Freitag, 24. Mai 2019

Fela Kuti & The Africa ´70 - Afrodisiac (1973)

The four (lengthy, as usual) songs occupying this album had been originally recorded in Nigeria as 45 rpm releases.

"Aphrodisiac" consists of re-recordings of these, done in London in the early 1970s. (Confusingly, one part of the liner notes gives the years 1972-1973 as the recording dates, while another section says they were cut in 1971.)
While it's true that Fela Kuti's albums from this period are pretty similar to each other, in their favor they're not boring. These four workouts, all sung in Nigerian, are propulsive mixtures of funk and African music, avoiding the homogeneity of much funk and African records of later vintage, done with nonstop high energy.

The interplay between horns, electric keyboards, drums, and Fela's exuberant vocals gives this a jazz character, without sacrificing the earthiness that makes it danceable as well. "Jeun Ko Ku (Chop'n Quench)" became Fela's first big hit in Nigeria, selling 200,000 copies in its first six months in its initial version.

Fela Kuti - Afrodisiac (1973)
(256 kbps, cover art included)

Pete Seeger - American Folk, Game and Activity Songs for Children

This hour-long CD combines the entirety of two children's-oriented Seeger LPs, 1953's "American Folk Songs for Children" and 1962's "American Game and Activity Songs for Children", onto one disc.

The eleven songs on "American Folk Songs for Children" were specifically selected from an identically titled book anthology of folk songs for children collected by Seeger's stepmother, Ruth Crawford Seeger. Pete Seeger renders them plainly and simply, singing and playing and banjo, on a program designed especially (but not solely) for children between three and seven years of age. "Jim Crack Corn," "Frog Went A-Courting," and "She'll Be Coming 'Round the Mountain" are some of the better-known tunes on the record, but not all of them are as overly familiar.

"American Game and Activity Songs for Children" focuses especially on songs associated with activities and dancing, sometimes sung a cappella, sometimes sung with accompaniment from Seeger's banjo. "Skip to My Lou," "Ring Around the Rosy," "Here We Go Round the Mulberry Bush," and "Yankee Doodle" are some of the more well-known songs here - at this point, they're probably more over-familiar than they were when the album was first released - but there are less overdone ones here too, including the spiritual "Liza Jane."

Pete Seeger - American Folk, Game and Activity Songs for Children
(320 kbps, cover art included)

Here you can download the liner notes.

Donnerstag, 23. Mai 2019

VA - Sound Of Revolution

The fall of the Iron Curtain thirty years ago was a unique event raising strong emotions all across Europe. What better way of recapturing the exceptional spirit of change that was in the air during these weeks than through the hymns that inspired the people tearing down the walls with their protests?

These hymns, brought together on this album, are the songs of workers´ movements, national anthems that were rediscoverd with a renewed meaning of self-determination and freedom, or simple pop songs which in their subtle wording expressed the spirit of protest felt by the people in the streets.

01. Herbst In Peking • Bakschischrepublik / Baksheesh republic
02. Kiril Marichkov • Az sum prosto chovek / I am just a human being
03. Ivan Hoffman • Slubili sme si lasku / We promised love to each other
04. Marta Kubisova • Modlitba pro Martu / Prayer for Martha
05. Janos Brody • Ha en rozsa volnek / If I were a rose
06. Desteapta-te, romane! / Wake up, Romanian!
07. Tonis Mägi • Koit/Dawn
08. Europa Kiado • Szavazz ram! / Vote for me!
09. Viktors Zemgals, Zilvinas Bubelis, Tarmo Pihlap • Atmostas Baltija / Wake up, Baltic countries
10. Vassil Naidenov, Villy Kavaldjiev, Georgi Mintchev, Bogdana Karadocheva, Margarita Hranova, Rositza Kirilova • Vremeto e nashe - 45 godini stigat / The time is ours - 45 years are enough
11. Zoran Predin • Zdravljica / A Toast
12. Hora unirii / Dance of unity
13. Jacek Kaczmarski • Mury/ Walls
14. leva Akuratere • Manai tautai / To my people
15. Jaroslav Hutka • Havlicku, Havle / Dear Havlicek, Dear Havel
16. Silly • S.O.S
17. Livi • Dzimta valoda / Mother tongue
18. Jaroslav Filip, Milan Lasica, Julius Satinsky • Do batozka / Load a backpack
19. Jurga & Eurika Masyte • Laisve / Freedom
20. Krystyna Janda • Ballade o Janku Wisniewski / The ballad of Janek Wisniewski
VA - Sound Of Revolution
(320 kbps, cover art included)

Mittwoch, 22. Mai 2019

Kurt Weill - From Berlin To Broadway

British archival label Pearl's "Kurt Weill - From Berlin to Broadway: A Selection" is a single-disc condensation of a pair of two-CD sets, "Kurt Weill - From Berlin to Broadway" (GEMM 9189) and "Kurt Weill - From Berlin to Broadway, Vol. 2" (GEMM 9294).

It presents recordings from seven of Weill's stage musicals made around the times the shows were produced and sung in most cases by the performers who introduced them onstage. There are also private recordings by Weill himself, by his German collaborator Bertolt Brecht, and by his wife Lotte Lenya.

The collection begins with two songs, "Moritat von Mackie Messer" (Mack the Knife) and "Kannonensong" (Cannon Song) sung by Harald Paulsen, who first played the part of Mack the Knife in "Die Dreigroschenoper" ("The Threepenny Opera") in 1928, and recorded the same year. Lenya and Brecht are also heard performing songs from the show. Lenya handles most of the songs from the other two German musicals included, "Happy End" and "Aufstieg und Fall des Stadt Mahagonny" ("Rise and Fall of the City of Mahagonny"), two of them in scratchy private recordings.

After the initial nine tracks, the rest consists of Broadway material. Though the recording of full-length original cast albums did not become common until after the success of the "Oklahoma!" album in 1943, it was not uncommon before that for labels to make records of individual songs from Broadway shows using those shows' principals, and that is largely what one hears here, including a single of "September Song" that Walter Huston recorded for Brunswick in 1938 and selections from "Lady in the Dark" recorded by Gertrude Lawrence for RCA Victor and Danny Kaye for Columbia.

Decca recorded a five-record 78 rpm cast album of "One Touch of Venus" in November 1943, and five of the songs are here, sung by Mary Martin and Kenny Baker. "Lost in the Stars", Weill's final show, actually began life years earlier as "Ulysses Africanus", and Walter Huston recorded a version of the song "Lost in the Stars" for Decca in 1944, five years before the musical opened. In a private recording, Lenya sings "Lover Man," an early version of "Trouble Man" from the show.

The CD closes with four performances by Weill himself of songs for "One Touch of Venus", one of which is an early version of "Way Out West in Jersey," here called "Jersey Plonk."

One can hear the change in Weill's approach from the innovative sound of "Die Dreigroschenoper" and the other German shows to the more conventional style of the Broadway material. But Weill's individual style is always apparent, no more so than in his own performances and those of his wife when his music is stripped to just a piano and voice. These vintage recordings are crucial to an appreciation of Weill, even if they are not always in the best fidelity, and since they range from available commercial recordings to acetates in private hands, the compilation has unparalleled breadth.

Thomas Mann - Deutsche Hörer! (BBC-Reden 1941 - 1945)

Thomas Mann is widely recognized as one of the greatest German novelists of the twentieth century. Exile from his homeland created the opportunity for him to become a major transatlantic figure as well. The intellectual and civic leadership he offered, especially his public opposition to the worldwide threat of fascism, allowed him to exercise cultural and political influence on both sides of the Atlantic until his death in 1955. Particularly important in this regard were his criticisms of Hitler and the National Socialists in Germany, his leadership of European anti-fascists in exile, his influence on American policymakers during World War II, and his contributions to the debate about German responsibility for the war.

His own works escaped the Nazi book burnings of 1933, but those of his brother Heinrich (1871-1950) and son Klaus (1906-1949) did not. In 1938, after several stays abroad, Mann and his family emigrated to the United States, where, beginning in 1940, he began recording monthly radio broadcasts under the title “German Listeners!” [“Deutsche Hörer!”]. These broadcasts, which were five to eight minutes in length, were transferred to records and sent to the BBC in London. From there, they were broadcast to Germany via long-wave radio. Mann’s addresses became an essential part of Allied demoralization tactics. The number of regular listeners in Germany is estimated to have been small, since tuning in to foreign stations was considered a “radio crime”: anyone caught was subject to severe punishment. Nonetheless, Mann’s attacks still prompted a response from Hitler, who agitated against his famous critic in his own speeches.

Thomas Mann - Deutsche Hörer! (BBC-Reden 1941 - 1945)
(256 kbps, front cover included)

Kurt Weill & Bertolt Brecht - Die Dreigroschenoper (Frankfurter Oper, Wolfgang Rennert)

"The Threepenny Opera"  is everything but an opera, the music produces distance and not identification, feelings are represented but not experienced, and the staginess of the story prevents direct identification.

