba, Festa Da Raca - Banda Reflexu's
5. Emabla Eu - Clementina & Clara Nunes
6. Volte Para O Seu Lar - Marisa Monte
7. Felicidade - Ara Kefu
8. Epilogo - Geronimo
9. Jogo De Angola - Clara Nunes
10. Segura Este Samba - Umbada
11. De Onde Eu Vim - Geronimo
12. Negro Laranja - Banda Reflexu's
13. Alagados - Paralamas
14. Canto De Nana - Dorival Caymmi
15. Toque E. Seducao - Ara Kefu
16. Canto Da Cor - Banda Reflexu's
  
VA - Yelé Brazil
(256 kbps, cover art included)      

Mittwoch, 30. Mai 2018

Ton Steine Scherben - Keine Macht für niemand

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

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

Here´s their second album, "Keine Macht für niemand".   


Tracklist:
A1 Wir müssen hier raus! 5:12
A2 Feierabend 4:42
A3 Die letzte Schlacht gewinnen wir 4:09
B1 Paul Panzers Blues 6:35
B2 Menschenjäger 4:46
B3 Allein machen sie dich ein 4:42
C1 Schritt für Schritt ins Paradies 6:45
C2 Der Traum ist aus 8:55
D1 Mensch Meier 3:25
D2 Rauch-Haus-Song 3:31
D3 Keine Macht für niemand 4:06
D4 Komm schlaf bei mir 3:50


Ton Steine Scherben - Keine Macht für niemand
(ca. 192 kbps, cover art included)

Dienstag, 29. Mai 2018

B. B. Seaton - Gun Court Dub Vol. 2

"Gun Court Dub Vol. 2" is a great late seventies dub set produced by B. B. Seaton and mixed by Errol Brown at Treasure Isle.Studio. It features Sly Dunbar & the Revolutionaires, The Conscious Minds Band & Skin Flesh & Bones.

Harris Lloyd "B.B." Seaton (born 3 September 1944), also known as "Bibby", is a Jamaican reggae singer and record producer who was a member of The Gaylads, The Astronauts, Conscious Minds, and The Messengers (along with Ken Boothe, Lloyd Charmers and Busty Brown), and who has had a long solo career dating back to 1960.

Seaton was the first reggae artist to be signed by Virgin Records, leading to the creation of the Front Line label. He became based in the United Kingdom in the mid-1970s where he became active as a producer, his productions including the Gun Court Dub series of dub albums.

Tracklist:

Side One:
1. Laughing Dub
2. One Little Dub
3. Jah Dub
4. Dub Of Quality
5. Hold On To Your Dub
6. Careless Dub

Side Two:
1. Dubbing In The Rain
2. Daddy's Dub
3. Mamma Dub
4. Hop Skip & Jump
5. Revolution Dub
6. Dub For Us All

B. B. Seaton - Gun Court Dub Vol. 2
(320 kbps, cover art included)

Montag, 28. Mai 2018

Hein & Oss - Deutsche Lieder 1948/49 (1974)

This album was released in 1974 on the Songbird label by famous folk singer, songwriter and pair of twin brothers Heinrich and Oskar Kröher.

"Hein & Oss" call themselves "The People´s Singer" and were activ on stage for more than the last fifty years. Long before there was a new folk song movement, the vocal and guitar duo was popularizing democratic folk songs: work songs , songs of freedom of 1848-49, songs from the Hambach Festival , partisan songs, soldier songs against the drill, sailor songs and cowboy songs, songs from hiking , from drinking and of the unrest.

The 1848 Revolutions were a series of loosely coordinated protests and rebellions in the German Confederation which sought to challenge the status quo. The revolutions, which stressed pan-Germanism, emphasised popular discontent with the traditional, largely autocratic political structure of the thirty-nine independent states of the Confederation that inherited the German territory of the Holy Roman Empire. Furthermore, they demonstrated the popular desire for increased political and social freedom, democracy, and national unity within liberal principals of socioeconomic structure.

The revolution of 1848–49 marks a turning point in history. Throughout Germany the middle classes, workers, peasants, artisans, students, and the lower middle classes rose up against the ruling feudal nobility in order to create a unified, democratic state. The songs of freedom from the revolutionary years 1848 - 1949 are the expression of the struggle against feudalism, and they reflect the events of the time, the hopes and disappointments of the struggling democrats.

