Mittwoch, 31. Oktober 2018

Paolo Conte - Same (1975)

One of the most idiosyncratic, charismatic, and internationally successful Italian singer/songwriters of the past four decades, Paolo Conte created his own unique style, combining a love for jazz and music hall together with a weary yet sympathetic and humorous understanding of human foibles. Born to a well-to-do Asti (Piedmont, Italy) family in 1937, Conte began to learn the piano at an early age, together with his younger brother Giorgio Conte -- who would also become a famous songwriter in his own right -- at the insistence of their father, a distinguished notary but also a passionate jazz amateur. Following in the family's footsteps, Conte became a lawyer and practiced the profession until well into his thirties. Contemporaneously, he played the vibraphone in several local jazz bands.

Paolo Conte's first and second album are virtually interchangeable. One released in 1974 and the other in 1975, both are unimaginatively titled Paolo Conte, include 11 songs, are built around the same instrumental core of Conte's piano, Danilo Pennone's double bass, and Nando Francia's accordion, and share the same topics, musical settings, and overall atmosphere. Fortunately for this, his sophomore effort, the second batch of songs, is every bit as memorable as his first. Some of Conte's most famous songs are here, such as "La Ricostruzione del Mocambo," the miracolo italiano postcard " "La Topolino Amaranto," or the extraordinary "Genova per Noi," a definitive portrait of a town that was once one of the busiest ports in the world, and is now a metaphor for rain, boredom, and things lost. Other standout tracks are the hilarious "Naufragio a Milano," sung in mock Neapolitan, or the oddly tender paean to extramarital affairs "Luna di Marmellata." Conte's voice and piano sound crisper than before, and several songs are augmented by horns, female vocalists, or a string quartet, elements that will become a mainstay of future Conte's productions. While neither this nor the debut album was particularly successful upon its release, both are faultless collections of originals, many of which would eventually become timeless classics of Italian pop music. Both stand among the highest achievements of Conte's recording career and are highly recommended.


Tracklist:

Avanti, Bionda
Chi Siamo Noi ?
La Ricostruzione Del Mocambo
La Topolino Amaranto
Pittori Della Domenica
Naufragio A Milan
Tango
Genova Per Noi
Per Ogni Cinquantennio
Luna Di Marmellata
Avanti, Bionda

Paolo Conte - Same (1975)
(320 kbps, cover art included)

Quilapayun - Cantata Américas

"Quilapayún" (Spanish pronunciation: [kilapaˈʝun]) are an instrumental and vocal folk music group from Chile and among the longest lasting and most influential exponents of the Nueva Canción Chilena (New Song) movement. Quilapayún originated in 1965 when Julio Numhauser, and the brothers Julio Carrasco and Eduardo Carrasco formed a folk music trio which they simply called "the three bearded men" (viz. Quila-Payún in the mapuche language). The group became inseparable with the revolution that occurred in the popular music of the country under the Popular Unity Government of Salvador Allende.

In 1966 Patricio Castillo joined the group and they began performing and winning notoriety for their Andean music. That same year the group met Víctor Jara and at their request he became Quilapayún's musical director. The group also backed Jara on his solo albums. After three years they assumed different paths and Eduardo Carrasco became the group's musical leadership.
Since its formation and during its forty year long history - both in Chile and during its lengthy period of exile in France - the group has seen modifications to its personnel lineup, to the subject and content of its work, and controversy regarding irreconcilable differences with the current and former group director; which has led each to maintain a distinctive - yet equally impressive - Quilapayún ensemble: one in Chile (named Quilapayún-Histórico) and one in France (named Quilapayún-France).
(320 kbps, cover art included)

Dienstag, 30. Oktober 2018

Pete Seeger, Woody Guthrie & Leadbelly - The Original Folkways Recordings

Few independent labels have had the long and enduring impact that Folkways Records has had. Founded in 1948 by Moses Asch and Marian Distler, the label issued an astounding 2,168 titles (which ranged across genres from American folk to spoken word, world music and all points in-between) before Asch's death in 1986, at which time maintenance of the catalog fell to the Smithsonian.

Under the umbrella of Smithsonian Folkways Recordings, each of those titles has remained continually in print and available. Asch also licensed tracks to other independents, including the material found in this brief collection, which combines nine tracks by Woody Guthrie (several of them with Cisco Houston and one with Sonny Terry helping out), ten by Pete Seeger and two by Leadbelly (one with Terry and another with Josh White on board) into what amounts to a sampler of three of the most important influences (actually six, if you count Terry, Houston and White, which one should) on the folk revival of the late '50s and early '60s.     

Tracklist:

1. Brown Eyes
2. Jack Hammer Blues
3. John Henry
4. House Of The Rising Sun
5. Little Black Train
6. Who's Goin To Shoe Your Pretty Feet
7. Bed On The Floor
8. Danville Girl, No. 2
9. Ride Old Point
10. Michael, Row The Boat
11. Big Rock Candy Mountain
12. I've Been Working On The Railroad
13. Down In The Valley
14. Blue Tail Fly
15. Black Is The Color
16. Boll Weevil
17. Joshua Fit The Battle Of Jericho
18. Fox
19. Casey Jones
20. How Long
21. I'v Got A Pretty Flower

Pete Seeger, Woody Guthrie & Leadbelly - The Original Folkways Recordings
(256 kbps, cover art included)
    

The Ex – History Is What's Happening (1982)

History is What's Happening is an album by Dutch punk rock band The Ex, released in 1982.

This strong early outing had the most elliptical post-punk experiments of the Ex's discography. Keeping tracks around the minute-and-a-half mark without going for an agitprop squall, "History Is What's Happening" was well suited for fans of PiL or the Durutti Column. The demented disco of "Life Live" and the anti-superficial "H'Wood-W'ton" stood out, serious anxiety filtered down to its basic rock-based elements. With irregular rhythms and the usual unsettled guitar sounds, and also G.W. Sok's patented socialist drawl, the Ex's innate ability to make a statement collide with admirers and enemies was significant.                

 Tracklist                                                       
A1Six Of One And Half A Dozen Of The Other0:57
A2Barricades1:03
A3Life Live1:38
A4Machinery0:45
A5E.M. Why1:47
A6Moving Pictures1:32
A7Shoes1:44
A8Watch-Dogs1:49
A9Dutch Disease1:21
A10Blessed Box At The Backseat1:13
B1Who Pays2:44
B2Strong & Muscled1:30
B3Grey2:22
B4Equals Only1:46
B5H'wood-W'ton0:56
B6Sports1:01
B7$0:56
B8Pep Talk1:58
B9Attacked1:55
B101482:25

 The Ex – History Is What's Happening (1982)
(ca. 256 kbps, cover art included)

Orchestra of the Jewish Theatre Bucharest - Yiddish Folksongs

I have owned this cd for several years and never get tired of listening to it. It points up the star quality of the Bucharest State Jewish Theater, which somehow prospered under the repressive Ceausescu regime in Romania. I am not sure if it still exists, but this wonderful and inexpensive disk preserves an excellent record of their virtuosity and talent.

These are some of the most delightful Yiddish folk songs, sung in the Southern Yiddish dialect, and beautifully! I hope that this wonderful troupe still exists and performs in Romania! Zayt gezunt!