This recording of the "Treepenny Opera" by Brecht and Weill was made in the Studio of the Municipal Theatre, Frankfurt am Main, after a performance in the same theatre in 1966. The chorus and the orchestra of the Frankfurter Oper were conducted by Wolfgang Rennert, Harry Buckwitz was the producer.

Franz Kutschera, Karin Hübner and Hans Korte played the Beggar King Peachum, his daughter Polly and the thief MacHeath (Mackie Messer).

Die Dreigroschenoper (Frankfurter Oper, Wolfgang Rennert)
(192 kbps, front cover included)

The Pop Group - We Are All Prostitutes

Rivaled only by the Birthday Party, the Pop Group were one of the most extreme bands from the post-punk explosion. That being said, the majority of their material is literally an assault of one's ears, as their sound was abrasive, noisy, aggressive, and funky as hell! 

Most of these tracks are excellent pieces of experimental "rock" (this term is used loosely here) that contain the raw energy of punk as well as a funky groove with some noise thrown in for fun. Dark melodies, angry political lyrics, and harsh noises walk hand in hand with dancey rhythms and reggae-influenced production and guitar. Whether it was their extreme sound, their angry slogan-like lyrics which demanded social justice, or their willingness to experiment, the Pop Group was not a band to be taken lightly. "We Are All Prostitutes," "Blind Faith," "Amnesty Report," "Feed the Hungry," and "Spanish Inquisition" are all excellent tracks. "We Are All Prostitutes" is an excellent musical documentation on one of the greatest bands in the history of rock music. A must have for all, even those who loathe music; everyone can learn something from it.


1. We Are All Prostitutes 3:13 (Radar Records single A-Side)
2. Blind Faith 4:04 ("FHMLDWTMM" Track 4)
3. Justice 3:09 ("FHMLDWTMM" Track 6)
4. Amnesty Report 3:14 ("WE ARE TIME" Compilation Track 7 (or B2 on LP)
5. Feed The Hungry 4:16 ("FHMLDWTMM" Track 2)
6. Where There's A Will 5:18 (B-side to split single with THE SLITS "In The Beginning There Was Rhythm")
7. Forces Of Oppression 2:17 ("FHMLDWTMM" Track 1)
8. Spanish Inquisition 3:21 ("WE ARE TIME" Compilation Track 5 (or A5 on LP)
9. No Spectators 4:19 ("FHMLDWTMM" Track 7)
10. (Amnesty Report II) 2:42 (B-Side to Track 1 "We Are All Prostitutes" single)

The Pop Group - We Are All Prostitutes 
(ca. 200 kbps, cover art included)

Dienstag, 21. Mai 2019

Arlo Guthrie - Amigo (1976)

.With "Amigo", Arlo Guthrie's ninth album, he cemented his place as an important artist in his own right.

Like Woody, Arlo has always tempered his sense of tradition and what's important, with a playfulness and sense of humor. The opener, "Guabi, Guabi," a traditional African tune, is as quirky and lighthearted as it is straightforward, whereas "Grocery Blues" is a typical, if humorous and effective Guthrie novelty song. On the other hand, what places Amigo a slight notch above his previous work is the strength of his original material. "Massachusetts" is a gorgeous paean to his home state, while "Darkest Hour," an evocative tale of love, lust, power and intrigue, is folk storytelling at its finest. However, it's at the end of the first half of the record that Arlo does the memory of his father most proud. "Victor Jara," the story of the martyred Chilean folk-singer and activist, is one of the best and most moving topical songs of the decade, while "Patriot's Dream" is a stirring call-to-arms to the fading protest movement of the '60's. While side two may lack the sheer power of the first, it possesses a certain charm of its own. "My Love" and "Ocean Crossing" are tender love songs, "Manzanillo Bay" is a lovely, south-of-the-border travelogue and there's even a respectable cover of the the Rolling Stones' "Connection" to close the album.

His last studio recording for three years, "Amigo" is a passionate, touching and funny collection of songs, and remains the pinnacle of Arlo Guthrie's career, as well as a perfect illustration of his many sides and strengths.

Arlo Guthrie - Amigo (1976)
(192 kbps, cover art included)

Montag, 20. Mai 2019

The Almanac Singers - Their Complete General Recordings (1941, reissued 1996)

They were only together for about a year in the early '40s, but the Almanac Singers' repertoire, and individual members, would go on to much later greatness in the decades that followed. Comprised of folk legends Woody Guthrie, Pete Seeger, Lee Hays, Pete Hawes, and Millard Lampell, the group performed mostly at left-wing political conventions and labor rallies with a set list that mixed the traditional with the political.

The songs contained on "Complete General Recordings" are some of their finest moments, and many of the tunes would see later life covered by the Weavers (Seeger and Hays's future band) and even - in the case of "House of the Rising Sun" - the Animals.
Produced by another music legend, Alan Lomax, "Their Complete General Recordings" is an essential document of folk music's history and a great chance to these classic numbers in a raw, unadulterated form. The Almanac Singers may not have sold as many records as their contemporaries (blame that on the unpopular pacifism they preached as the United States entered World War II), but their versions of these tunes are simply timeless.

1. Blow Ye Winds Heigh Ho - Pete Seeger
2. Away, Rio - Pete Hawes
3. Blow The Man Down - Woody Guthrie
4. House of the Rising Sun - Woody Guthrie
5. Ground Hog - Pete Seeger
6. State of Arkansas - Lee Hays
7. The Weaver's Song - Ensemble
8. I Ride An Old Paint - Woody Guthrie
9. Hard, Ain't It Hard - Woody Guthrie
10. The Dodger Song - Lee Hays
11. Greenland Fishing - Pete Seeger
12. The Golden Vanity - Pete Seeger
13. The Coast of High Barbary - Pete Seeger
14. Haul Away, Joe - Pete Hawes

(The name of the artist at the end of each track indicates the lead singer)

The Almanac Singers - Their Complete General Recordings (1941)
(320 kbps, booklet fully scanned)

Fela Ransome Kuti & The Africa `70 - Open & Close (1971)

Another long-thought-lost gem from the Fela Anikulapo Kuti archives, "Open & Close" was originally released in 1971 and, in the manner of "He Miss Road" and "Fela's London Scene", is a total groove-fest loaded to the gills with raucous horn blowing, ferocious percussion (once again, Tony Allen take a bow), and song lengths over ten minutes.

By this point, Fela could do no wrong when it came to recording; Afro-beat dissenters will claim that there is a trance-inducing similarity to much of Fela's '70s recorded output, that the grooves aren't enough to make the songs distinctive enough on their own. That's true of some of his later recordings (like in the mid- to late '80s), but at this point he was still breathing fire and the band was in top form.

Perhaps the distinguishing factors of records like "Open & Close" and some of Fela's other '70s releases are that as much as he liked to ride a groove, he also liked to disrupt it, twist it and turn it, reshape it, only to bring it back to its original shape. There was less of that later in his career.

(320 kbps, complete cover art included)

Sonntag, 19. Mai 2019

Kurt Weill - The Centennial

"The Centennial" is a hommage to KUrt Weill, recorded live in concert on Novmber 4, 2000 at the Harriet & Charles Luckman Theater, Califonia State Univrsity, Los Angeles. It features artist like Charlotte Rae, Linda Purl, Norm Lewis, Hugh Panaro, Shirley Jones, Tim Curry, Carole Cook and others.

This Centennial collaboration is a welcome addition to that growing list of Weill tributes. Being a live album, one can hear the audience's delight to this wonderful night's celebration for Mr. Weill!


1. Act 1: Pirate Jenny - Charlotte Rae
2. Act 1: I'm A Stranger Here Myself - Jodi Stevens
3. Act 1: Economics - Jane A. Johnston
4. Act 1: Is It Him Or Is It Me? - Pam Dawber
5. Act 1: Barbara Song - Linda Purl
6. Act 1: Lullaby - Kathryn Skatula
7. Act 1: That's Him - Nancy Dussault
8. Act 1: Don't Look Now - Sharon Lawrence
9. Act 1: Apple Jack - Norm Lewis
10. Act 1: Speak Low - Sally Kellerman
11. Act 1: September Song - Rod McKuen
12. Act 1: Ice Cream Sextet - David Holladay

1. Act 2: Wouldn't You Like To Be On Broadway? - David Holladay
2. Act 2: What Good Would The Moon Be - Melissa Dye
3. Act 2: It Never Was You - Hugh Panaro
4. Act 2: We'll Go Away Together - Hugh Panaro
5. Act 2: Tschaikowsky - Jack Noseworthy
6. Act 2: The Saga Of Jenny - Carole Cook
7. Act 2: Surabaya Johnny - Tim Curry
8. Act 2: My Ship - Shirley Jones
9. Act 2: Mack The Knife - Loretta Devine
10. Act 2: Lost In The Stars - Brock Peters
Kurt Weill - The Centennial
(320 kbps, cover art included)

Samstag, 18. Mai 2019

VA - Niemals vergessen - Lieder und Texte aus dem antifaschistischen Widerstand

This album was compiled in the year 2000 by the "Bezirksgruppe Liesing" of the "Bund sozialdemokratischer Freiheitskämpfer, Opfer des Faschismus und aktiver Antifaschisten" in Austria.