Tracklist:

Trotz alledem
Vetter Michels Vaterland
Das Blutgericht
Die freie Republik
Das Reden nimmt kein End'
Bürgerlied
Ça ira
Reveille
Mein Deutschland, strecke die Glieder
Fürstenjagd/ Heckerlied
Deutscher Nationnalreichtum
Das Lied von Robert Blum
Der gute Bürger
Badisches Wiegenlied
Achtzehnter März

Hein & Oss - Deutsche Lieder 1948/49 (1974)
(192 kbps, front cover included)

Mikey Dread - Jungle Signal (1982)

Mikey Dread, known as "The Dread at the Controls", was one of the most influential performers and innovators in reggae music.

As well as being a reggae artist and producer with international recognition, he may best be known as the pioneer of reggae broadcasting worldwide beginning in his hometown of Port Antonio, Jamaica as selector/DJ for his sound systems, Safari and Sounds of Music, he graduated from Jamaica's College of Arts, Science and Technology before taking his landmark job at the Jamaica Broadcasting Corporation (JBC) radio and television network in 1976. It was here he developed his "Dread At The Controls" label and trademark.

His production expertise has helped launched many artists, from Earl 16, Edi Fitzroy, Rod Taylor, Sugar Minott, Junior Murvin and the Roots Radics Band to the Clash.

Throughout the 1980s and 1990s, Mikeys résumé grew to enviable proportions. In addition to his work with The Clash, he recorded with UB40 and helped produce the well-received "Deep Roots" documentary on Jamaican music for Channel Four TV in the United Kingdom.

On February 21st, 2007 Mikey Dread has been invited to perform and to give an interview at the “Rock and Roll Hall Of Fame,” in Cleveland, Ohio.

On March 15, 2008 he lost a battle to a brain tumor. Despite his death his legacy will continue.

Here´s "Jungle Signal" with the following tracks:

Tracklist:
A1 Signal One
A2 Jungle Signal
A3 Signal Three/Dub
A4 Rainbow Jungle
B1 Star Chaser & Jungle Gym
B2 Jungle Juice
B3 Dub Jungle
B4 Theme Signal (Jungle Theme)

Mikey Dread - Jungle Signal
(320 kbps, cover art included)

Tradition & Protest - The Great American Folk Revival


From the liner notes:

"Of the various artists active in the American folk song revival which began in the late thrties, some were politically motivated and spread their mainly left-wing message through their music, others were active in many different varieties of music and just saw the movement as being another string to their bow. (...)

The American folk song revival embraced artists of different backgrounds and musical persuasions who, for a few years anyway, were united together as brothers with a common cause."

Here´s a fine compilation collecting tunes by Woody Guthrie, Pete Seegr, Leadbelly, Josh Wite, Cisco Houston, The Almanac Singers and Sonny Terry.

Tracks:
1.: Pastures Of Plenty - Guthrie, Woody
2.: All I Want - Seeger, Pete & The Almanac Singers
3.: Silicosis Is Killin' Me - White, Josh
4.: Boll Weevil - Leadbelly
5.: Liza Jane - Seeger, Pete & Woody Guthrie/Leadbelly
6.: House Of The Rising Sun - Guthrie, Woody
7.: Sinking Of The Reuben James - Seeger, Pete & The Almanac Singers
8.: Where Did You Sleep Last Night - Leadbelly
9.: Cindy - Seeger, Pete & Woody Guthrie/Cisco Houston
10.: Grand Coulee Dam - Guthrie, Woody
11.: John Hardy - Leadbelly
12.: I Don't Care Where Dey Bury My Body - White, Josh
13.: Talking Union - Seeger, Pete
14.: Pretty Flowers - Leadbelly & Josh White
15.: Gypsy Davy - Guthrie, Woody
16.: Teroo Teroo - Seeger, Pete
17.: When The Boys Were Out On The Western Plains - Leadbelly
18.: Pick A Bale Of Cotton - Leadbelly & The Golden Gate Jubilee Quartet
19.: New York Town - Guthrie, Woody & Cisco Houston
20.: You Shall Be Free - Guthrie, Woody/Cisco Houston/Sonny Terry
21.: Dear Mr President - Seeger, Pete
22.: Cumberland Mountain Bear Chase - Seeger, Pete
23.: Talking Dust Bowl Blues - Guthrie, Woody
24.: Bring Me Lil Water Silvie - Leadbelly
25.: Dusty Old Dust (So Long It's Been Good To Know You) - Guthrie, Woody
26.: Irene (Goodnight Irene) - Leadbelly

Tradition & Protest - The Great American Folk Revival
(192 kbps, front cover included)

B. B. Seaton - Revolutionary Dub (1976)

B. B. Seaton is a singer with a soulful voice, a qualified musician, producer and one of the most prolific song writers in the history of Jamaican music. He had his first big hit in Jamaica when teaming up with Delano Stewart and Maurice Roberts to form "The Gaylads”.
Tracklist:

Tribal Dub
Riot In Soweto
March Back To Africa
Havana (Fidel's) Dub
Forward To The Battle Dub
Revolutionary Dub
Emporor's Theme
Nationalist Dub
Dread In Johannesburg
Liberation Dub

(192 kbps, cover art included)

Sonntag, 27. Mai 2018

Richie Havens - Mixed Bag (R.I.P.)