 - Murray B. Woldman



Tracklist:
1A Nigndl2:49
2Gei Ich Mir Spazim1:48
3Leig Ich Mir Mein Kepale3:05
4Lamce Ram Ciam1:35
5Di Mame Is Gegangn2:27
6Inter A Klein Beimale2:21
7Di Warnicikes2:24
8Ein Mul Ti Ich Si Banalen2:42
9Lomir Singen Ciri Bim, Ciri Bom2:43
10Wus Dergeisti Mir Di Lurn3:22
11Oi Awram1:16
12Di Mame Kocht Warenikes1:43
13Mamenlu; Liubeniu3:53
14Mit A Nudl Un A Nudl2:17
15Asoj Wie-s Is Bitter2:40
16Bin Ich Mir A Schneiderl1:25
17Meheteineste Meine2:29
18Wus-Je Wilsti?2:13


Orchestra of the Jewish Theatre Bucharest - Yiddish Folksongs
(320 kbps, cover art included)

The Weavers - Folk Songs Around The World (1959)


The Weavers had the most extraordinary musical pedigree and pre-history of any performing group in the history of folk or popular music.

More than 50 years after their heyday, however, their origins, the level of their success, the forces that cut the group's future off in its prime, and the allure that keeps their music selling are all difficult to explain - as, indeed, none of this was all that easy to explain at the time. How could a song as pleasant and tuneful as "Kisses Sweeter Than Wine" be subversive?

The quartet went from being embraced by the public, and selling four-million-records, to being reviled and rejected over the political backgrounds of its members, and disbanding after only four years together. Yet, despite the controversy that surrounded them, and the fact that their work was interrupted at its peak, the Weavers managed to alter popular culture in about as profound a manner as any artist this side of Bob Dylan - indeed, they set the stage for the 1950s folk revival, indirectly fostering the careers of the Kingston Trio, among others, and bridging the gap between folk and popular music, and folk and the topical song, they helped set the stage for Dylan's eventual emergence. And the songs that they wrote or popularized, including "Kisses Sweeter Than Wine," "Wimoweh," "Goodnight Irene," "Wreck of the John B," "Follow the Drinking Gourd," and "On Top of Old Smoky," continued to get recorded (and occasionally to chart) 50 years after the group's own time.

Tracklist:

A1 - Around The World
A2 - Bay Of Mexico
A3 - I Know Where I'm Going - Hush Little Baby
A4 - The Frozen Logger
A5 - Darling Corey
A6 - Follow The Drinking Gourd
B1 - Tzena, Tzena, Tzena
B2 - Suliram
B3 - Sylvie (Bring Me A Little Water)
B4 - Greensleeves
B5 - Along The Colorado Trail
B6 - Hard Ain't It Hard

The Weavers - Folk Songs Around The World (1959)
(192 kbps, cover art included, vinyl rip)

Montag, 29. Oktober 2018

Von den Sterbenden. Von den Gestorbenen. Von den Lebenden. - Zweiter Brecht-Abend mit Ekkehard Schall (LITERA, 1985, vinyl rip)

Here´s the second of three programms by Ekkehard Schall at the Berliner Ensemble with material by Bertolt Brecht.

Ekkehard Schall (born May 29, 1930 in Magdeburg; died September 3, 2005 in Berlin) was a German stage and screen actor/director. He was one of the best profiled actors of Brecht's works and together with Helene Weigel a member of the Berliner Ensemble.

Schall's first engagement was in 1947 in Magdeburg. After engagements in Frankfurt (Oder) (Stadttheater Frankfurt (Oder)) and on the Neuen Bühne in Berlin, Bertolt Brecht engaged him 1952 for the Berliner Ensemble. Schall played here till 1995, for 14 years as intendant.

He played more than 60 roles, for example the Ui in Brecht's "Der aufhaltsame Aufstieg des Arturo Ui" more than 500 times.
Schall was honored in 1959 with the "Kunstpreis der DDR", in 1962 and 1979 with the "Nationalpreis der DDR".

He was married to Brecht's daughter Barbara Brecht-Schall and is the father of actress Johanna Schall.

Von den Sterbenden. Von den Gestorbenen. Von den Lebeneden. - Zweiter Brecht-Abend mit Ekkehard Schall
(192 kbps, front cover included)

Otto Reutter - Alles weg´n de Leut´


Otto Reutter was born on April 24th in 1870 in Gardelegen in a poor Catholic family as a son of the Ex-Ulan Andreas Pfützenreuter who was not at home, visited the Catholic primary school, absolved afterwards an education in and out of Gardelegen as a commercial assistant, ran away after finishing this and went to Berlin, earned money as a Charge at quite simple theaters, tried to be an actor and commedian at little theaters in Berlin.

His father took him away from Berlin and then he ended up being in Karlsruhe, where he joined a group of pub-singers and pub-commedians.
In 1895 he dared to have his first performance as a "Salonhumorist", first performance was probably in Bern in Switzerland.
In 1896 he got hired for the first time in Berlin, he really convinced the audience with his talent to recite the funny-pointed verses with easy melodies in a kind of spoken song and to be ironically funny even with his appearance. Reutter rose up to a popular star since his first performance in the "Wintergarten-Variete" of the Central- Hotel in Berlin. In the following years Reutter was able to remain on top of the financial and artistic top of the German little-theater-artists with the help of his huge talent and his hard work.

In 1919 after 30 years of hard work and marked by personal blows Reutter was very tired and he wanted to retire and go back to Gardelegen.
Driven on by his own ambition and the need to earn money in insecure times, Reutter created his „work of his old times“ from the year 1919. This work consisted of Couplets that were on humor and melancholy, worldly wisdom and mild old-age cheekyness and these Couplets are still part of the German humor for higher demands.

Ill and tired of life Reutter died on March 3rd in 1931 in Düsseldorf and was buried in Gardelegen.

Otto Reutter - Alles weg´n de Leut´
(192 kbps, front cover included)

Hanns Eisler – Hollywood Songbook (Lieder of the Exile) – Dietrich Fischer-Dieskau

Hanns Eisler and his wife, Lou, spent the last five years of their exile in southern California, where he supported his family by composing film scores for RKO Studios—winning Oscar nominations in 1943 and 1944.
One of his most remarkable works—a cycle of art songs, or “lieder”, titled the “Hollywood Songbook”—was completed in this period. In a mixture of styles (twelve-tone, romantic, blues), the cycle is based on poems by Brecht, Goethe, Shakespeare, Mörike and Hölderlin.
As a whole, they confirm Eisler’s reputation as one of the most able composers of lieder in the 20th century.
Like his other work, the songs are communicative and direct—some of them last no more than one or two minutes.

Free of sentimentality, they nevertheless express a concentrated emotional clarity. The German baritone Matthias Goerne offers this admiring assessment: “For me, this chance discovery of this huge body of work by a real 20th century composer was a revelation, in that here was an artist comparable, in my opinion, to Brahms. The integrity, the consciousness of the times is so very great in Eisler that I was inspired to combine his songs with those of Schubert…. [O]ne might say that the ‘Hollywood Liederbuch’ is the ‘Winterreise’ of our times.”

Here´s the interpretation of Dietrich Fischer-Dieskau with Aribert Reimann on piano:

Hanns Eisler Hollywood Songbook (Lieder of the Exile)
(192 kbps, ca. 61 MB)

Dmitri Shostakovich - Under Stalin´s Shadow - Symphony No. 10 - Andris Nelsons

The "Under Stalin's Shadow" subtitle of this release may be confusing inasmuch as the opening Passacaglia from the opera Lady Macbeth of the Mtsensk District dates from before the period when Stalin made Shostakovich's life a living hell, and the main attraction, the Symphony No. 10 in E minor, Op. 93, was finished ten months after Stalin's death.