Short interludes between the recordings are explaining the historic situation of classic antifascist songs like  "Die Moorsoldaten", "Buchenwald-Lied", "s brennt, briderlech, s´brennt", "Einheitsfrontlied", "Spaniens Himmel", recorded by the Rundfunkchor Berlin, the Erich-Weinert-Ensemble, Gerry Wolf, Lin Jaldati, Ernst Busch and many more.

More infos via .

01. Instrumentale Einleitung
02. In den finsteren Zeiten
03. Die Moorsoldaten
04. Mein Vater wird gesucht
05. Lied von Sachsenhausen
06. Buchenwald-Lied
07. Auf eine Kerkerwand geschrieben
08. Lied aus Dachau
09. Dachau-Lied
10. Über die Bezeichnung Emigranten
11. s´brennt, briderlech, s´brennt
12. Tränen des Vaterlands Anno 1937
13. An meine Brüder in den Konzentrationslagern
14. Einheitsfrontlied 1934
15. Vorwärts, Internationale Brigade
16. Die Thälmannkolonnen (Spaniens Himmel)
17. Spanien, frei sollst du sein
18. Bericht von Erna Fuchs aus Bautzen
19. Kerkerlied
20. Die letzte Tat eines Widerstandskämpfers
21. Das Lidicelied
22. Fluchtversuche aus Konzentrationslagern
23. Der Spaten geschultet
24. Lied einer deutschen Mutter
25. Bericht von Erwin Geschonneck
26. Letzter Appell
27. Unsterbliche Opfer
28. Die Internationale

VA - Niemals vergessen - Lieder und Texte aus dem antifaschistischen Widerstand
(320 kbps, cover art included)

Donnerstag, 16. Mai 2019

Fela Kuti - Black President (1981)

It was during the early '80s that Fela Anikulapo Kuti's profile was high enough to warrant releasing his records in the U.S.

So for the first time, one did not have to scour the import bins or pay import prices to get a dose of Afro-beat. On "Black President", the politics are at the forefront as Fela rails against colonialism and the military government growing rich at the expense of Nigeria's poor.

The grooves are dense and supple and in many ways this is classic Fela, it just doesn't kick quite as hard as "Expensive Shit" or "He Miss Road".

A1 Sorrow, Tears And Blood 10:10
A2 Colonial Mentality 13:30
B I.T.T. (International Thief Thief) 18:20

Fela Kuti - Black President (1981)
(320 kbps, cover art included)

Mittwoch, 15. Mai 2019

Phil Ochs - I Ain´t Marching Anymore (1965)

What a difference a year made for Phil Ochs -- his 1964 debut, "All the News That's Fit to Sing", gained him a reputation as the most promising songwriter to come out of the Greenwich Village folk scene since Bob Dylan, and 1965's "I Ain't Marching Anymore" proved he was every bit as good as his press clippings said. 

Ochs had grown by leaps and bounds as a performer in the space between the two albums, and where Phil sometimes sounded a bit clumsy and uncertain on his first LP, here he brims with confidence, and his guitar work -- simple but forceful and efficient -- didn't require another musician's sweetening as it did on "All the News". Most importantly, while Ochs' songwriting was uneven but compelling in his first collection, "I Ain't Marching Anymore" finds him in consistently strong form throughout. 

The craft and the emotional weight of the material makes even the most dated material ("Draft Dodger Rag" and "Here's to the State of Mississippi") effective today, and a surprising number of the songs remain as potent (and sadly timely) today as in 1965, especially "Iron Maiden" and "That's What I Want to Hear." And if there are fewer jokes on this set, "Draft Dodger Rag" is funnier than anything on Phil's first album, and his cover of Ewan MacColl's "Ballad of the Carpenter" (as well as his adaptation of Alfred Noyes' "The Highwayman") revealed what a strong interpretive performer he could be. (His liner notes are pretty good, too; it's a shame he didn't write more prose.) Literally dozens of singer/songwriters jumped on the protest bandwagon after the success of Bob Dylan and Joan Baez, but one would be hard-pressed to name one who made an album that works as well more than five decades later as "I Ain't Marching Anymore".


1. I Aint Marching Anymore
2. In The Heat Of The Summer
3. Draft Dodger Rag
4. Thats What I Want To Hear
5. That Was The President
6. Iron Lady
7. The Highwayman
8. Links On The Chain
9. Hills Of West Virginia
10. The Men Behind The Guns
11. Talking Birmingham Jam
12. Ballad Of The Carpenter
13. Days Of Decision
14. Heres To The State Of Mississippi

(192 kbps, cover art included)

Dienstag, 14. Mai 2019

Die Dreigroschenoper Berlin 1930 (Bertolt Brecht)

"Die Dreigroschenoper" took all of Germany by storm soon after its premiere in 1928 until 1933 when it was banned by the Nazis, along with Weill and the entire Berlin entertainment scene.

Of course we all know that eventually the rest of the world was hooked on the tuneful ballad of "Mack The Knife" or "Mackie Messer", which in America took on a life of its own in the versions popularized by Louis Armstrong, Frank Sinatra and (in a departure from the usual performance by a male singer) Ella Fitzgerald.

The version of "Die Dreigroschenoper" (or "Threepenny Opera") on this digitally remastered CD was recorded in Berlin in December 1930 under the Ultraphon (and later, Telefunken) label. The first ever recording of what later became Weill's most popular score features highlights of the original 1928 production and - with only one exception - the original cast, including Weill's wife, the actress Lotte Lenya , who in an alteration of the original performance sings both the roles of Jenny and Polly. The role is sung in a child-like high soprano , exemplifying Weill's "roaring twenties" song style.
Another alteration is the spoken text that Brecht later wrote to introduce each highlight.
While the very whistleable tunes were a product of Weill's musical imagination, the character of Mack, the knife (or Macheath) goes back to 1728 - to John Gay's "The Beggar's Opera".
This iconoclastic "ballad opera," in wittily depicting the low-life of the criminal world, poked fun at (the then fashionable) Italian opera seria - bringing it down and with it the mighty house of Handel. Weill and Brecht's high-art adaptation 200 years later transported Macheath to the low-life of thieves, whores and hooligans of 1920s Berlin - musically attacking the pompous grandeur of Wagner-like music-theatre while unsettling the bourgeoisie and the self-appointed arbiters of German culture. French versions of some of the songs likewise recorded in 1930 are also included.
The CD, which celebrates Teldec's Telefunken Legacy, also includes other songs from the period, notably two selections from Weill and Brecht's true opera, written for opera singers, "AUFSTIEG UND FALL DER STADT MAHAGONNY" ("The Rise and Fall of the City of Mahagonny"). The work is an anti-capitalist satire about men stranded in an American desert who decide to build themselves a city of pleasure founded on the guiding philosophy of "every man for himself" - inevitably leading to corruption, chaos and self-destruction. Musically, it is a potpourri of operetta, ragtime and pop.
This newly remastered CD is a delightful celebration of a musical genre created by legendary musicmakers from a bygone era, and even only for the experience of hearing what the composer himself actually heard in his day, worth having in one's collection. It is handsomely packaged in digipak / booklet form containing the complete lyrics of the songs (in three languages) and loaded with information, pictures and drawings from the period that can only enhance one's enjoyment of the music.

Die Dreigroschenoper Berlin 1930 (Bertolt Brecht)
(192 kbps)

Bhundu Boys - Shabini (1986)

The most commercially and creatively successful act ever to emerge from Zimbabwe, the Bhundu Boys embodied the world music zeitgeist of the mid-'80s. Creators of a frenetic, guitar-dominated style they dubbed "jit," they fused airy melodies, shimmering harmonies, and pulsating rhythms drawn from across the African continent to make music that was both alien and accessible. Taking their name from the guerrillas who backed Robert Mugabe in his successful war to win Zimbabwe's independence from Britain, the Bhundu Boys formed in April 1980 in the city of Harare, which translates literally (and, sadly, prophetically) as "death everywhere."
Lead guitarist Rise Kagona assembled the original lineup, which also included singer/guitarist Biggie Tembo, bassist David Mankaba, keyboardist Shakie Kangwena, and drummer Kenny Chitsvatsva. Making do with homemade instruments, the Bhundu Boys cut their teeth playing Western pop covers in township beer halls, and were a local phenomenon by the time they were discovered by erstwhile property developer Steve Roskilly, who cut their earliest sessions in his home studio, Shed. Their 1981 debut single, "Hatisitose," topped the Zimbabwean charts for three months straight, and in the years to follow the band scored three more national number ones with "Baba Munini Francis," "Wenhamo Haaneti," and "Ndimboze."
The Bhundu Boys' ascent to international fame began when Owen Elias and Doug Veitch, owners of the fledgling Discafrique label, traveled from London to Harare in search of artists to sign. There they befriended Roskilly, and on his encouragement cut a deal to reissue the band's records in the U.K. Elias and Veitch also plotted to bring the Bhundu Boys to Britain to tour, but when funding dried up Discafrique turned to Scottish promoter Gordon Muir, who in time took over the band's management. Most critical to the Bhundu Boys' growing momentum was the endorsement of BBC Radio One DJs John Peel and Andy Kershaw, both of whom played their Discafrique LPs "Shabini" and "Tsvimbodzemoto" incessantly.