Photobucket
Originally posted in April 2013:

Sad news: Richie Havens  has died of a heart attack at 72 on April, 22. Rest in peace!

Richie Havens' finest recording, "Mixed Bag" captures the essence of his music and presents it in an attractive package that has held up well. A close listen to lyrics like "I Can't Make It Anymore" and "Morning, Morning" reveals sadness and loneliness, yet the music is so appealingly positive that a listener actually comes away feeling uplifted.

In fact, on most of the songs on this album, it's the sound of Havens' distinctive voice coupled with his unusual open-E guitar tuning, rather than the specific lyrical content of the songs, that pulls the listener in. The six-and-a-half minute "Follow" is structured like a Dylan composition in the "Hard Rain" mode, with its memorable verse-ending refrain, "Don't mind me 'cause I ain't nothin' but a dream."

Both "Sandy" and "San Francisco Bay Blues" have a jazzy feel, while the aforementioned "I Can't Make It Anymore" would not have been out of place in a movie soundtrack or pop radio playlist of the time. "Handsome Johnny," one of Havens' best known songs as a result of the Woodstock film, is a classic anti-war ballad, stoked by the singer's unmistakable thumb-chorded guitar strumming.

Mixed Bag winds up with a soulful cover of Dylan's "Just Like a Woman" and an electric piano-propelled take on the Lennon-McCartney classic, "Eleanor Rigby."



Richie Havens - Mixed Bag (1966)
(192 kbps, cover art included)

Samstag, 26. Mai 2018

Ton Steine Scherben - Live München Alabamahalle, 1982

Formed in 1970, Ton Steine Scherben were one of Germany's first real homegrown rock bands (as opposed to bands covering American and British rock songs), and although they weren't commercially successful in the normal sense, the group's influence in Germany has been long-lasting.
With a lineup of vocalist Rio Reiser, guitarist R.P.S. Lanrue, drummer Funky Götzner, bassist Kai Sichtermann, and keyboardist Martin Paul, Ton Steine Scherben (or TSS, as they came to be known) released several independent records on their own dime, recordings that were frequently highly political and controversial.

In time, Ton Steine Scherben shifted ground just slightly and explored more personal territory in their lyrics, but they never abandoned a sort of renegade stance, what in later years would be dubbed "punk." The first incarnation of TSS disbanded in 1985, but Reiser's death in 1996 reunited the surviving members for a farewell concert that same year, and they came together again in 2005 for a successful reunion tour and played a gig at the revolutionary May demonstration in Berlin this year.
Here´s a bootleg with the recording of their gig at the Alabamahalle in Munic in the year 1982:

(192 kbps, front & back cover included)

Kurt Weill - Der Silbersee: ein Wintermärchen (London Sinfonietta)

"Der Silbersee: ein Wintermärchen" ("The Silver Lake: a Winter's Fairy Tale") is a 'play with music' in three acts by Kurt Weill to a German text by Georg Kaiser (cf. Heinrich Heine's Germany. A Winter's Tale).

"Der Silbersee" was premiered on 18 February 1933 simultaneously at the Altes Theater in Leipzig, the Stadttheater in Erfurt and the Stadttheater in Magdeburg, just 3 weeks after the Nazi Party's Machtergreifung on 30 January 1933. It was directed by Detlev Sierck and conducted by Gustav Brecher (Leipzig). It was the artists' last production in the Weimar Republic before they were forced to emigrate and it was banned on 4 March 1933 by the Nazis after having been performed 16 times.

"Der Silbersee" tells the story of Olim, a policeman, who shoots the thief Severin, who was stealing a pineapple. Severin survives and, from then on, Olim has a bad conscience. He wins the lottery and soon finds himself at a castle at the silverlake. He gives shelter to Severin, takes care of his wellbeing and tries to build a friendship with him. Severin does not forgive him, and conflict evolves at the estate. The mistress von Laub cleverly takes advantage of the two men with Olim finally agreeing to sell her all his property for a very low price. The two men reconcile and, at the end of it all, wish only to die together in the silverlake. However, in the meantime, the lake turns out to have frozen.

