The main focus for Aufwind (Up-current) is Eastern European Jewish and Yiddish music.Their repertoire reveals considerable originality, remarkable disquisition and inspiring musicianship.
The current line-up comprises Jan Hermerschmidt (vocals, clarinet), Claudia Koch (vocals, violin, viola), Hardy Reich (vocals, mandolin, guitar), Andreas Rohde (vocals, bandoneon, guitar) - the last three of whom fouded Aufwind in 1984 - and Heiko Rötzscher (bass).
The album "Gassn Singer" was recorded an mixed in September 1991 at Funkhaus Nalepastraße, Berlin.
Tracklist:
1. A GLESELE LECHAJIM
2. DEM SEJDNS NIGN
3. WOSS DERGEJSSTU MIR DI JORN
4. DOLJE
5. DOJNA/SIRBA
6. EJNSAM
7. HORA/LEBEDIK UN FREJLECH
8. LEJBKE
9. JASCH/RUSSIAN SCHER
10. UNTER BEJMER
11. SKOCNE
12. GASSN SINGER
Aufwind - Gassn Singer - Jiddische Lieder & Klesmermusik
(320 kbps, front cover included)
Donnerstag, 28. Februar 2019
Montag, 25. Februar 2019
Lightnin' Hopkins & Sonny Terry - Last Night Blues (1960)

Terry's contributions really add a lot to these tunes, threading a high, lonesome whine on the downtempo tunes and a chugging, propulsive shuffle on the faster ones. Hopkins is, of course, one of the kings of the blues boogie, but he's equally compelling on the slow blues, and he never missteps throughout this fine set. All told, this dynamite disc represents what the blues should be: stripped-down, soulful, and full of truth.
"...there's a relaxed intimacy and trust here born of musicians sharing a similar vision and experience in the blues....lyrically, Hopkins' ability to poetically improvise without noticeable limits keeps each song interesting..." ~ Living Blues - Jan/Feb 93, pp.84-85
Tracklist:
A1 | Rocky Mountain | |
A2 | Got To Move You Baby | |
A3 | So Sorry To Leave You | |
A4 | Take A Trip With Me | |
B1 | Last Night Blues | |
B2 | Lightnin's Stroke | |
B3 | Hard To Love A Woman | |
B4 | Conversation Blues |
Lightnin' Hopkins & Sonny Terry - Last Night Blues (1960)
(320 kbps, cover art included)
Otto Reutter - In 50 Jahres ist alles vorbei

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 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 with an account that recorded millions and go back to Gardelegen. Driven on by his own ambition and the need to earn money in insecure times because he was now husband Reutter created his „work of his old times“ from the year 1919 on and by doing this he suffered from indefatigable helplessness. 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 - In 50 Jahres ist alles vorbei (192 kbps)
Lightnin´ Hopkins - Lightnin´ In New York (1960)

This album features the classic bluesman Lightnin' Hopkins on eight unaccompanied solos, not only singing and playing guitar but taking some rare solos on piano (including on "Lightnin's Piano Boogie"). Hopkins recorded a lot of albums in the 1960s and all are quite listenable even if most are not essential; he did tend to ramble at times! This Candid release is one of his better sets of the period, highlighted by "Take It Easy," "Mighty Crazy," and "Mister Charlie."
The tantalizing thing is, there's so much more from this session. "Lightnin' in New York" features tremendously fun and entertaining tracks like "Mighty Crazy" and the definitive version of "Mister Charlie", as well as "Trouble Blues," a searingly painful blues that is among the best songs Lightnin' ever recorded. The problem? There are six songs from this Nov. 15, 1960 session that are not here. These cuts (all good) appeared on Mosaic's "The Complete Candid Otis Spann/Lightnin' Hopkins Sessions" a three-disc masterpiece that features two prime discs of blues pianist Spann and one of Hopkins (14 tracks!). That Hopkins disc in its entirety might be his absolute finest. That limited-edition box set is no longer available, but if you find it used or up for auction, jump at it. Anyway, it would have been nice if, on this "Lightnin' in New York" reissue, they had been able to add those bonus cuts. Why not? Anyway, pretend you're not missing anything and enjoy some fabulous Lightnin' Hopkins music.
Lightnin´ Hopkins - Lightnin´ In New York (1960)
(320 kbps, cover art included)
Claire Waldoff - Wer schmeißt denn da mit Lehm