1 Baba munini francis
2 Hupenyu hwangu
3 Pachedu
4 Zvichatinesta
5 Kuroja chete
6 Hatisitose
7 Manhenga
8 Shabini
9 Dai ndakaziva
10 Wenhamo haaneti

Bhundu Boys - Shabini (1986)
(192 kbps, cover art included, vinyl rip)

Bernd Witthuser - Lieder von Vampiren, Nonnen und Toten (1970)

“If I’d perform in front of miners and sing about how we’d sweat because of the exhausting mining-work the miners they’d laugh about me, since I haven’t gone to work for more than two years.” Bernd Witthüser refused to be received as a political folk-singer for the working class. From 1964 up to 1969 the folk-festival at “Burg Waldeck” (in the Hunsrück mountains) played an important role for the development of a musical underground in post-WW-II-Germany. The music performed there offered an alternative to the German “Schlager” and was influenced by the American and French folk music, but even more important than that musical references was a very strong Marxist tradition that the new generation connected with (Bertolt Brecht functioned as an important role model). Not unlike Pete Seeger in the U.S., folk music was considered to be not only the voice of the people but something to educate people with, raise people’s consciousness, teach them about society etc.: “We shall overcome”…

That highly political (and arrogant at times) approach often led to controversial events. Not unlike Pete Seeger attacking Dylan’s amplification with an axe, there were similar incidents at “Burg Waldeck”. For example there was the time Rolf Schwendter disturbed Reinhard May’s concert with a snare drum, because May’s songs weren’t political enough for Schwendter’s taste.
As a result to the politicised/political climate during the late 1960’s the festival turned out to be dominated by discussions and teach-ins and all these incidents/discussions during these years were as necessary as self-centered: On the one hand the festival and its music/musicians worked as an instrument to politicise people – on the other hand the privileged middle-class kids had to learn that the “revolutionary subject” (i.e. the working class) they were talking about/looking for was somewhere else: at work – and not at a hippie-festival in the Hunsrück mountains. As a consequence in 1969 the preaching to the converted came to an end (the festival was put on hold until 1973) and the folk-music-scene disbanded and headed off to different shores.

Some of the folk musicians referred to the psychedelic music as a druggy escape-route from a reality that needed to be changed (and because of drug-use remained unchanged), some referred to the psychedelic aesthetics as a way to enter the doors of perception – as a first step towards a new society. The crucial point (still): is smoking pot revolutionary or counter-revolutionary behaviour?
By 1968 Bernd Witthüser had already had some local success as a protest-singer, but he didn’t want to sing about mining when his everyday life was more about smoking pot and reading poetry. It seemed ridiculous to him.

Instead of performing the “working class hero” he chose to sing about vampires, nuns and the dead. Influenced by medieval and romantic poetry (like Novalis and Heinrich Heine) he recorded a gothic-folk or folk-noir record for Rolf Ulrich Kaisers Ohr-label (with whom he had also worked before when he managed the “Essener Songtage” in 1968). But it wouldn’t be a Witthüser (& Westrupp is on board already, too) record without a good measure of goofy jokes included: The last song on the record is an adaption of the theme tune from the TV-series “Flipper” and until that last song a lot of – more or less – funny wordplays and gags come with a lot of the songs on “Lieder von Vampiren, Nonnen und Toten”.

But the all in all frivolous approach is a good thing, actually. Otherwise “Lieder von Vampiren, Nonnen und Toten” would be an unbearable proto-neo-folk-disaster. But Bernd and Walter had a reefer once in a while and their daily dose of Marihuana kept them away from turning into morbid youngsters longing for death.

It’s quite difficult to write about the music on “Lieder von Vampiren, Nonnen und Toten” without thinking of the lyrics all the time. And being a native speaker of the German language I wonder how the record is received if you don’t get the lyrics (which is – the other way round – in 99,9% the case for all the Anglo-American music “Krauts” listen to). “Lieder von Vampiren, Nonnen und Toten” is a lovely, unadorned folk music record garnished with a lot of humour and a slightly psychedelic vibe. Mostly guitar and voice, with a bit of percussion, a flute, a trombone and stuff like that here and there. Imagine Cheech & Chong singing Current 93.

After “Lieder von Vampiren, Nonnen und Toten”, Witthüser & Westrupp went on to perform and record as a duo and they released three studio-records (“Trips und Träume”, “Der Jesuspilz” und “Bauer Plath”) and a live-record (“Live ’68-’73”). It’s all about smoking pot, making fun of authorities, daydreaming and enjoying life, basically. Not sure, if this can be considered as a revolutionary agenda, but for a few years it seemed to work – and they both remain swinging until this day! ~ Krautrock database

01. Dracula (4:35)
02. Das stille Grab (2:26)
03. Wir möchten dieses Lied noch singen (3:40)
04. Kann die Klage deuten wer? (3:51)
05. Ich bin dahin (3:19)
06. Welcher Wechsel doch im Leben (2:58)
07. Leis ertönt die Abendglocke (3:10)
08. Hinüber wall ich (2:54)
09. Wenn ich ein Fröhlicher wär (2:52)
10. Die Beschwörung (2:54)
11. Liebeslied (4:10)
12. Die Lilie vom See (4:04)
13. Wer schwimmt dort? (1:59)

Bernd Witthuser - Lieder von Vampiren, Nonnen und Toten (1970)
(192 kbps, cover art included)

Sonntag, 12. Mai 2019

VA - This Is Soca - 14 Massive Carnival Hits

There´s no question about it, the Caribbean is one of the musical hothouses of the world and this is due to the amazing diversity of musical styles at work there. Thanks to ist history, each island is its own little orchid house of musical cross-fertilizations. Reggae is the musical export of Jamaica, whilst Soca is the good time party-music burning out of Trinidad and the surrounding islands.

While Jamaicanreggae inclines to expressions of suffering and anger, Trinidadian music tends to irreverent satire and abandoned hedonism of Carnival, a two-month annual party of which Soca has become the driving force. To risk a broad generalization, Reggae, with its steady beat, tends to be earthbound, whilstSoca, with its carefree spring, seems airborne.

"This Is Soca" is a collection featuring Chinese Laundry, Superblue, Tambu and some other artist with some of the best soca songs ever out. Also, Andy Stephenson's great rework of Michael Jackson's "Billie Jean" (among other MJ songs) will make you laugh and move your body at the same time.

All Soca massiv... dis is de mad stomp!!

This Is Soca - 14 Massive Carnival Hits
(320 kbps, cover art included)

Donnerstag, 9. Mai 2019

In celebration of Victory Day: VA - Im Treptower Park (NOVA, 1975)

Victory Day or 9 May marks the capitulation of Nazi Germany to the Soviet Union in the Second World War (also known as the Great Patriotic War in the Soviet Union and most post-Soviet states).

It was first inaugurated in the fifteen republics of the Soviet Union, following the signing of the surrender document late in the evening on 8 May 1945 (after midnight, thus on 9 May, by Moscow Time). The Soviet government announced the victory early on 9 May after the signing ceremony in Berlin.

This day is still celebrated to commemorate the 28 000 000 (according to various estimates) children, parents, spouses and friends killed in Soviet Union during II World War for independence from Nazi Germany.

To celebrate todays "Victory Day" here´s "Im Treptower Park", a compilation released in 1975 on the NOVA label in memory of the 30th anniversary of the capitulation and the end of the fascist regime in Germany.

The album collects the Ernst Busch recordings of  "Der heilige Krieg" (original lyrics by Wassili Lebedew-Kumatsch) and "Wart auf mich" (original lyrics by Konstantin Simonow), an excerpt of Hanns Eislers "Winterschlacht-Suite", "Die Glocken von Buchenwald" and "Meinst du, die Russen wollen Krieg" with Helga de Wroblewsky and "Im Treptower Park" and "Vor dem Mausoleum" by the wonderful Reinhold Andert - a former member of the "Oktoberklub", which is represented by the song "Tatschanka" on this compilation.