Even though the piece is based on a play and most of the action is transmitted by the spoken word, the elaboration of the piece by Weill requires skilled singers and musicians for a medium-sized orchestra. Similarly to his other works, Weill uses a broad variety of elements such as the cantata, instrumental interruptions, moritate, and songs. It questions the limitations of the genres. As a result, the Nazis labelled the work not only degenerated but a "musical bastard". Due to these characteristics it has not until recently become established in postwar theater nor on opera stages. It still lacks an appropriate framework to be performed within.
One day after the ban on the piece by the NSDAP on 4 March 1933, Georg Kaiser was also barred from the Akademie der Künste of which he was a member. On 10 May the work with illustrations by Caspar Neher was burned on the Opera Plaza. Today only occasionally is the piece found as part of the repertoire.

Here´s the recording with the London Sinfonietta, conducted by Markus Stenz with Heinz Kruse, HK Gruber and Juanita Lascarro.

Kurt Weill - Der Silbersee (London Sinfonietta)
(128 kbps, front cover included)

Patti Smith - Live In Paris, 1978

Punk rock's poet laureate, Patti Smith ranks among the most influential female rock & rollers of all time. Ambitious, unconventional, and challenging, Smith's music was hailed as the most exciting fusion of rock and poetry since Bob Dylan's heyday.

If that hybrid remained distinctly uncommercial for much of her career, it wasn't a statement against accessibility so much as the simple fact that Smith followed her own muse wherever it took her - from structured rock songs to free-form experimentalism, or even completely out of music at times. Her most avant-garde outings drew a sense of improvisation and interplay from free jazz, though they remained firmly rooted in noisy, primitive three-chord rock & roll. She has a powerful concert presence, singing and chanting her lyrics in an untrained but expressive voice, whirling around the stage like an ecstatic shaman delivering incantations.

The Stooges may have defined the sound and attitude of punk rock, and the New York Dolls lent it some style, but Patti Smith gave it its substance. Imbued with an all-consuming passion for the verse of Arthur Rimbaud and the grit of early rock ‘n’ roll, Patti combined simplicity and intellect to help forge the most vital and honest musical form of the 20th century.After humble beginnings in Chicago and chasing her muse to Paris, Patti Smith eventually found her way to the artistic circles of New York in the early ‘70s. Her readings at St. Mark’s Poetry Project lead to performances including musicians like rock historian and guitarist Lenny Kaye and pianist Richard Sohl, who would later comprise her fully fledged rock band and contribute to a series of records that were as aggressive and daring as they were beautiful.

Here´s a bootleg called "Live In Paris, 1978". The sound quality is excellent. All but the last 5 tracks were recorded live in Paris in 1978 - performance is fair to good. This show from March of 1978 was a sort of spiritual homecoming for the woman that had once busked on the streets of the City of Light, immersed in the environs that had created her favorite poems. But the cobbled alleyways needn’t have served as her theatre this time around; the punk scene Patti helped nurture was in full swing and the recent release of the album Easter yielded her highest charting hit, “Because the Night,” co-written by Bruce Springsteen. The band is in top form as the rattle through a brief set, book-ending their palpitating version of Them’s “Gloria” with newer material that is just as transcendent - listen for a room full of raucous French fans chanting, “pah-TEE, pah-TEE!!”

The first 4 of the last 5 tracks were from "The Mike Douglas Show" in 1976 - performance is excellent. The very last track is from "The Today Show" in 1978 - Patti sounds a little bit worn out. The cover shows a picture of Patti's back (in Vietnam jacket) and pink cartoon hands with paintbrush and pen nib on index fingers.


Patti Smith - Live In Paris, 1978
(192 kbps, front cover included)

Bob Dylan - Broadside - Broadside Show And Sessions (1962 - 1963)

In late 1962 and early 1963, Dylan recorded 14 songs for Broadside, the folk magazine that printed many of his early compositions and also recorded numerous folk singers, putting out some of the tapes on official albums. Indeed, half a dozen of these songs actually came out on the compilation albums Broadside Ballads, Vol. 1 and Broadside Reunion, with Dylan using the pseudonym Blind Boy Grunt to avoid contractual problems, although those anthologies are hard to find now.