Actually the album is the first in a set of three; the others will cover the symphonies No. 5 through No. 9, all written during the period of Stalinist cultural control. But even here the theme is relevant: the pieces are linked by a dark mood that carries overtones (of a feminist sort in the case of the opera) of repression. And the Symphony No. 10 is decidedly some kind of turning point, with repeated (and finally triumphant) assertions of the D-S-C-H motif (D, E flat, C, B natural in the German system) that would appear frequently in the composer's later work.

Boston Symphony Orchestra conductor Andris Nelsons, who grew up in Soviet-controlled Latvia, is to be believed when he claims a spiritual kinship with Shostakovich, and he delivers a full-blooded performance of the Symphony No. 10 that rises from deepest introspective gloom to a fine example of Shostakovich's sarcasm, to the discovery of the motif, to a triumphant finale enthusiastically greeted by Symphony Hall's usually reserved patrons. Deutsche Grammophon's live engineering, in the orchestra's first recording for the label, is notably clear and sharp. A superior reading of one of the lesser-known Shostakovich symphonies.   


Tracklist:

1 Passacaglia (Interlude from Act II of Lady Macbeth Of Mtsensk 8:11

Symphony No. 10 In E Minor Op. 93
2 Moderato 25:39
3 Allegro 4:22
4 Allegretto 12:44
5 Andante - Allegro 13:54


Dmitri Shostakovich - Under Stalin´s Shadow - Symphony No. 10 - Andris Nelsons
(320 kbps, cover art included)

Lotte Lenya - Lotte Lenya singt Kurt Weill (1955)

Lotte Lenya recorded "Lotte Lenya singt Kurt Weill" in Hamburg on July 5 - 7, 1955,  for Philips (B 07 039); released later in the U.S. by Columbia (ML 5056) in November 1955 as "Lotte Lenya Sings Berlin Theater Songs of Kurt Weill" (see our posting on September, 19, 2015).

"Whether playing Anna in "The Seven Deadly Sins" or singing "Moritat vom Mackie Messer" ("Mack the Knife"), Lotte Lenya helped define the music of her husband, Kurt Weill. The duo literally created the soundtrack for the prewar Berlin of our fantasies - an exotic land of nicotine and nightlights - where cabaret, jazz, and the odd American instrumental influence all coexist happily. Now remastered, this collection gathers Lenya's legendary 1957 recordings of Sins and her 1955 recording Sings Berlin Theatre Songs. Forget subtlety - Lenya is all about emotion. On cuts like "Pirate Jenny," Lenya's voice sounds fluttery and frantic, and on "Surabaya-Johnny," her German sounds fragile and sweet, but mostly she's just herself - bittersweet, raw, and (most of all) human. In spirit, Marianne Faithfull, PJ Harvey, and a host of others all kept the torch of Lenya's style going. But after listening to these Berlin theater songs in classic form (and in their original tongue), you'll never hear them the same way again." (Amazon review by Jason Verlinde]

Tracklist:
Die Dreigroschenoper [The Threepenny Opera]
1. Moritat vom Mackie Messer [Mack the Knife]
2. Barbara-Song
3. Seeräuber-Jenny [Pirate Jenny]

Aufstieg und Fall der Stadt Mahagonny [The Rise and Fall of the City of Mahagonny]
4. Havanna-Lied
5. Alabama-Song
6. Wie man sich bettet [As You Make Your Bed]

Happy End
7. Bilbao-Song
8. Surabaya Johnny
9. Matrosen-Tango [The Sailors' Tango]

Das Berliner Requiem [Berlin Requiem]
10. Vom ertrunkenen Mädchen [Ballad of the Drowned Girl]

Der Silbersee [The Silverlake]
11. Lied der Fennimore [I am a Poor Relative]
12. Cäsars Tod [Ballad of Caesar]

total time: 44'04

All music composed by Kurt Weill.
Lyrics by Bertolt Brecht, exc. 11-12 by Georg Kaiser.


Recorded on July 5-7, 1955, at Friedrich-Ebert-Halle, Hamburg, Germany.
Recording supervisor and original producer: H. Gerhard Lichthorn.

Lotte Lenya - Lotte Lenya singt Kurt Weill (1955)
(320 kbps, cover art included)

Erich Kästner - Die Schule der Diktatoren

The play "Die Schule der Diktatoren" by Erich Kästner had its premiere in 1957 and was honoured by the "Georg-Büchner-Preis".

Kästner was a German satirist, poet and novelist, whose military experiences made him pacifist after World War I and opponent of totalitarian systems.

During the post-World War II years, Kästner was an active participant in the Munich cabaret "Die Schaubude" (from 1951 "Die kleine Freiheit").
In his play "DIE SCHULE DER DIKTATOREN" (1949) about a training school for dictator-doubles Kästner reflected his experiences during wartime and unmasked inhumanity in the form of comedy.

Erich Kästner - Die Schule der Diktatoren (new link)
(192 kbps, front cover included)

Walter Benjamin - Gesammelte Schriften (7 Bände)

Walter Benjamin, (born July 15, 1892, Berlin, Ger.—died Sept. 27?, 1940, near Port-Bou, Spain), man of letters and aesthetician, now considered to have been the most important German literary critic in the first half of the 20th century.

Born into a prosperous Jewish family, Benjamin studied philosophy in Berlin, Freiburg im Breisgau, Munich, and Bern. He settled in Berlin in 1920 and worked thereafter as a literary critic and translator. His halfhearted pursuit of an academic career was cut short when the University of Frankfurt rejected his brilliant but unconventional doctoral thesis, Ursprung des deutschen Trauerspiels (1928; The Origin of German Tragic Drama). Benjamin eventually settled in Paris after leaving Germany in 1933 upon the Nazis’ rise to power. He continued to write essays and reviews for literary journals, but upon the fall of France to the Germans in 1940 he fled southward with the hope of escaping to the United States via Spain. Informed by the chief of police at the town of Port-Bou on the Franco-Spanish border that he would be turned over to the Gestapo, Benjamin committed suicide.

Collected works in german language (pdf):

Band I: Abhandlungen. 3 Teilbände
Band II: Aufsätze, Essays, Vorträge. 3 Teilbände
Band III: Kritiken und Rezensionen
Band IV: Kleine Prosa. Baudelaire-Übertragungen. 2 Teilbände
Band V: Das Passagen-Werk. 2 Teilbände
Band VI: Fragmente vermischten Inhalts. Autobiographische Schriften
Band VII: Nachträge. 2 Teilbände

Sonntag, 28. Oktober 2018

GDR Subculture Vol. 5: Krakatit Radio Lora Schweiz 11.10.89 DDR Fluechtlinge `89

Radio LoRa is an alternative local radio station in the Swiss. On October 11, 1989 Radio Lora broadcasted a program about refugees from the GDR, featuring music by GDR alternative bands like Hard Pop, Die Skeptiker, Feeling B, Herr Blum, AG Geige, Heinz & Franz, Die Art and others.



Thanks a lot to Tape Attack for the original posting.

Krakatit Radio Lora Schweiz 11.10.89 DDR Fluechtlinge `89
(192 kbps, artwork included)

Quilapayún - Con el alma llena de banderas

Quilapayun is a Chilean group formed in 1965 by Julio Carrasco, Eduardo Carrasco, and Julio Numhauser, later joined by Patricio Castillo.