A1Ernst BuschDer Heilige Krieg
A2Rundfunk-Sinfonie-Orchester Berlin   Schluß-Melodram "Das War Die Division"
A4Ernst BuschWart Auf Mich
A5Helga De WroblewskiDie Glocken Von Buchenwald
A6Instrumentalgruppe Rainer BöhmDas Lied Vom Lindenbaum
A7Reinhold AndertIm Treptower Park
B1Gerhard NeefDas Lied
B2Reinhold AndertVor Dem Mausoleum
B3Instrumentalgruppe Rainer BöhmIm Mausoleum
B4Helga De WroblewskiMeinst Du, Die Russen Wollen Krieg
B5Chor Der Staatsoper DresdenDank An Die Sowjetarmee

VA - Im Treptower Park (NOVA, 1975)
(256 kbps, cover art included)

Mittwoch, 8. Mai 2019

Mikis Theodorakis - Mauthausen Trilogy - In Memoriam Of Liberation

Today we celebrate the 70th anniversary of May 8, 1945 - the the end of World War II in Europe, specifically the capitulation of Nazi forces to the Allies (the Soviet Union, Canada, France, United Kingdom, United States and other principal Allied nations) on May 8, 1945.

This is an opportunity to show our respect for the survivors of Nazi persecution and mass murder, and to listen to what they can tell us about the best and the worst of human behaviour.

"During the Second World War the poet Iacovos Kambanellis was a prisoner in Camp Mauthausen. In 1965 he wrote four poems about this period and asked the Greek composer Mikis Theodorakis to put them to music. The poems are now world-famous as the Mauthausen trilogy. Thanks to Maria Farantouri the trilogy has become very popular.

The recordings on this album date from 1995 and 1999. The four poems are sung in three different languages (Greek, Hebrew and English) by Farantouri, Elinoar Moav Veniadis and Nadia Weinberg respectively. You might think that it's boring to listen to the same songs over and over again, with only the languages varying, but that is not the case.

The Hebrew version has a very classical approach and has a completely different atmosphere than the English one, which is influenced by jazz, or the Greek one, which is very close to the original Farantouri recordings. The Hebrew part of the album surprised me most. Veniadis makes me want to cry. She gives such a power to the songs that I can feel the poems in every part of my body. The same applies to Farantouri when she is singing in her low voice, which is the opposite of Veniadis' voice.

The English version is nice because, as you understand the lyrics, you get a notion of what the songs are about - but that's all. Weinberg turns them into popular tunes, sung well technically but with little emotion."
(Eelco Schilder, FolkWorld CD Reviews)

"This is the most awesome CD of new classical music that I have heard in a long time. I am a long-time fan of Theodorakis' music in any event. This setting of four poems written by in Mauthausen by a survivor of the camp is a stirring testament to the triumph of humanity against fascism, and of course, for Jews, much more. The recording of the original cantata, live, at a memorial held at Mauthausen in July 1995, in Greek, features the amazing voice of Maria Farantouri who first recorded the piece in 1995. Additional recordings were made in Hebrew, and then in English between 1995 and 1999. The CD concludes with remarks by Simon Wiesenthal, also recorded at the Memorial at Mauthausen in 1995.
Well, that's the bones--the where and when. The power of the music amazes. The versions are mixed so that the album opens with Hebrew, then Greek. When the English version of "Song of Songs" makes the lyrics comes on, reprising the Hebrew that opened the album, the familiarity of the music makes the words all the more powerful, "Beyond the bleak and frozen square / Above the yellow linen star / No heart will ever beat again / Because the beautiful have lost their way to paradise...." But this is not a sad album, despite the words. It is an affirmation that life is strong, and continues, and that humanity's spirit is unquenchable. Indeed, the yearning, the loss of god, are grounded in the more immediate, as the military march sounds of "When the war is over" chime in Hebrew, one last time, as the album concludes with the English version of the poem: "Oh girl with fearful eyes come listen to me / Oh girl with frozen hands please hear my yearning / Forget me not when this cruel war is truly over."

I am unbearably moved and strengthened by this album. The lithe, almost carefree flute of "The Fugitive", The shock of the opening "Song of Songs," first in Hebrew, is followed by the more forceful Greek version, and the singer's reprise of words first sung 30 years earlier, as the audience makes the connection and claps in recognition. The gentle arrangements of the English, contrasting the more forceful Greek and the span of art song--as if of folk songs set for stage--in the Hebrew arrangement. The different arrangements, voices, the different languages, all strengthen the core poetry and give the music even more power. The translations are superb. The closing "When the war is over in Hebrew, "Simkhat olam bo'i la-sha'ar" (Joy of the world come to the gateway) is perfect (even better than the English, I think--it makes me wonder if the English, somewhat less evocative, is translated from the Greek or from the Hebrew). The song first is song as more of a gentle love song, and then acquires power and near-operatic weight, countered, suddenly, by the words, in German, by Simon Wiesenthal. The words are translated in the liner notes:

... If we were ever to forget, repress or falsify what happened, our past would return to us over and again, unvanquished, and would prevent us and our descendants from building our future, in a way that is right and worthy of man.
I say this to you as someone who survived the death block of Mauthausen as by a miracle.

This is a vital album. A "must have". " (from:

Mikis Theodorakis- Mauthausen Trilogy - In Memoriam Of Liberation
(256 kbps, small cover art included)

VA - Befreit! Lieder und Texte nach dem 8. Mai

Victory Day or 9 May marks the capitulation of Nazi Germany to the Soviet Union in the Second World War. It became the end of the Great Patriotic War for the USSR, which lost about 25 million citizens in the four years of fighting. Victory Day was first inaugurated in the fifteen republics of the Soviet Union, following the signing of the surrender document late in the evening on 8 May 1945 (after midnight, thus on 9 May, by Moscow Time). The Soviet government announced the victory early on 9 May after the signing ceremony in Berlin.

Interestingly, until its 20th anniversary (May 9, 1965), Victory Day was not a major holiday, unlike, for instance, May 1, and was considered a work day. Apart from the anniversaries in 1965 and 1985, Victory Day celebrations in the Soviet Union did not feature a military parade. This tradition started in 1995.

In communist East Germany, 8 May was officially known and celebrated as "Liberation Day" and was a public holiday between 1950 and 1966, and again on the 40th anniversary in 1985. In 1975 a Soviet-style "Victory Day" was celebrated on the 9 May. Since 2002, the German state of Mecklenburg-Vorpommern has observed a commemoration day known as the "Day of Liberation from National Socialism, and the End of the Second World War".

The album "Befreit! Lieder und Texte nach dem 8. Mai" ("Free - songs and lyrics after May 8") reflects in many ways the historical events of the Liberation Day. It features artists like Konstantin Wecker, Peter Sodann, Rolf Hochhuth, Maurenbrecher and Diether Dehm.

VA - Befreit! Lieder und Texte nach dem 8. Mai
(256 kbps, front cover included)

Dienstag, 7. Mai 2019

Mas´ Hysteria - 14 Massive Soca Carnival Hits

Still no summer - so it´s time for some more soca...

This irresistibly sun-drenched compilation includes some soca tunes from one of the world´s biggest street parties - Mas´ or Carnival.

01. Superblue - Bacchanal Time
02. Duke - Soca Have Me Tu Tul Bay
03. Mighty Sparrow - The More The Merrier
04. Black Stalin - Sundar
05. Barnett 'Preacher' Henry - Jump Up And Wave
06. Calypso Rose - Ju Ju Warrior
07. Gabby - Boots
08. Colin Lucas - Oh She Cassette
09. Chris Garoia - Chutney Bacchanal
10. Roaring Lion - Netty Netty
11. Nigel Lewis - Poowah
12. Grynner - Don't Push Me Rosie
13. Iwer George - Yes Iwer
14. Crazy - Paul, Yer Mudder Cum

Mas´ Hysteria - 14 Massive Soca Carnival Hits
(320 kbps, front cover included)

Montag, 6. Mai 2019

Eric Burdon - Live in Denver, Ebbet s Fields (1974)

As the lead singer of the Animals, Eric Burdon was one of the British Invasion's most distinctive vocalists, with a searingly powerful blues-rock voice. When the first lineup of the group fell apart in 1966, Burdon kept the Animals' name going with various players for a few years. Usually billed as Eric Burdon & the Animals, the group was essentially Burdon's vehicle, which he used to purvey a far more psychedelic and less R&B-oriented vision. Occasionally he came up with a good second-division psychedelic hit, like "Sky Pilot"; more often, the music was indulgent, dating it almost immediately.