This bootleg gathers all 14 of the performances, adding three numbers (and some chat) from a May 1962 radio show for WBAI in New York. The show was never broadcast, but, to add to the discographical tangle, two of the songs ("Emmett Till" and "Ballad of Donald White") were officially released on Broadside Reunion, although these weren't actually cut for Broadside. Taken together, the cuts on this CD catch Dylan in his hardcore folky phase, at a time when the songs were just beginning to pour from his pen like sugar through an hourglass. It's not the easiest listen, however, because the fidelity is very uneven, varying from acceptable major-label studio quality to ragged and, well, bootleg-ish, in the bad sense of that term. In addition, the performances are not always optimum, sometimes breaking down or stumbling; for Dylan and others, it should be remembered, the Broadside sessions were often used as a way of getting a composition down on tape in any form for reference, and not as a commercial or polished rendition. Also, the songwriting itself varies widely in quality, from "Blowin' in the Wind" (the sole unreleased performance from the WBAI session) to some of his least impressive topical numbers, like "Talkin' Devil." This material is mostly of interest for several compositions that did not make it onto his official releases in any form, like "Train a-Travelin'," "Cuban Missile Crisis," and "I'd Hate to Be You on That Dreadful Day," although none of these are memorable; there are also unreleased versions of some of his most obscure numbers, like "Walkin' Down the Line," "Playboys and Playgirls," and "Paths of Victory."

Capping the disc is a poor-fidelity version of "Only a Pawn in Their Game" sung by Dylan at the 1963 Washington Civil Rights March. If for some reason this CD was the only rare and unreleased Dylan from the early '60s available, it would be of immense historical interest. As it is, it's only of historical interest for committed Dylan scholars, particularly as there are far superior bootlegs of unreleased material from this same period available, such as The Freewheelin' Bob Dylan Outtakes and the 1961 tapes he made in an apartment in Minneapolis.      - allmusic.com

Tracklist
1Ballad Of Donald White
2The Death Of Emmett Till
3Blowin' In The Wind
4I'd Hate To Be You On That Dreadful Day
5Oxford Town
6Paths Of Victory
7Walkin' Down The Line
8Playboys And Playgirls
9Talkin' Devil
10Farewell
11Masters Of War
12Let Me Die In My Footsteps
13Only A Hobo
14John Brown
15I Shall Be Free
16Train A-Travelin'
17Cuban Missile Crisis
18Only A Pawn In Their Game
19Keep Your Eyes On The Prize

Bob Dylan - Broadside - Broadside Show And Sessions (1962 - 1963)
(192 kbps, cover art included)

Justin Hinds & The Dominoes - Corner Stone (Treasure Isle)


Throughout a crucial period that bore witness to the emergence of ska and its later mutations into rocksteady and finally reggae, Justin Hinds was among the most successful recording artists on the Jamaican music scene, his sweet tenor spotlighted on hundreds of Duke Reid-produced singles between 1963 and 1972.

Born on May 7, 1942 in the St. Ann's area, Hinds' greatest music was later created in the company of his backing vocalists the Dominoes, a duo comprising Dennis Sinclair and Junior Dixon. They first recorded at Reid's Treasure Isle studios in late 1963, a debut session that yielded the hit "Carry Go Bring Come" in just one take.

Between 1964 and 1966, Hinds was Reid's most popular artist, and during this period alone he recorded some 70 singles backed by session aces Tommy McCook and the Supersonics; among his biggest ska hits were "King Samuel," "Jump Out of the Frying Pan," "The Ark" and "Rub Up Push Up."

Around 1966, Hinds made the transformation to rocksteady, and the hits kept coming. Over the next several years, he released smash after smash, including "The Higher the Monkey Climbs," "No Good Rudy," "On a Saturday Night," "Here I Stand," and "Save a Bread." He and Reid parted company in 1972, with the latter dying three years later; Hinds then began working with producer Jack Ruby, a collaboration which resulted in the 1976 LP "Jezebel". Two years later, he also teamed with producer Sonia Pottinger for a series of singles including "Rig-Ma-Roe Game" and "Wipe Your Weeping Eyes." After 1984's "Travel with Love", however, the reclusive Hinds essentially went into retirement, leaving Jamaica only rarely.

He did return to recording, albeit sporadically, with a final studio effort in 1992, "Know Jah Better", and then a decade later with a live album "Let's Rock Live". Another concert album, 2003's "Live at the Grassroots", featured Hinds backed by roots revivalists John Brown's Body.

Justin Hinds succumbed to cancer two years later, passing away quietly at his Jamaican home on March 16, 2005.