Since its beginning, Quilapayun's lyrics were inspired by social issues related to its country, combining them with autochthonous musical arrangements. In 1966, the band came in first place at the Festival de Festivales, releasing its first album that same year. Folk singer and songwriter Víctor Jara helped the band by promoting Quilapayun's music and making the record "Canciones Folklóricas de América" together. By the time Julio Numhauser decided to leave, Carlos Quezada and Guillermo Oddo joined in. As Chilean New Song's ambassador, Quilapayun went on its first European tour in 1968. When Julio Carrasco left, Hernán Gómez and Rodolfo Parada became part of Quilapayun's new lineup. Due to Chilean political and social changes in the early '70s, the group settled in foreign countries for more than a decade.

This collection was published during their time in exile, as its subtitle says, in "Homage to Victor Jara." Members of the group at that time were Edward Carrasco, Carlos Quezada, Willy Oddó, Hernan Gomez, Rodolfo Parada, Hugo Lagos, Guillermo Garcia and Ricardo Venegas.
The cover design, which became a classic, is owed ​​to George Lillo.

The title song of this collection is one of the most beautiful written by Victor Jara. It was composed in tribute to Miguel Angel Aguilera, a young militant who was shot dead by a policeman during a demonstration in 1970. The song was introduced by Victor in August of the same year at the Second Festival of the New Chilean Song.

Tracklist:

01. Canción para Victor Jara (Eduardo Carrasco)
02. Te recuerdo Amanda (Victor Jara)
03. Susurro (Rodolfo Parada)
04. Paloma quiero contarte (Víctor Jara)
05. Con el alma llena de banderas (Víctor Jara)
06. Nuestro cobre (Eduardo Yáñez)
07. Titicaca (Arr. Quilapayún)
08. Tío caimán (Chang Marie)
09. Sonatina (Hugo Lagos)
10. Patria de Multitudes (Hernán Gómez-Eduardo Carrasco)
 

Quilapayún - Con el alma llena de banderas
(320 kbps, front cover included)

The Fugs - The Real Woodstock Festival (Live 1994)

Image

Given the American social and political climate during the mid '80s, the semi-permanent reunion of founding Fugs Tuli Kupferberg and Ed Saunders could not have been more culturally apropos. "The Real Woodstock Festival" is a live two-disc set featuring Kupferberg and Saunders accompanied by Steve Taylor on guitar and backing vocals, Coby Batty on percussion and backing vocals, and Scott Petito on bass.
Also joining the festivities are two counter-cultural icons: beat poet Allen Ginsberg and "Country" Joe McDonald -- the only artist to have performed at the original event in 1969 and the Fugs "Real Woodstock Festival" in 1994.
Ironically, unlike any of the other events bearing the 'Woodstock' albatross, "The Real Woodstock Festival" was actually held in the town of Woodstock, New York -- where Ed Saunders has maintained a permanent residency since the early '70s. Likewise the two performances were held on the true anniversary of the original event -- August 13 & 14.

The loose camaraderie and rag tag frenetic madness that defined the Fugs 'high art' of blending music with socially conscious poetry is certainly alive and well on this collection. In addition to performing a handful of new compositions, Kupferberg and Saunders revived some of their most treasured works from every phase of their career. From their days on the uncompromising ESP label, "Frenzy," "CIA Man," "Morning, Morning," "How Sweet I Roamed From Field To Field" and "The Post-modern Nothing" have been modernized with new arrangements, yet remain as poetic and arguably even more relevant in this context. Likewise, there are a few rarities from the Fugs tenure on Reprise Records in the late '60s: "Crystal Liaison," "I Want To Know" and the rarely performed "When The Mode Of The Music Changes." The latter undoubtedly contains further portents as less than an hour away from this celebration, Woodstock '94 was co-opting an entire generation.

The Fugs - The Real Woodstock Fesitival 1
The Fugs - The Real Woodstock Festival 2

(192 kbps, front cover included)

Franz Josef Degenhardt - Aus diesem Land (Live, 1989)

Franz Josef Degenhardt was born in Schwelm, Westphalia. After studying law from 1952 to 1956 in Cologne and Freiburg, he passed the first German state bar examination in 1956 and the second in 1960. Degenhardt joined the Social Democratic Party of Germany (SPD) in 1961, but was forced out in 1971 because of his support for the German Communist Party (DKP), which he joined in 1978.

From the early 1960s onward, in addition to practicing law, Degenhardt was also performing and releasing recordings. He is perhaps most famous for his song (and the album of the same name) "Spiel nicht mit den Schmuddelkindern" ("Don't Play With the Grubby Children," 1965), but has released close to 50 albums, starting with "Zwischen Null Uhr Null und Mitternacht" ("Between 00:00 and Midnight," 1963), renamed "Rumpelstilzchen" ("Rumpelstiltskin"); his most recent albums "Krieg gegen den Krieg" ("War against the War") and "Dämmerung" ("Twilight") came out in 2003 and 2006.

In 1968 Degenhardt was involved in trials of members of the German student movement, principally defending social democrats and communists. At the same time, he was – in his capacity as a singer-songwriter – one of the major voices of the 1968 student movement. On his 1977 album "Wildledermantelmann" he criticized many of his former comrades from that era for what he saw as their betrayal of socialist ideals and shift towards a social-liberal orientation. The album's title (roughly, "man with velour coat") mocks the style of clothing they had supposedly adopted.
Notably, the songs on Degenhardt's 1986 album "Junge Paare Auf Den Bänken" ("Young Couples on the Benches"), along with the song Vorsicht Gorilla ("Beware of Gorilla") on the 1985 album of the same name, are his translations into German of chansons by the French singer-songwriter Georges Brassens, spiritually perhaps one of his closest musical allies.

Degenhardt has also written several novels, most in a rather autobiographical vein, among others: "Zündschnüre" ("Slow Matches", 1972), "Brandstellen" ("Scenes of Fires", 1974), "Der Liedermacher" (1982) and "Für ewig und drei Tage" ("For Ever and Three Days", 1999).
He was a cousin of the Catholic Archbishop of Paderborn, Johannes Joachim Degenhardt, who died in 2002. He is also the brother-in-law of the American-born illustrator Gertrude Degenhardt, who has designed many of his album covers for him. Degenhardt lived, till his death in this week, in Quickborn, Kreis Pinneberg, in Schleswig-Holstein.

Franz Josef Degenhardt - Aus diesem Land (Live)
(320 kbps, front cover included)

Dunkelziffer – Colours & Soul (1983)

 
A varied New-Wave and experimental band and part of a family of Krautrock-related acts from Cologne, "Dunkelziffer" were formed in 1981 involving members of Phantom Band and musicians that have collaborated in various Can-related solo projects.

Their first LP still misses Can's Damo Suzuki, but another world famous musician takes part: Reebop Kwaku Baah, percussionist of Traffic and late Can.

Also in 1983, this bunch of musicians founded 'The Unknown Cases' and recorded the hit 'Masimba Bele'.