Burdon's real triumphs as a solo artist came at the beginning of the '70s, when he hooked up with a bunch of L.A. journeyman soul/funksters who became his backing band, War. Recording three albums' worth of material in the year or two that they were together, the Burdon/War records could ramble on interminably, and would have benefited from a lot of editing. But they contained some spacy funkadelia of real quality, especially their number three hit single "Spill the Wine," which was almost recorded as an afterthought in the midst of sessions dominated by exploratory jams. Eric Burdon & War were already big stars on record and stage when Burdon, for reasons unclear to almost everyone, quit the band in 1971. War defied expectations and became even bigger when left to their own devices; Burdon, after recording an album with veteran bluesman Jimmy Witherspoon, cut a series of generally desultory solo albums. He recorded off and on after that, at times with the Animals, but has never come close to reaching the heights of his work with the early Animals and War. Burdon was always a riveting live performer, though, and he continued to tour with various incarnations of the Animals and as a solo act, branching out as a painter and author as well, and working in the studio when it suited him.               

This Eric Burdon bootleg features an excellent and rare concert of a man at the top of his game. It was recorded at the famed club Ebbets Field in Denver, Colorado. This is an excellent concert in performance and sound quality. The Eric Burdon Band was touring in support of the superb 1974 "Sun Secrets" album. Eric previewed 2 songs from the forthcoming "Mirage" project which was not officially released until 2009. This was the tour just before Snuffy and Rabbit joined Eric's band and they recorded the excellent "Roxy Live" the following year featuring many songs targeted for Mirage.


1. Stop
2. When I Was Young
3. Ghetto Child
4. Sun Secrets
5. Jim Crow
6. House of the Rising Sun
7. It's My Life
8. Metropole

Eric Burdon - Live In Denver, Ebbet´s Fields (1974)
(320 kbps, cover art included)

Sonntag, 5. Mai 2019

Rebel Soca - When The Time Comes

Soca? Isn´t that the ultimate party music? If you close your eyes, you may see a dancefloor teeming with revelers who, hands in the air, gyrate ecstatically to the liquid pulse generated by a throbbing, hypnotic bass and on-the-four bass drum countered with off-center percussion accents. Racheting rhythm guitar and stabbing horns supercharge the beat even further, making hip-shaking, belly-rolling, waist-winding almost an involuntary act. But there is even more...

Literally, the term "soca" abbreviates "soul calypso" and came into currency during the 1970´s when calypso was streamlined in response to the disco-dance juggernaut spreading over the world. Calypso, of course, has had a long and venerable history in the Caribbean, with variants in nearly all English-speaking and some French-speaking islands. One can easily trace its origins to the 18th century but its roots stretch back to Africa. In many West African societies singers and poets have traditionaly been not only historians but also mouthpieces for the people. They speak, obliquely, through satire and parables and commentary on everyday events, to the leaders, who ignore such criticism and advice at their peril. In contrast to the smiling, tourist-pleasing image propaged during the 50s and 60s, the business of being a calypsonian was serious business. Although soca lyrics tend to be "party-hearty" celebrations of love and life, a significant percentage deal with more serious issues; calypso´s tradition of social commentary remains vital with today´s "Rebel Soca". A minority of culturally-conscious soca artist have adopted a pan-african perspecitve, incorporating elements of reggae, african music and other caribbean styles into their soca. "Rebel Soca" brings together some of the finest conscious soca tracks of the 70s and 80s which combine unbeatable dance rhythms and some of the sharpest political lyrics in world pop. Often their lyrics are confrontatinal, politically-oriented commentary - a focus for the concerns of oppressed people.


Side One

Afrika is Burning – Safi Abdullah
Spring Garden in Fire – Ras Iley
What About – Baron
Ring De Bell – Bro Resistance

Side Two

Hard Hard Hard – Black Stalin
When De Time Comes – Nelson
Can’t Find Me Brother – Red Plastic Bag
War Mongers – Johnny King

Rebel Soca - When The Time Comes
(mp3, 192 kbps, ca. 69 MB)

The Unknown Cases - The Masimbabele Mixes

"The Unknown Cases" was a german music project by Helmut Zerlett and Stefan Krachten.
Special Guest on the all-time-dj-track "Masimba Bele" was Reebob Kwaku Baah on vocals and percussion.

This 12 Inch features remixes of The Unknown Cases - Masimba Bele (now spelled Masimbabele). The release title appears in different spellings: "Masimbabele (All The Mixes 83-89)" on cover and disc, "Masim Babele -89" on cover, "The Masimbabele Mixes" on spine.


1 Masimbabele 89 (The Adrian Sherwood Remix) 8:52
2 Masimbabele 89 (The Adrian Sherwood Remix, Instrumental Version) 5:48
3 Masimbabele 85 (The Tom O'Leary Dub Mix) 3:42
4 Masimbabele 83 (The Original Version) 5:51

The Unknown Cases - The Masimbabele Mixes
(320 kbps, cover art included)

Samstag, 4. Mai 2019

Nagorny Karabach - Kleine Exkursion

"Nagorny Karabach" were the more dark part of the "Hamburger Schule". Martin Hermes, Ralf Lota Heydeck, Alexander Hoffmann, Stefan Schneider and Michael Trier played on this 1990/91 production so called "avantcorebeat".

They performed their great lyrics to a sound insprided by Suicide and other electro punk bands. And they did inspired cover versions of Kraftwerk´s "Radioaktivität" and "Als wär´s das letzte mal" by Deutsch-Amerikanische Freundschaft.

The cover of this What´s So Funny About-release used a part of a painting by Otto Dix.

Der Krieg ist aus4:13
Abgehackt (Der Ekel)3:20
Magic Mushrooms4:05
Kleine Exkursion8:20
Als wär's das...2:58
Sei schön3:35
Sweet Childness2:45
Ecce Homo4:57
Die Scharmützel mausern sich zum Feldzug6:29
Weisst du noch5:17

Nagorny Karabach - Kleine Exkursion
(256 kbps, cover art included)

Freitag, 3. Mai 2019

New Age Steppers - Massive Hits Vol. 1 (1994, On-U Sound)

The New Age Steppers were a twisted sort of punk/reggae supergroup organized by On-U Sound label head Adrian Sherwood in the early '80s. It included vocalists Ari Up (formerly of the Slits) and Mark Stewart (known for his work with the infamous Mafia) as well as Roots Radics drummer Style Scott and a handful of other studio musicians, with Sherwood himself doing that dubwise voodoo that he did so well at the mixing board. 

The ironically titled "Massive Hits, Vol. 1" draws on the band's first three releases, taking about half the material from New Age Steppers and Action Battlefield and putting those tracks together with all but two selections from Foundation Steppers to create a generous program and about as good an overview of the group's formative years as you could ask for. There's an early and drastically deconstructed version of "High Ideals and Crazy Dreams" (which would later be recorded in a far superior version by Strange Parcels) with Stewart on vocals, and a charmingly heartfelt and vocally amateurish rendition of the Junior Byles classic "Fade Away" performed by Ari Up. Bim Sherman makes an uncredited appearance on "Dreamers" and "Vice of My Enemies." But some of the collection's best moments are purely instrumental dub, such as an excellent remix of "Private Armies" and the coolly militant-sounding "Stabilizer." Avant roots reggae doesn't get any better than this.


1. Fade Away
2. State Assembly
3. High Ideals & Crazy Dreams
4. Private Army Dub
5. My Whole World
6. Observe Life
7. Problems Pt. 1 +2
8. Nuclear Zulu
9. Memories
10. 5 Dog Race
11. Misplaced Love
12. Dreamers
13. Stabilizer
14. Vice Of My Enemies
15. Mandarin

New Age Steppers - Massive Hits Vol. 1 (1994)
(192 kbps, cover art included)

Mittwoch, 1. Mai 2019

VA - Theobald Tigers Trichter - Aus Kurt Tucholskys Plattenschrank

"... From Kurt Tucholsky's record cabinet... Do you know Tucholsky? Yes, you know Tucholsky almost completely. Everyone has 'his' Tucholsky. We found ours too, true to the discological maxim: 'Play me your records - and I'll tell you, we are you'! - Seriously: Did you know that the lawyer, poet, journalist (and, and, and, and...) not only had a gramophone, but loved it very much?

This prompted us to take a deeper look into his works and to follow the - mostly very concrete - hints acoustically. This is how we open Tucholsky's virtual record cabinet, at least in extracts. Enjoy the multimedia and follow the recordings and the associated quotations with your ears reading. This creates a special image of hearing and life. You will get to know 'your' Tucholsky..."