Tracklist:

Carry Go Bring Come
Rub Up Push Up
Corner Stone
Here I Stand
Over The River
The Higher The Monkey Climbs
Teach The Youth
Hey Mama
Fight Too Much
Sinners
If It's Love You Need
Mighty Redeemer
Boderation
Save A Bread
On A Saturday Night
Say Me Say
Once A Man
Carry Go Bring Come Version 2

Justin Hinds - Corner Stone (Treasure Isle)
(192 kbps, front cover included)

Donny Hathaway - Everything Is Everything (1970)

Already a respected arranger and pianist who'd contributed to dozens of records (by artists ranging from the Impressions to Carla Thomas to Woody Herman), with this debut LP Donny Hathaway revealed yet another facet of his genius - his smoky, pleading voice, one of the best to ever grace a soul record.

"Everything Is Everything" sounded like nothing before it, based in smooth uptown soul but boasting a set of excellent, open-ended arrangements gained from Hathaway's background in classical and gospel music. (Before going to Howard University in 1964, his knowledge of popular music was practically non-existent.) After gaining a contract with Atco through King Curtis, Hathaway wrote and recorded during 1969 and 1970 with friends including drummer Ric Powell and guitarist Phil Upchurch, both of whom lent a grooving feel to the album that Hathaway may not have been able to summon on his own (check out Upchurch's unforgettable bassline on the opener, "Voices Inside (Everything Is Everything)").

All of the musical brilliance on display, though, is merely the framework for Hathaway's rich, emotive voice, testifying to the power of love and religion with few, if any, concessions to pop music. Like none other, he gets to the raw, churchy emotion underlying Ray Charles' "I Believe to My Soul" and Nina Simone's "To Be Young, Gifted and Black," the former with a call-and-response horn chart and his own glorious vocal, the latter with his own organ lines. "Thank You Master (For My Soul)" brings the Stax horns onto sanctified ground, while Hathaway praises God and sneaks in an excellent piano solo. Everything Is Everything was one of the first soul records to comment directly on an unstable period; "Tryin' Times" speaks to the importance of peace and community with an earthy groove, while the most familiar track here, a swinging jam known as "The Ghetto," places listeners right in the middle of urban America. Donny Hathaway's debut introduced a brilliant talent into the world of soul, one who promised to take R&B farther than it had been taken since Ray Charles debuted on Atlantic.

Tracklist:
Voices Inside (Everything Is Everything) 3:28  
Je Vous Aime (I Love You) 3:31
I Believe To My Soul 3:51
Misty 3:37
Sugar Lee 4:03
Tryin' Times 3:13
Thank You Master (For My Soul) 5:50
The Ghetto 6:57
To Be Young, Gifted And Black 6:45
A Dream (bonus track)                              4:14

Donny Hathaway - Everything Is Everything (1970)
(256 kbps, cover art included)

Kingston Trio - At Large (1959)

In the history of popular music, there are a relative handful of performers who have redefined the content of the music at critical points in history - people whose music left the landscape, and definition of popular music, altered completely. The Kingston Trio were one such group, transforming folk music into a hot commodity and creating a demand - where none had existed before - for young men (sometimes with women) strumming acoustic guitars and banjos and singing folk songs and folk-like novelty songs in harmony.

On a purely commercial level, from 1957 until 1963, the Kingston Trio were the most vital and popular folk group in the world, and folk music was sufficiently popular as to make that a significant statement. Equally important, the original trio - Dave Guard, Nick Reynolds, and Bob Shane - in tandem with other, similar early acts such as the Limeliters, spearheaded a boom in the popularity of folk music that suddenly made the latter important to millions of listeners who previously had ignored it. The group's success and influence transcended its actual sales. Without the enviable record of popularity and sales that they built up for folk music, it is unlikely that Columbia Records would ever have had any impetus to allow John Hammond to sign an unknown singer/guitarist named Bob Dylan, or to put Weavers co-founder Pete Seeger under contract, or for Warner Bros. to record the Greenwich Village-based trio Peter, Paul and Mary.

The Kingston Trio's first stereo album. "At Large", was also the first LP on which they adopted the more sophisticated recording techniques that would characterize their subsequent records, including multiple overdubs and separate recordings of the different players of vocals and instrumentation. It shows in the far more complex sound achieved by the trio throughout this album, with voices and instruments more closely interwoven than on their earlier studio recordings and achieving control over their volume that, even today, seems astonishing.
The group also sounds very energized here, whether doing Calypso-style numbers like Bob Shane's "I Bawled," soaring bluegrass-style harmony numbers such as "Corey, Corey," or the gossamer-textured "All My Sorrows."
The hits "M.T.A." and "Scarlet Ribbons" helped propel "Kingston Trio At Large" to the number one LP spot, but it was the rest of the album - including "Early in the Mornin'" (a skillful adaptation of the song best known to most of us by its opening line, "What do you do with a drunken sailor") and "The Seine," which anticipates the later trio's classic "Take Her Out of Pity" - that helped keep it at the top spot for 15 weeks, an amazing feat for a folk album. Dave Guard's banjo playing, in particular, shines throughout this album, and it was beginning here that Guard was to exert a separate influence on a whole generation of aspiring folk musicians and even one rock star (Lindsay Buckingham) with his banjo.