Tracks
01. Kedema 04:11
02. Bleib nicht so lang im Schatten stehn 02:31
03. This is how you came 08:01
04. Keine Python 03:04
05. Dark number 02:21
06. Free 05:13
07. Colours and soul 04:15
08. Arche Noah 01:39
09. Don't ask me 04:26
10. Beside the light 06:41


Musicians
Reebop Kwaku Baah: Vocals, Percussion (ex Traffic) (1,3,6,9)
Coco Claus: Vocals (2,4,7,10)
Josefa Martens: Vocals (2,8)
Helmut Zerlett: Keyboards
Wolfgang Schubert: Oboe, Saxophone
Achim Fink: Trombone (2,4,7,10)
Matthias Keul: Bass, Keyboards
Michael Ritter: Bass (3)
Olek Gelba, Reiner Linke: Percussion
Stefan Krachten: Drums

Dunkelziffer – Colours & Soul (1983)
(ca. 256 kbps, cover art included)

Collettivo Del Contropotere – L'Estate Dei Poveri (1976)

 

This italian agitprop album was produced by a group of the Italian anarchy movement. It was sold to finance Radio Popolare Massa, the radio station of the Italian libertarian communist movement in Massa, Tuscany.

It was released in 1976 and never published on cd.



Tracks
01. Il nostro Maggio … 03:27
02. Vi canteremo la favola … 02:56
03. Anche lo stato … 02:30
04. Andare avanti sempre … 02:38
05. Ma non riusciranno … 02:40
06. Coi comunisti nel governo … 02:01
07. Rondinella pellegrina … 02:44
08. E allora canta ghitarra … 05:34
09. Nella fotografia grande … 04:03
10. Se da diecimila anni … 04:35
11. Avanza senza sosta … 02:23
12. Dove nel Maggio splendono … 02:44
Total time: 38:08

Musicians
Angelo: voce, percussioni, kurù
Mauro: voce, chitarra, flauti, triangolo
Michele: voce, chitarra, flaluti, percussioni
Riccardo: voce, chitarra, percussioni

Collettivo Del Contropotere – L'Estate Dei Poveri (1976)
(ca. 256 kbps, cover art included)

Hammerfest – Schleudertest (1981)

 

This is down-to-earth rock with German lyrics, perfect for their thousands of live gigs. The style runs from psychedelic via prog-rock to political agitation. Only 8 songs didn't sum up to a regular LP, so they used a nice trick and pressed one with 45 rpm, at least it gives a better sound. The album was recorded at Cottage Studio, Spenge, and released on the Schneeball label. Track B4 is a cover of Shadows' Apache.           


Tracklist
A1Arbeitslos3:43
A2Bubi-Lubi2:22
A3Delirium3:30
A4Die Irren3:36
B1Panik, Panik4:30
B2Nachtschicht3:12
B3Bäume statt Beton2:25
B4A. Patsche3:45

Musicians
Wolfgang Kuhlmann (Wolli Kuhl): guitar
Rüdiger Friese (Rubbel Rüdi): guitar
Achim Patz (Ako Patz): keyboard, vocals
Jakob Künzel (Jesus Caneloni): sax
H.F. Schänder: bass, vocals
Klaus Otto (Fetzenotto): drums


Hammerfest - Schleudertest (1981, Schneeball)
(ca. 256 kbps, cover art included)

Kurt Weill - O Moon Of Alabama - Historic Original Recordings 1928 - 1933 & 1943/44

The son of a cantor, Kurt Weill was born in Dessau into a family that took in operatic performances as a main form of entertainment.
When Weill was in his teens the director of the Dessau Hoftheater, Albert Bing, encouraged him in the study of music. Weill briefly studied composition with Engelbert Humperdinck and was already working professionally as a conductor when he attended composer Ferruccio Busoni's master classes in Berlin.

Delighted to see the positive responses of an audience to his first collaboration with playwright Georg Kaiser, "Der Protagonist" (1926), he thereafter resolved to work toward accessibility in his music. In 1926 Weill married actress Lotte Lenya, whose reedy, quavering singing voice he called "the one I hear in my head when I am writing my songs."

In 1927 Weill began his collaboration with leftist playwright and poet Bertolt Brecht; their first joint venture, "Mahagonny-Songspiel" (1927), launched the number "Alabama Song," which, to their surprise, became a minor pop hit in Europe. The next show, "Die Dreigroschenoper" ("The Three-Penny Opera", 1928), was a monstrous success, in particular the song "Moritat" ("Mack the Knife").

Nonetheless, strain in their association was already being felt, and after the completion of their magnificent "school opera" "Der Jasager" (1930), the two parted company. Brecht and Weill were brought together once more in Paris to create "Die Sieben Todsünden" ("The Seven Deadly Sins") in 1934. In the meantime, Weill collaborated with Caspar Neher on the opera "Die Bürgschaft" (1931) and Georg Kaiser again on "Der Silbersee" (1933), works that garnered the hostile attention of the then-emerging Nazi party.

With the rise to power of Hitler, Weill and Lenya were forced to dissolve their union and flee Continental Europe. Weill found his way to New York in 1935; rejoining Lenya, Weill became a citizen and devoted himself to American democracy with a vengeance, preferring his name pronounced like "wile" rather than "vile." After a series of frustrating flops, Weill hit his stride with playwright Maxwell Anderson, producing his first hit, "Knickerbocker Holiday" (1938). In the dozen years left to him, Weill's stature on Broadway grew with a series of hit shows, including "Lady in the Dark" (1941), "One Touch of Venus" (1943), "Love Life" (1948), and "Lost in the Stars" (1949). Weill had ambitions to create what he regarded as "the first American folk opera"; the closest of his American works to reach that goal is "Street Scene" (1946), a sort of "urban folk opera" based on a play by Elmer Rice with lyrics by Langston Hughes.

On April 3, 1950, Weill unexpectedly suffered a massive coronary and died in Lenya's arms. Weill's estate was valued at less than 1,000 dollars, and Lenya realized that his contribution to musical theater was likewise undervalued. She commissioned composer Marc Blitzstein to adapt an English-language version of "Die Dreigroschenoper"; it opened off-Broadway in 1954 and ran for three years, touching off a Weill revival that continues to this day.

Here´s a collectoin of Kurt Weill related recordings called "O Moon Of Alabama - Historic Original Recordings 1928-1933; 1943/44":



Tracklisting:
1. Alabama-Song (2:53) - Marek Weber And His Orchestra
2. Tango Angèle (3:02) - Saxophon-Orchester Dobbri
3. Die Muschel Von Margate (Petroleum-Song) (2:55) - Lyrics By - Felix Gasbarra Piano - Alfred Schlee, Vocals - Otto Pasetti
4. Surabaya-Johnny (2:52) - Theo Mackeben And His Jazz-Orchestra
5. Bilbao-Song (2:56) - Theo Mackeben And His Jazz-Orchestra
6. Matrosensong (3:08)
7. Surabaya-Johnny (2:43)
8. Der Song Von Madelay (3:02)
9. Surabaya-Johnny (2:42) - "Red" Roberts And His Jazz-Orchestra
10. Surabaya-Johnny (3:14) - Orchestre Pierre Chagnon Vocals - Marianne Oswald
11. Alabama-Song (2:49)
12. Denn Wie Man Sich Bettet (3:22)
13. Querschnitt Aus Der Oper "Aufstieg Und Fall Der Stadt Mahagonny" (8:33) - Großes Ensemble Des Theaters Am Kurfürstendamm Conductor - Hans Sommer Orchestra - Orchester Des Theaters Am Kurfürstendamm
14. Das Lied Vom Schlaraffenland (2:55) - Conductor - Maurice de Abravanel Vocals - Ernst Busch
15. Der Bäcker Backt Ums Morgenrot (3:06) - Conductor - Maurice de Abravanel Vocals - Ernst Busch
16. Lost In The Stars (3:00) - Lyrics By - Maxwell Anderson
17. Lover Man (2:51) - Lyrics By - Maxwell Anderson
18. J'attends Un Navire (3:02) - Lyrics By - Jacques Déval
19. Complainte De La Seine (3:26) - Lyrics By - Maurice Magre
20. Surabaya-Johnny (3:06)
21. Denn Wie Man Sich Bettet (3:03)
22. Und Was Bekam Des Soldaten Weib (4:09)
23. Wie Lange Noch? (3:17) - Lyrics By - Walter Mehring