1. Nola
2. Jonny spielt auf (Leb' wohl/Potpurri)
3. Jonny spielt auf (Leb' wohl/Potpurri)
4. Miss Annabelle Lee
5. Hermann heesst er
6. Oh! Lucindy
7. Lucindy
8. Why Are There Tears In Your Eyes?
9. Do-Do-Do
10. Cecilia
11. Virginia
12. Wo kommen die Löcher im Käse her?
13. Mutterns Hände
14. Wenn der Bräut'gam mit der Braut
15. Dirndl-Lied
16. Rudolf Nelson spielt Rudolf Nelson
17. Rudolf Nelson spielt Rudolf Nelson
18. Katharin aus Krotoschin
19. Das gefährliche Alter
20. Grossstadt Song
21. Mir hab'n se als jeheilt entlassen
22. Liebling aller Welt, Dolores
23. Heut hab ich Premiere
24. Wagneria

VA - Theobald Tigers Trichter - Aus Kurt Tucholskys Plattenschrank
(320 kbps, cover art included)

Dimitri Shostakovich - Symphonies Nos. 1 and 3 ("The First Of May")

Let´s celebrate the International Workers Day with a recording of Dimitri Shostakovich´s Symphony No. 3, called "The First of May". Shostakovich wrote this symphony in 1929, the recording presents the conductor Ladislav Slovák, the Czecho-Slovak Radio Symphony Orchestra (Bratislava) and the Slovak Philharmonic Chorus and was done in Bratislava in 1986 and 1990.

The Symphony No. 3 in E flat major (Opus 20; subtitled First of May) was first performed by the Leningrad Philharmonic Orchestra and Academy Capella Choir under Aleksandr Gauk on 21 January 1930.

Similar to the Second Symphony, it is an experimental choral symphony in four continuous sections:
Allegretto - Allegro
Moderato: 'V pérvoye, Pérvoye máya'

The symphony lasts around 25 to 30 minutes. The finale sets a text by Semyon Isaakovich Kirsanov praising May Day and the revolution.

Across the globe people celebrate the International Worker’s Day on the first of May.
"For many people it comes as a bit of a surprise that May Day doesn’t have its origins in, say, revolutionary Russia, the Soviet Union or China – what with all those hideous military parades on Red Square and Tiananmen Square of rows and rows of rocketry filing past gigantic banners of Marx, Lenin and Mao.


The celebration of the first of May as International Workers’ Day, in fact, goes back to the United States in the 19th Century and involves several high-profile anarchists. In the late 1800′s there was a widespread movement for the establishment of an 8-hour working day which coincided with massive repression of workers by authorities, factory owners and the police. At a workers’ rally in Chicago’s Haymarket Square on the 4th of May 1886 a bomb was thrown at police.


Who threw the bomb was never discovered, but police used the incident to charge eight prominent anarchists with the crime, four of which were subsequently hanged." (from:

Dimitri Shostakovich - Symphonies Nos. 1 and 3 ("The First Of May")
(256 kbps, cover art included)

Dienstag, 30. April 2019

Ray Charles - At Newport (1958)

Ray Charles was the musician most responsible for developing soul music. Singers like Sam Cooke and Jackie Wilson also did a great deal to pioneer the form, but Charles did even more to devise a new form of black pop by merging '50s R&B with gospel-powered vocals, adding plenty of flavor from contemporary jazz, blues, and (in the '60s) country. Then there was his singing; his style was among the most emotional and easily identifiable of any 20th century performer, up there with the likes of Elvis and Billie Holiday. He was also a superb keyboard player, arranger, and bandleader. The brilliance of his 1950s and '60s work, however, can't obscure the fact that he made few classic tracks after the mid-'60s, though he recorded often and performed until the year before his death.
For his appearance at the Newport Jazz Festival on July 5, 1958, Ray Charles pulled out all the stops, performing raucous versions of "The Right Time," "I Got a Woman," and "Talkin' 'Bout You."

01. The Right Time (N. Brown, O. Cadena, L. Herman)
02. In A Little Spanish Town (M. Wayne, S. Lewis, J. Young)
03. I Got A Woman (R. Charles)
04. Blues Waltz (R. Charles)
05. Hot Rod (R. Charles)
06. Talkin' 'Bout You (R. Charles)
07. Sherry (B. R. Crawford Jr)
08. A Fool For You (R. Charles)

Ray Charles - At Newport (1958)
(320 kbps, cover art included)

VA - Taking Liberties (1994)

The complete title of this long deleted double CD is: "Unity - Be Aware - Fight Back - Taking Liberties - The Criminal Justice And Public Order Act 1994 Is The Death Of Democracy".

The album features exclusive tracks and mixes compiled in 1994 to aid the fight against the civil-liberty threating Criminal Justice Bill that was being passed in the UK back then. All proceeds went to Liberty, Squall, Advance Party & The Freedom Network.

It includes a rare Aphex Twin track, under the Caustic Window alias and a stunning unreleased 14 minutes mix of Blue Room by The Orb, in fact all of the 16 mixes are exclusive to this album. As with the 'Unity' compilation released on t´Totem Records, the cover artwork is by Jamie Reid, the famed artist who designed the "Never Mind The Bollocks" sleeve.

01. Dreadzone - Fight The Power
02. Orbital - Are We Here (Rabbit In The Moon Edit)
03. Test Dept - Critical Frame Of Mind (Criminal Edit)
04. System 7 - Depth Disco (Live)
05. Caustic Window - Phlaps
06. Loop Guru - The 3rd Chamber (Part 7 - Kalahari Dawn)
07. Tribal Drift - Land Rights And Birth Rights
08. Fun-Da-Mental - Mr Bubbleman

01. The Orb - Blue Room (Blue Lamp Mix)
02. Trans-Global Underground - Voyager (Trans Migration Mix)
03. Ultramarine - Trace Element
04. Galliano - Travels The Road (Junglist Dub Mix)
05. The Drum Club - Drums Are Dangerous(Stand and Fight Mix)
06. Zion Train - European Convention Dub
07. The Shamen - Persephone's Quest
08. The Prodigy - Their Law (Feat. P.W.E.I.)

VA - Taking Liberties (1994) CD 1
VA - Taking Liberties (1994) CD 2
(192 kbps, cover art included)

Le Chant Des Ouvriers - Ballades et Complaintes Syndicalistes

...and here´s this years tribute for tomorrow´s Worker´s Day.

"Le Chant des Ouvriers" is a dobule album by Marcel Mouloudji, Francesca Solleville, Les Octaves, Georges Coulonges, A.Wolfromm, Evelyne Gellert and the "Ensemble madrigal de l'ile de France". It was released in 1972 and collects french interpretations of political songs from different countries like France, Spain, USA, Great Britain, Soviet Union, Chile, Germany, Cuba, Italy and Poland.


Album 1
Side A

* Frère... Entends-tu ?... (Trad. France) par Marcel Mouloudji.
* Sans pain et travailler (Trad. Espagne) par Les Octaves.
* Bella Ciao (Trad. Italie) par Francesca Solleville.
* Le curieux satisfait (J.F. Piron) par Marcel Mouloudji.
* Le train du syndicat (Trad. USA) par Les Octaves.
* Mineur sois solidaire (Trad. USA) par Francesca Solleville.

Side B

* Angleterre debout (Trad. Angleterre) par Marcel Mouloudji.
* La femme du mineur (P. Koulak Sezian) par Les Octaves.
* Nous ne bougerons pas (d'après "We Shall Not Be Moved") (1972) (trad. USA) par Les Octaves.
* Vous êtes tombés, camarades (Trad. soviétique) par A. Wolfromm.
* Casey Jones (Trad. USA) par Les Octaves.
* Bouffe-la (Trad. Espagne) par Francesca Solleville.

Album 2
Side A

* Le chant de la pampa (Trad. Chili) par Francesca Solleville.
* Nous tournerons (Trad. USA) par Les Octaves.
* La varsovienne (Trad. Pologne) par A. Wolfromm.
* Bandiera rossa (Trad. Italie) par Francesca Solleville.
* Appel du Komintern (Trad. Allemagne) par A. Wolfromm.
* La corvée d'eau (Paul Vaillant-Couturier/Georges Auric) par Marcel Mouloudji.

Side B

* Le chant des marais (Trad. Allemagne) par Marcel Mouloudji.
* L'armée de l'Ebre (Trad. Italie) par Francesca Solleville.
* Questions et réponses (Trad. Angleterre) par Les Octaves.
* Guantanamera (Trad. Cuba) par Marcel Mouloudji.
* Le chômage (G. Coulonges/Francis Lemarque) par Marcel Mouloudji.
* Le front des travailleurs (B. Bretch/H. Eisler) par Francesca Solleville.

Le Chant Des Ouvriers - Ballades et Complaintes Syndicalistes
(160 kbps - please post if anyone has got a higher bitrate! - , cover art included)

VA - Eat The Rich - Featuring The Songs Of Motorhead

Tomorrow is the International Workers' Day - EAT THE RICH!

For those who want to read more about the origins of this day:

"In the late nineteenth century, the working class was in constant struggle to gain the 8-hour work day. Working conditions were severe and it was quite common to work 10 to 16 hour days in unsafe conditions. Death and injury were commonplace at many work places and inspired such books as Upton Sinclair's The Jungle and Jack London's The Iron Heel. As early as the 1860's, working people agitated to shorten the workday without a cut in pay, but it wasn't until the late 1880's that organized labor was able to garner enough strength to declare the 8-hour workday. This proclamation was without consent of employers, yet demanded by many of the working class.