Kingston Trio - At Large (1959)
(320 kbps, cover art included)

Freitag, 25. Mai 2018

Dmitri Shostakovich - Symphony No. 13, "Babi Yar" (Conductor: Saulius Sondeckis)

This is a recording of Saulius Sondeckis conducting Dmitri Shostakovich´s  Symphony No. 13 ("Babi Yar") from 1994.

In 1961 the then tewenty-nine-year-old Yevgeny Yevtushenko pubished a poem entitled "Babi Yar". This was the name of a ravine on the outskirts of Kiev which in 1941 had been the scene of a mass execution where, within thirty-six hours, 34.000 Jewish men, women and children were shot by a special unit of the German SS. In his poem Yevtushenko used the National Socialists´ act of genocide as the starting-point of an attack on anti-Semitism in general, which he pilloried as a timeless evil that was widespread throughout the world, but which, he implied, was especially rife in Russia.

Shostakovich´s Thirteenth Symphony took a long time to establish itself in the concert hall. The first performance in Moscow on 18 December 1962 was conducted by Kirill Kondrashin and was beset by intrigue until the very last moment; the bass soloist Viktor Nechipaylo, for example, was ordered to report to the Bolshoi on the evening of the concert in order to stand in for an ailing colleague and had to be replaced at the eleventh hour by Vitaly Gromadsky. According to the reports of all the participants, the first-night audience was deeply moved by the work, but the press adopted a hostile tone, directing its fury at Yevtushenko´s words and not at Shostakovich´s generally traditional music. Finally, Yevtushenko saw himself obliged to revise "Babi Yar" and "Fears", a revision that Shostakovich accepted with reluctance. This bowdlerized version was heard a numer of times in 1965/66 and only printed in 1971, in which form the work was later recorded. For the present recording, the original version of Yevtushenko´s words has been restored.

Sergei Baikov, Bass Estonian National Male-Voice Choir St. Petersburg Camerata Saulius Sondeckis, Lithuanian Chamber Orchestra

Tracklist:

1 Babi Yar 15:43
2 Humour 7:48
3 In the Store 12:21
4 Fears 11:19
5 Career 12:22

Dmitri Shostakovich - Symphony No. 13, "Babi Yar" (Conductor: Saulius Sondeckis)
(320 kbps, cover art included)

Donnerstag, 24. Mai 2018

Pete Seeger - American Favorite Ballads Vol. 3 (1959)

Having recorded two volumes of "American Favorite Ballads", Pete Seeger still had many familiar American folk songs to choose from in assembling a third volume. Yet he (or Folkways Records producer Moses Asch) seems to have expanded the concept of what songs were acceptable for inclusion. Maybe that explains this album's subtitle, "Tunes and Songs", which would seem to cover just about anything.

Beginning with the pre-Civil War tribute to the famed militant abolitionist, "John Brown's Body," Seeger also sings spirituals ("Oh, Mary Don't You Weep," "Swing Low Sweet Chariot"), blues (W.C. Handy's "St. Louis Blues"), and minstrel songs (Stephen Foster's "Swanee River" and "Camp Town Races"), along with more traditional folk fare. He also presents a banjo instrumental ("The Girl I Left Behind Me"), and he draws from the repertoire of the group from which he has now departed, including his solo versions of the Weavers' "Goodnight Irene," "My Good Man," and "Wimoweh."

The last selection is perhaps the oddest in the set, first because, as Seeger freely acknowledges, it comes from South Africa, not America. (Of course, having been a U.S. pop hit, it can rightly be called an "American favorite," anyway.) The second curious aspect of its inclusion is Seeger's evident discomfort in singing it by himself. He begins as if he's conducting an instruction record on group singing, telling listeners how they can join in on the recording and acknowledging that the song will sound odd with only his solo part. Then he sings his solo part. This may not be a Seeger live album, but even alone in the recording studio, he expects an unseen audience to sing along on one of his greatest hits, American or not.         