Ressources:

1 rec. Mar 1928, original release on Electrola (E.G. 853)
2 rec. Jan 1928, original release on Beka (B 6313)
3 rec. 1931, original release on Paloma (Wien) (3501)
4, 5 rec. 1929, original release on Orchestrola (2311)
6, 7 rec. 1929, original release on Electrola (E.G. 1590)
8 rec. 1929, original release on Electrola (E.G. 1569)
9 rec. 1930, original release on Ultraphon (A 198)
10 rec. 1931, original release on Columbia, Paris (DF 1114)
11, 12 rec. 1930, original release on Homocord (3671)
13 rec. 1932, original release on Electrola (E.H. 736)
14, 15 rec. Jan 1933, original release on Gloria (G.O. 10703)
16 to 21 rec. 1943, original release on Bost Records, New York (6 5017-19)
22, 23 rec. 1943/44, original release on Office of War Information (OWI) Washington

With special greetings to verde!

Vladimir Visotsky · Владимир Высоцкий – Self-Portrait · Автопортрєт (1981, vinyl rip)

Until his death, Vladimir Vysotsky was a prophet without honor in his own country; although he wrote more than a thousand highly popular songs, he died without an official record release to his name. The reason for this studied neglect lay in the political tenor of his material. Vysotsky, who began performing in the 1960s, was quite critical of the Communist regime, and his lyrics took position on the Soviet status quo. His songs derived from the blatny pesny (literally, delinquent song) tradition, with its celebration of sex, drink, and street fights. Informally distributed cassettes ensured Vysotsky a wide and enthusiastic following. After his death, in 1980, Gorbachev granted his music an imprimatur and a 20-album retrospective was released.

Vladimir Semyonovich Vysotsky (January 25, 1938 – July 25, 1980) was an iconic Russian singer, songwriter, poet, and actor whose career has had an immense and enduring effect on Russian culture. Though his work was largely ignored by the official Soviet cultural establishment, he achieved remarkable fame during his lifetime, and to this day exerts significant influence on many of Russia's popular musicians and actors who wish to emulate his iconic status.

His songs – over 600 of them – were written about almost any imaginable theme. The earliest were Outlaw songs. These songs were based either on the life of the common people in Moscow (criminal life, prostitution, and extreme drinking) or on life in the Gulags. Vysotsky slowly grew out of this phase and started singing more serious, though often satirical, songs. Many of these songs were about war. These war songs were not written to glorify war, but rather to expose the listener to the emotions of those in extreme, life threatening situations.
Nearly all of Vysotsky's songs are in the first person, although he is almost never the narrator. When singing his criminal songs, he would adopt the accent and intonation of a Moscow thief, and when singing war songs, he would sing from the point of view of a soldier. This created some confusion about Vysotsky's background, especially during the early years when information could not be passed around very easily. Using his acting talent, the poet performed his role play so well that until told otherwise, many of his fans believed that he was, indeed, a criminal or war veteran. Vysotsky's father said that "War participants thought the author of the songs to be one of them, as if he had participated in the war together with them." The same could be said about mountain climbers; on multiple occasions, Vysotsky was sent pictures of mountain climbers' graves with quotes from his lyrics etched on the tombstones.
Not being officially recognized as a poet and singer, Vysotsky performed wherever and whenever he could - in the theater (where he worked), at universities, in private apartments, village clubs, and in the open air. It was not unusual for him to give several concerts in one day. He used to sleep little, using the night hours to write. In his final years, he managed to perform outside the USSR and held concerts in Paris, Toronto, and New York City.
With few exceptions, he wasn't allowed to publish his recordings with "Melodiya", which held a monopoly on the Soviet music industry. His songs were passed on through amateur, fairly low quality recordings on vinyl discs and magnetic tape, resulting in his immense popularity. Cosmonauts even took his music on cassette into orbit. – His writings were all published posthumously except for one poem printed in 1975.
Every year on Vysotsky's birthday, festivals are held throughout Russia and in many communities throughout the world, especially in Europe. Vysotsky's impact in Russia is often compared to that of Bob Dylan in America.

From the linernotes:
"The present record contains the last performances by Vladimir Visotsky during his visit to Sofia. The spontaneity, the binding text between the songs and the whole atmosphere of the recording give us the chance to experience the pleasure of the direct contact with the poet, the actor, the musician and the person Vladimir Visotsky."

The album was published in 1981 on the Balkanton label.

Tracklist
1. Song about the pilot 05:05
2. Yellow lights rush into my dream 05:04
3. About the battle in the air 03:07
4. The visit of the muse or song about the plagiarist 02:31
5. Wild boar hunt 02:43
6. Incident on the road 02:57
7. At the start – the four leaders or who is running for what ? 04:51
8. What a thing, what a thing ! 02:35
9. Dialogue in front of the television set 04:11


(320 kbps, cover art included)

Pete 'Wyoming' Bender – Wyoming (1971)

Pete 'Wyoming' Bender was born during WWII on September 14, 1943, into a US military family in Neuf-Brisach, France, but following his father's army career he spent his childhood in such places as Alaska, California, North Carolina, New York, Washington and Germany.

He played his firsts instruments in high-school bands. As a teenager, living in Munich, Germany, he started his first band, playing local parties and Army NCO clubs.
By the mid-1960s Bender had developed a local reputation as a guitarist, and having graduated high school he became an in-demand session player, also touring throughout Europe with the likes of Alexis Korner and Tony Sheridan.

In 1974 he moved to Berlin, where he performed in the local folk clubs and on Radio and TV, he then had a few hits in the '80s. After the year 2000 he switched to Ambient music and also returned to his American-Indian roots. Pete sadly passed away on February 16, 2014.

Tracklist:
1. September day 03:57
2. Saying things 02:53
3. Can't go wrong 02:17
4. I'm weeping 03:11
5. Seven days 04:49
6. Two faced woman 04:56
7. Livin' in sorrow 04:51
8. Let the light shine on me 06:04
9. Who turned the light on 02:21
Total: 34:14

Musicians:
Pete 'Wyoming' Bender: vocals, piano, organ, mellotron
Rainer Marz: guitar, bass, vocals, percussion (Atlantis, Krokodil, Supermax)
Jörg Ermisch: guitar, klavinett, vocals, percussion (Liederjan)
Bernd Billhardt: drums (Aqua)
Dieter Dierks: engineer

Pete "Wyoming" Bender - Wyoming (1971)
(ca. 256 kbps, front cover included)

Samstag, 27. Oktober 2018

Colin Wilkie, Shirley Hart, Albert Mangelsdorff, Joki Freund - Wild Goose (1969)

The legendary German trombonist Albert Mangelsdorff began his career in the early '50s in the groups of Hans Koller and Joki Freund, making an appearance at the 1958 Newport Jazz Festival as part of the "International Youth Band" (at 30!).