At this time, socialism was a new and attractive idea to working people, many of whom were drawn to its ideology of working class control over the production and distribution of all goods and services. Workers had seen first-hand that Capitalism benefited only their bosses, trading workers' lives for profit. Thousands of men, women and children were dying needlessly every year in the workplace, with life expectancy as low as their early twenties in some industries, and little hope but death of rising out of their destitution. Socialism offered another option.

A variety of socialist organizations sprung up throughout the later half of the 19th century, ranging from political parties to choir groups. In fact, many socialists were elected into governmental office by their constituency. But again, many of these socialists were ham-strung by the political process which was so evidently controlled by big business and the bi-partisan political machine. Tens of thousands of socialists broke ranks from their parties, rebuffed the entire political process, which was seen as nothing more than protection for the wealthy, and created anarchist groups throughout the country. Literally thousands of working people embraced the ideals of anarchism, which sought to put an end to all hierarchical structures (including government), emphasized worker controlled industry, and valued direct action over the bureaucratic political process. It is inaccurate to say that labor unions were "taken over" by anarchists and socialists, but rather anarchists and socialist made up the labor unions.

At its national convention in Chicago, held in 1884, the Federation of Organized Trades and Labor Unions (which later became the American Federation of Labor), proclaimed that "eight hours shall constitute a legal day's labor from and after May 1, 1886." The following year, the FOTLU, backed by many Knights of Labor locals, reiterated their proclamation stating that it would be supported by strikes and demonstrations. At first, most radicals and anarchists regarded this demand as too reformist, failing to strike "at the root of the evil." A year before the Haymarket Massacre, Samuel Fielden pointed out in the anarchist newspaper, The Alarm, that "whether a man works eight hours a day or ten hours a day, he is still a slave."

Despite the misgivings of many of the anarchists, an estimated quarter million workers in the Chicago area became directly involved in the crusade to implement the eight hour work day, including the Trades and Labor Assembly, the Socialistic Labor Party and local Knights of Labor. As more and more of the workforce mobilized against the employers, these radicals conceded to fight for the 8-hour day, realizing that "the tide of opinion and determination of most wage-workers was set in this direction." With the involvement of the anarchists, there seemed to be an infusion of greater issues than the 8-hour day. There grew a sense of a greater social revolution beyond the more immediate gains of shortened hours, but a drastic change in the economic structure of capitalism.
In a proclamation printed just before May 1, 1886, one publisher appealed to working people with this plea:
  • Workingmen to Arms!
  • War to the Palace, Peace to the Cottage, and Death to LUXURIOUS IDLENESS.
  • The wage system is the only cause of the World's misery. It is supported by the rich classes, and to destroy it, they must be either made to work or DIE.
  • One pound of DYNAMITE is better than a bushel of BALLOTS!
  • MAKE YOUR DEMAND FOR EIGHT HOURS with weapons in your hands to meet the capitalistic bloodhounds, police, and militia in proper manner.
Not surprisingly the entire city was prepared for mass bloodshed, reminiscent of the railroad strike a decade earlier when police and soldiers gunned down hundreds of striking workers. On May 1, 1886, more than 300,000 workers in 13,000 businesses across the United States walked off their jobs in the first May Day celebration in history. In Chicago, the epicenter for the 8-hour day agitators, 40,000 went out on strike with the anarchists in the forefront of the public's eye. With their fiery speeches and revolutionary ideology of direct action, anarchists and anarchism became respected and embraced by the working people and despised by the capitalists.

The names of many - Albert Parsons, Johann Most, August Spies and Louis Lingg - became household words in Chicago and throughout the country. Parades, bands and tens of thousands of demonstrators in the streets exemplified the workers' strength and unity, yet didn't become violent as the newspapers and authorities predicted.

More and more workers continued to walk off their jobs until the numbers swelled to nearly 100,000, yet peace prevailed. It was not until two days later, May 3, 1886, that violence broke out at the McCormick Reaper Works between police and strikers.

For six months, armed Pinkerton agents and the police harassed and beat locked-out steelworkers as they picketed. Most of these workers belonged to the "anarchist-dominated" Metal Workers' Union. During a speech near the McCormick plant, some two hundred demonstrators joined the steelworkers on the picket line. Beatings with police clubs escalated into rock throwing by the strikers which the police responded to with gunfire. At least two strikers were killed and an unknown number were wounded.

Full of rage, a public meeting was called by some of the anarchists for the following day in Haymarket Square to discuss the police brutality. Due to bad weather and short notice, only about 3000 of the tens of thousands of people showed up from the day before. This affair included families with children and the mayor of Chicago himself. Later, the mayor would testify that the crowd remained calm and orderly and that speaker August Spies made "no suggestion... for immediate use of force or violence toward any person..."

As the speech wound down, two detectives rushed to the main body of police, reporting that a speaker was using inflammatory language, inciting the police to march on the speakers' wagon. As the police began to disperse the already thinning crowd, a bomb was thrown into the police ranks. No one knows who threw the bomb, but speculations varied from blaming any one of the anarchists, to an agent provocateur working for the police.

Enraged, the police fired into the crowd. The exact number of civilians killed or wounded was never determined, but an estimated seven or eight civilians died, and up to forty were wounded. One officer died immediately and another seven died in the following weeks. Later evidence indicated that only one of the police deaths could be attributed to the bomb and that all the other police fatalities had or could have had been due to their own indiscriminate gun fire. Aside from the bomb thrower, who was never identified, it was the police, not the anarchists, who perpetrated the violence.

Eight anarchists - Albert Parsons, August Spies, Samuel Fielden, Oscar Neebe, Michael Schwab, George Engel, Adolph Fischer and Louis Lingg - were arrested and convicted of murder, though only three were even present at Haymarket and those three were in full view of all when the bombing occurred. The jury in their trial was comprised of business leaders in a gross mockery of justice similar to the Sacco-Vanzetti case thirty years later, or the trials of AIM and Black Panther members in the seventies. The entire world watched as these eight organizers were convicted, not for their actions, of which all of were innocent, but for their political and social beliefs. On November 11, 1887, after many failed appeals, Parsons, Spies, Engel and Fisher were hung to death. Louis Lingg, in his final protest of the state's claim of authority and punishment, took his own life the night before with an explosive device in his mouth.

The remaining organizers, Fielden, Neebe and Schwab, were pardoned six years later by Governor Altgeld, who publicly lambasted the judge on a travesty of justice. Immediately after the Haymarket Massacre, big business and government conducted what some say was the very first "Red Scare" in this country. Spun by mainstream media, anarchism became synonymous with bomb throwing and socialism became un-American. The common image of an anarchist became a bearded, eastern European immigrant with a bomb in one hand and a dagger in the other.

Today we see tens of thousands of activists embracing the ideals of the Haymarket Martyrs and those who established May Day as an International Workers' Day. Ironically, May Day is an official holiday in 66 countries and unofficially celebrated in many more, but rarely is it recognized in this country where it began.

Over one hundred years have passed since that first May Day. In the earlier part of the 20th century, the US government tried to curb the celebration and further wipe it from the public's memory by establishing "Law and Order Day" on May 1. We can draw many parallels between the events of 1886 and today. We still have locked out steelworkers struggling for justice. We still have voices of freedom behind bars as in the cases of Mumia Abu Jamal and Leonard Peltier. We still had the ability to mobilize tens of thousands of people in the streets of a major city to proclaim "THIS IS WHAT DEMOCRACY LOOKS LIKE!" at the WTO and FTAA demonstrations.

Words stronger than any I could write are engraved on the Haymarket Monument:
Truly, history has a lot to teach us about the roots of our radicalism. When we remember that people were shot so we could have the 8-hour day; if we acknowledge that homes with families in them were burned to the ground so we could have Saturday as part of the weekend; when we recall 8-year old victims of industrial accidents who marched in the streets protesting working conditions and child labor only to be beat down by the police and company thugs, we understand that our current condition cannot be taken for granted - people fought for the rights and dignities we enjoy today, and there is still a lot more to fight for. The sacrifices of so many people can not be forgotten or we'll end up fighting for those same gains all over again. This is why we celebrate May Day."



MotörheadEat The Rich3:40
Simon BrintTerrorists1:29
MotörheadBuilt For Speed4:50
Danny EcclestonNosher In The Bar1:00
MotörheadNothing Up My Sleeve3:10
Simon BrintArriba Salsa2:14
MotörheadDoctor Rock3:36
MotörheadOn The Road (Live)4:55
LannahPistol In My Pockets5:37
Simon BrintCar Approach1:00
Danny EcclestonEnd Titles Theme2:14

VA - Eat The Rich - Featuring The Songs Of Motorhead
(256 kbps, cover art included)