Tracklist:
John Brown's Body
The Girl I Left Gehind Me
Oh, Mary Don't You Weep
St. Louis Blues
My Good Man
Clementine
Dink's Song
New River Train
Swanee River
Camptown Races
Swing Low, Sweet Chariot
Goodnight Irene
Sometimes I Feel Like A Motherless Child
Wimoweh
The Farmer's Curst Wife
When I First Came To This Land

Pete Seeger - American Favorite Ballads Vol. 3 (1959)
(320 kbps, cover art included)     

Mittwoch, 23. Mai 2018

Hanns Eisler - Oeuvres Pour Piano - Christoph Keller

Hanns Eisler became interested in piano music mainly after his studies with Arnold Schönberg, and again druing his exile in the USA. Four of the pieces recorded here date from 1923 - 25, and the other two respectively from 1941 and 1943.

The pianist Christoph Keller from Zürich has played a number of times Eislers piano compositions in concert, analysed them in articles and has given several talks on the work.
Within the context of a complete execution of Eisler´s piano music at the Festival "Musiktage der DDR 1988" he performed for the first time a few posthumous pieces.

The six works presented here were all recorded anew, including the ones already published in 1983 under the label ACCORD. The same firm has also recorded two albums with Eisler´s complete chamber music played by the Zürich Chamber Ensemble under Christioph Keller.

The album was recorded in Zürich January 19 - 21 1989.

Tracklist:

                                                     Sonate N° 1, Op. 1 (1923)
1 Allegro 4:54
2 Intermezzo: Andante Con Moto 2:49
3 Finale: Allegro 3:55

                                                     Klavierstücke Op. 3 (1923)
4 Andante Con Moto 3:31
5 Allegro Molto 0:51
6 Andante/Adagio 3:11
7 Allegretto/Molto Allegro 1:25
-
8 Sonate N° 2 Op. 6 (1924/25) (In Form Von Variationen) 8:19

                                                     Klavierstücke Op. 8 (1925)
9 Allegretto 1:33
10 Kräftig, Energisch 1:29
11 Thema Mit Variationen 3:43
12 Allegro Con Fuoco 1:51
13 Poco Allegretto Grazioso 1:50
14 Hastig, Aufgeregt 0:57
15 Andante/Presto/Andante 1:12
16 Allegro 1:51

                                                                   Variationen (1941)
17 Thema Mit 11 Variationen Und Coda 7:33
18 1. Finale 2:39
19 2. Finale 2:57
20 3. Finale 2:15


                                                                   Sonate N° 3 (1943)
21 (Noire - 96 Env.) 2:28
22 Adagio 4:17
23 Allegro Con Spirito 3:59


Hanns Eisler - Oeuvres Pour Piano - Christoph Keller
(320 kbps, front cover included)

Dienstag, 22. Mai 2018

Mahalia Jackson - Newport 1958

General critical consensus holds Mahalia Jackson as the greatest gospel singer ever to live; a major crossover success whose popularity extended across racial divides, she was gospel's first superstar, and even decades after her death remains, for many listeners, a defining symbol of the music's transcendent power. With her singularly expressive contralto, Jackson continues to inspire the generations of vocalists who follow in her wake; among the first spiritual performers to introduce elements of blues into her music, she infused gospel with a sensuality and freedom it had never before experienced, and her artistry rewrote the rules forever.

"Newport 1958"  is a wonderful album with recordings of the Newport Jazz Festival 1958.

Jackson was at the peak of her career, and she gave a stunning performance at this show, lifting such songs as "He's Got the Whole World In His Hands," "Lord's Prayer," "Evening Prayer," "I'm on My Way," "Walk over God's Heaven" and "His Eye is on the Sparrow" to glorious heights. It's not only one of the great live gospel albums, it's simply one of the great gospel albums.

Mahalia Jackson - Newport 1958
(256 kbps, cover art included)

VA - Bauer Maas - Lieder gegen Atomkraftwerke



Originally posted in November 2011:

A big number and high variety of actions is expected for November 23-28, 2011, due to the 13th transport of high level active atomic waste (the so-called Castor transport) from the reprocessing unit (plutonium factory) La Hague in France to the temporary repository in Gorleben, Germany.

To support the protest against nuclear waste dump in Gorleben (Wendland, Germany), we post the classic album "Bauer Maas - Lieder gegen Atomkraftwerke". It was released in 1979 on the "Pass-Op" label and contains tracks by Frank Baier, Fiedel Michel, Schmetterline and  more. This compilation contains protest songs against the atomic power plant in Kalkar.

VA - Bauer Maas - Lieder gegen Atomkraftwerke
(~160 kbps, cover art included, two tracks from the original album are missing)

More information about the protest action can be found via https://www.gorleben-castor.de/index.php or https://www.x-tausendmalquer.de/.