On the atypical Wild Goose, his quintet augmented by brother Emil (alto sax and flute) and Freund (tenor and soprano), all backing the British folk duo of Colin Wilkie and Shirley Hart on four of the former's originals and three traditional folk songs. This folk jazz LP was released on the cult german jazz label MPS. It includes the nice modalish 'Willow And Rue'!

The album was produced by Joachim E. Berendt & Ulrich Olshausen and recorded Febraury 19th at the Tonstudio in Walldorf. Colin Wilkie (vocals, guitar), Shirley Hart (vocals), Günter Lenz (bass) and Ralf Hübner (drums, darbouka, tambourine) were accompanied by the "Jazzensemble des hessischen Rundfunks" with Albert Mangelsdorff, Joki Freund Emils Mangelsdorff and Heinz Sauer.


Tracklist:
A1Icy Acres4:07
A2Fourth Flight7:00
A3Snowy Sunday6:57
B1Willow And Rue4:25
B2Lament3:28
B3Ich Armes Maidlein Klag Mich Sehr6:43
B4Sweet Primroses5:05

Colin Wilkie, Shirley Hart, Albert Mangelsdorff, Joki Freund - Wild Goose (1969)
(ca. 224 kbps, cover art included)

Asian Dub Foundation - Facts And Fictions (1995)

Asian Dub Foundation's album debut finds the band with their chops fully intact, even at this early date. Dr. Das' rapping flow is speedy and intricate, though continually inflected in the same ways (very reminiscent of Rage Against the Machine's Zack de la Rocha).

The production and programming, by Steve Chandrasonic and Dr. Das, is the real highlight here, incorporating traditional Indian percussion and instruments, but constantly name-checking contemporary dance styles like bhangra and ragga jungle. The haunting vocals that open "Rebel Warrior" make it a highlight, while Chandra's deep drum programs provide continual thrills.               


Tracklist:
  1. "Witness" (Chandrasonic, Aniruddha Das, Pandit G, Steve Chandra Savale, Sun-J, Delbert Tailor, Thorpe, Zaman) – 4:50
  2. "PKNB" (Chandrasonic, Aniruddha Das, Pandit G, Steve Chandra Savale) – 6:27
  3. "Jericho" (Chandrasonic, Aniruddha Das, Pandit G, Steve Chandra Savale) – 7:02
  4. "Rebel Warrior" (Chandrasonic, Aniruddha Das, Pandit G, Steve Chandra Savale) – 6:27
  5. "Journey" (Chandrasonic, Aniruddha Das, Pandit G, Steve Chandra Savale, Zaman) – 7:06
  6. "Strong Culture" (Chandrasonic, Aniruddha Das, Steve Chandra Savale, Uddin, Zaman) – 6:44
  7. "TH9" (Chandrasonic, Aniruddha Das, Pandit G, Steve Chandra Savale, Thorpe, Zaman) – 5:25
  8. "Tu Meri" (Chandrasonic, Aniruddha Das, Pandit G, Steve Chandra Savale, Thorpe) – 4:57
  9. "Debris" (Chandrasonic, Aniruddha Das, Pandit G, Steve Chandra Savale, Zaman) – 4:18
  10. "Box" (Chandrasonic, Aniruddha Das, Pandit G, Steve Chandra Savale, Zaman) – 6:09
  11. "Thacid 9 (Dub Version)" (Chandrasonic, Aniruddha Das, Pandit G, Steve Chandra Savale) – 5:32
  12. "Return To Jericho (Dub Version)" (Chandrasonic, Aniruddha Das, Pandit G, Steve Chandra Savale) – 4:26

Asian Dub Foundation - Facts And Fictions (1995)
(320 kbps, cover art included)

Egon Erwin Kisch - Erinnerungen an den rasenden Reporter

PhotobucketOn March 31, 1948, Egon Erwin Kisch, a german-speaking Czech journalist and novelist, died in Prague, Czech Republic.

Egon Erwin Kisch was "der rasende Reporter" ("the raging reporter"), a journalist whose interest in marginalized parts of society and the world outside Europe endeared him to a large number of readers. He became a figurehead in the fight against fascism. Later generations of journalists regarded his documentaries as exemplary and pioneering. He is admired to this day for the high literary quality of his journalitic work.

Kisch was born into a German-speaking Jewish family in Prague, at that time part of the Austro-Hungarian Empire, and began his journalistic career as a reporter for a local German language newspaper in 1906. His early work is characterised by an interest in crime and the lives of the poor of Prague, taking Jan Neruda, Emile Zola and Charles Dickens's Sketches by Boz as his models. He deserted from the army in World War I in October 1918 as the war came to an end and played a leading role in the left-wing revolution in Vienna in November of that year. Although the revolution failed, in 1919, Kisch joined the Communist party, a political allegiance he maintained for the rest of his life.
Between 1921 and 1930 Kisch, though a citizen of Czechoslovakia, lived primarily in Berlin, where his work found a new and appreciative audience. In books of collected journalism such as "Der rasende Reporter" (1924), he cultivated the image of a witty, gritty, daring reporter always on the move, a cigarette clamped doggedly between his lips. His work and his public persona found an echo in the artistic movement of "Neue Sachlichkeit", a major strand in the culture of the Weimar Republic.
On February 28 1933, the day after the Reichstag Fire, Kisch was one of many prominent opponents of Nazism to be arrested. He was briefly imprisoned in Spandau, but as a Czechoslovakian citizen, was expelled from Germany. His works were banned and burnt in Germany, but he continued to write for the Czech and émigré German press, bearing witness to the horrors of the Nazi takeover.
In 1937 and 1938, Kisch took part in Spanish Civil War. He travelled across the country speaking in the Republican cause and his reports from the front line were widely published.

Following the "Munich Agreement" of 1938 and the subsequent Nazi occupation of Bohemia six months later, Kisch was unable to return to the country of his birth. Once war broke out, Paris, which he had made his main home since 1933, also became too dangerous for an outspoken Jewish communist whose native land no longer existed. In late 1939, Kisch and his wife Gisela, sailed for New York where, once again, he was initially denied entry. He eventually landed at Ellis Island on December 28, but as he only had a transit visa moved onto Mexico in 1940.
He remained in Mexico for the next five years, one of a circle of European communist refugees, notable among them Anna Seghers and Ludwig Renn.

Kisch died two years after his return to Prague, shortly after the Communist party seized complete power. There are contradictory reports of his attitude - as a German-speaking Jew - to the party in this period as it began to develop the anti-semitism which culminated in the "Prague Trials" of 1952 and supported the expulsion of most of Czechoslovakia's ethnic Germans.
To remember his great work, here is "Erinnerungen an den rasenden Reporter", a wonderful feature in german language about Egon Erwin Kisch.

Egon Erwin Kisch - Erinnerungen an den rasenden Reporter
(192 kbps, front cover included)

Brothers Four - Greenfields

"Washington state's Brothers Four mined much the same territory as other commercial folk bands of the revival in the late '50s, such as the Kingston Trio.
The formula was similar -- good harmonies, simple instrumentation, and good songs that more or less fell under the folk banner. Most of the ten tracks here are very familiar -- the title cut, "If I Had a Hammer," "Rock Island Line," and others. It's certainly pleasant in a nostalgic way, but hardly likely to get any pulses beating faster. Like other bands, they were the white-bread face of folk, relatively bland and making sure there was no threatening edge in their music.

What that boils down to is that it's fun, but unless you're avid about the period, it's unlikely to be played often -- once might be quite ample for many. But it's hard not to be moved just a little by their update of the old jug band favorite "Walk Right In." And given the budget price, it might be worth the investment for those odd times when you want a stroll down the byways of American folk nostalgia."   - allmusic.com      

Brothers Four - Greenfields    
(320 kbps, front cover included)

Mutter - Hauptsache Musik

Image
In the late 1980s, a new musical scene was emerging in Hamburg compromising a number of bands that sung in German but that had no record deals (with the exception of "Die Antwort"). To remedy this situation and to give the new style a platform, the record label "L'age d'or" (French for "Golden Age") was established in October 1988 by Carol von Rautenkranz and Pascal Fuhlbrügge. They signed contracts with many bands and published numerous albums. A great deal of the albums were produced by Chris von Rautenkranz, Carol's brother, in the legendary Soundgarden recording studio in Hamburg. Another label that influenced the emerging genre was Alfred Hilsberg's "What's so funny about?" which published the first albums by Blumfeld, Die Erde, Cpt. Kirk and Mutter.

Soon, however, the Hamburger Schule was not restricted to Hamburg anymore. In particular, a local scene of Germanophone bands had developed in the small town of Bad Salzuflen in Eastern Westphalia, which was centered around the label Fast Weltweit. Founders were Frank Werner, Frank Spilker ("Die Sterne"), Michael Girke, Bernadette La Hengst ("Die Braut haut ins Auge"), and Jochen Distelmeyer (then "Bienenjäger", now "Blumfeld"). They got in contact with the Hamburg scene through Bernd Begemann who was a native of Bad Salzuflen but moved to Hamburg where he established his band "Die Antwort". This led to various gigs in Hamburg for bands from the "Fast Weltweit" label, eventually causing many other artists to move to Hamburg.Another first-generation Hamburger Schule band, "Die Regierung", was not from Hamburg, but rather from Essen.

Here´s Mutter - Hauptsache Musik with favourites like "Ihr seid alle schön" ("You all are beautiful") and "Die Erde wird der schönste Platz im All" ("Earth will become the most beautiful place in the universe"):

Mutter - Hauptsache Musik
(256 kbps, front cover included)

VA - Rock Steady Beat - Treasure Isle's Greatest Hits (1967)

Arthur ‘Duke’ Reid (b.1915, Jamaica) had spent ten years as a Kingston policeman when he and his wife Lucille decided to buy The Treasure Isle Liquor Store in Kingston, Jamaica, after winning a substantial Jamaican National lottery. Wanting music to attract customers, the Duke arranged through a sponsorship deal to host his own radio show ‘Treasure Isle Time’. The people would listen to the latest American R&B tunes on 78rpm, interspersed with liquor deals going down at his store. This in time would lead to the starting of his own Sound System, where he could take his liquor to the dances via his Trojan truck. He used a large van to transport this equipment around Jamaica to dance halls and open air events. Due to the nature of the van it became known as the Trojan. With shouts of ‘Here comes the Trojan’, Duke Reid’s now named Trojan Sound System was born. It proved such a success that he was crowned King of Sound and Blues three years in a row 1956, 1957 and 1958. 1958 also saw the store which was out growing itself, move to its legendary premises, 33 Bond Street, as Treasure Isle Recording Studio

Duke Reid was a formidable character in the music business. His guns from his policing days were ever present and always on show, striking a menacing cord. The former champion marksman was notorious for his permanent armament and his 'bad men' who not only attended on his dances but also sabotaged competing sounds. It was also not unheard of for a few rounds to be let off, if the need arose. But it was his extensive knowledge of the R&B tunes,and knowing what the people liked to here that was his real strength. Like Clement "Coxsone" Dodd at Studio One he would travel to America to acquire the latest cuts. But this was proving more difficult due to America’s tastes moving on to Rock & Roll, which was not so popular in Jamaica.

His record production career began in 1959 on the "Trojan " record label, these were on 78's, such as Duke's Cookies and Chuck and Dobby "Cool School". On the Duke Reid label due to demand he issued home made recordings of the USA R & B style music. He formed his own backing band, which backed young singers like Derrick Morgan and Jiving Juniors.

1962 - 1966 was a prolific time at Treasure Isle, the Ska hits kept coming. He worked with artists like Stranger Cole, Techniques and the great Alton Ellis & The Flames. Such was the output that the releases were spread over three labels: Duke Reid's (later Duke Reid Greatest Hits), Dutchess (a name he often used to refer to his wife), and Treasure Isle. His work with Skatalites as a group came to an end after August/September 1965. Don Drummond was arrested on New Years Eve 1965, accused of murdering his girl friend Marguerita. He died in Bellevue, a mental institution in 1969. The Skatalites last gig was a Police Dance at the Runaway Bay Hotel.

1968-1969 saw the beat slowing down and reggae was evolving into Rocksteady and again Duke had his finger on the pulse. Working with the great sax player Tommy McCook & The Supersonics, the hits flowed from the studio. Paragons ‘Wear you to the Ball’, Alton Ellis’ ‘Rock Steady’, Melodians ‘Last train to Expo’ and The Techniques’s rendition of the Curtis Mayfield classic ‘Queen Majesty’ were all big hits of the day. Getting released on Reid’s own labels and in the U.K. Trojan Records (named after his Sound System) which he created with Chris Blackwell and Lee Gopthal from Island Records.

The musical style would change again around 1970, but the ever resourceful Reid would apply his tunes and start a new genre, the DJ Sound. By using his classic backing tracks and interspersing the dubbed vocal along side his Sound System DJ’s rants and raves, his tunes became hits once more.

Duke Reid became seriously ill in 1974 and sadly passed away in early 1975. He left behind a treasure chest full of his music, even today, gems are still to be found.                   

"Most of these sides were originally released as singles in 1966 and 1967, on Treasure Isle in Jamaica and on Doctor Bird, Trojan and Treasure Isle in England. Duke Reid selected them in 1967 to make up his first rocksteady compilation LP which he issued on Treasure Isle LP 101/2."

Tracklist:                           
A1A. EllisRock Steady
A2The TechniquesYou Don't Care
A3–The Three TopsIt's Raining
A4The JamaicansThing You Say You Love
A5The TechniquesOh Babe
A6Tommy McCookInez
B1The TechniquesOut Of Many One
B2Justin HindsCarry Go Bring Come
B3Phyllis DillonPerfidia
B4The TechniquesDay O
B5A. EllisGirl Have I Got A Date
B6T. McCookTrain To Ska-thederal


According to liner notes:
Track 2 ("You don't care") started life as "You'll want me back" written by Curtis Mayfield and a hit for Major Lance.
Track 5 ("Oh Babe") started life in New Orleans as "Sick and Tired", composed by Chris Kenner in 1957 (and covered by Fats Domino in 1958).
Track 9 ("Perfidia") is best known as a hit instrumental and dates back to 1941, an Alfredo Dominguez composition.
Track 10 ("Day O") is a traditional West Indian melody.
Track 12 ("Train To Ska-Thedral") started life as "Winchester Cathedral", written by Geoff Stephens and a big hit in 1967.           
(256 kbps, cover art included)