Being the 11th child out of sixteen made it financially impossible for Claire Waldoff to study medicine, which was her wish. So she decided to go for drama instead. At the age of 19, she got her first role in Bad Pyrmont and Kattowitz. In 1907 she went to Berlin, and focused on cabaret, where she became a star. Claire characterized the last decade of the German Emperor Wilhelm II and the beginning roaring '20s in Berlin. She specialized herself in German "Gassenhauer", "Schlager" and chansons. Her stage performance was characterized by her maverick appearance in wearing a tie, shirt and a rust red bob. She also smoked and cursed on stage. Her most famous songs in the early part of her career were "Morgens willste nicht und abends kannste nicht" [At Morning You Won't, and in the Evening You Can't] (1910), "’ne dufte Stadt ist mein Berlin" [A Groovy City is My Berlin], "Nach meine Beene is ja janz Berlin verrückt" [Entire Berlin Is Crazy 'bout My Legs] (both 1911), "Hermann heeßt er" [He's Called Hermann] (1913) or "Jott, wat sind die Männer dumm" [Gee, How Stupid Men Can Be] (1917). These titles became favorite turns of expression for the following decades. Her height of popularity was in the mid 1920s. She appeared on stage at two of the biggest cabarets in town: Scala and Wintergarten. She toured through Germany and stood on stage with young Marlene Dietrich.
But another fact made her a role model for modern people these times: together with her partner in life she was the epicenter of lesbian Berlin. In political songs she postulated "Raus mir den Männern aus dem Reichstag" [Get Men Out of the Reichstag] (1926) and played a central role in "Zille's Berlin" performing songs like "Das Lied vom Vater Zille (= Sein Milljöh)" [Song of Father Zille (= His Milieu)](1930).
In 1933, the rising National Socialism created hard times for Claire Waldoff. First, she was banned because she performed in front of communists. Parting the "Reichskulturkammer" (an institution founded by Joseph Goebbels to bring German culture into line with national socialistic aspects) ended it. In 1936, the minister of propaganda, Joseph Goebbels, prohibited Waldoff to perform at The Scala. She performed in front of German soldiers but found less and less engagements.
After the war she couldn't continue her career in Germany. The monetary reform of 1948 cost her all her savings and she was impoverished. The magistrate of Berlin granted a pension of honor to Waldoff for her 70th bitrhday. Claire Waldoff died in 1957 due to an apoplexy. It was her last wish to get buried together with her life companion Olga von Roeder. Her wish was fulfilled, and she lies in von Roeder's family grave at Pragfriedhof in Stuttgart.
Claire Waldoff - Wer scmeißt denn da mit Lehm
(192 kbps, full cover artwork included)
African Renaissance - Volume 3 - South Sotoh - Tswana
Here´s volume 3 of this wonderful series of historic recordings from the archives of the South African Broadcasting Corporation, recorded between 1959 and 1994.

The mus of Basotho is as diverse as that of the Batswana, with whom they share a similar language. The difference is slight, especially the pronunciation of words. The traditions are motly similar, as are the styles both traditional and modern. Like all african music Basotho were affected by urbanisation as well as the church. The school system also introduced choral music and Basotho went on to produce some of the best composers of this genre.
Tswana music is pretty close to that of the Basotho since the languages are virtually the same. Like Zulu and Sotho music, the Tswana also depeloped their music with the advent of urbanisation and christianity. Traditional music was the main force until the missionaries came to South Africa.
African Renaissance - Volume 3 - pt.1
African Renaissance - Volume 3 - pt. 2
(192 kbps, mp3)

The mus of Basotho is as diverse as that of the Batswana, with whom they share a similar language. The difference is slight, especially the pronunciation of words. The traditions are motly similar, as are the styles both traditional and modern. Like all african music Basotho were affected by urbanisation as well as the church. The school system also introduced choral music and Basotho went on to produce some of the best composers of this genre.
Tswana music is pretty close to that of the Basotho since the languages are virtually the same. Like Zulu and Sotho music, the Tswana also depeloped their music with the advent of urbanisation and christianity. Traditional music was the main force until the missionaries came to South Africa.
African Renaissance - Volume 3 - pt.1
African Renaissance - Volume 3 - pt. 2
(192 kbps, mp3)
Samstag, 23. Februar 2019
Nina Simone - Little Girl Blue (1957)
"Little Girl Blue", released in 1957, was Nina Simone's first recording, originally issued on the Bethlehem label. Backed by bassist Jimmy Bond and Albert "Tootie" Heath, it showcases her ballad voice as one of mystery and sensuality and showcases her up-tempo jazz style with authority and an enigmatic down-home feel that is nonetheless elegant. The album also introduced a fine jazz pianist.
Simone was a solid improviser who never strayed far from the blues. Check the opener, her reading of Duke Ellington's "Mood Indigo," which finger-pops and swings while keeping the phrasing deep-blue. It is contrasted immediately with one of the - if not the - definitive reads of Willard Robison's steamy leave-your-lover ballad "Don't Smoke in Bed." The title track, written by Rodgers & Hart, features "Good King Wenceslas" as a classical prelude to one of the most beautiful pop ballads ever written. It is followed immediately by the funky swing in "Love Me or Leave Me" with a smoking little piano solo in the bridge where Bach meets Horace Silver and Bobby Timmons.
It's also interesting to note that while this was her first recording, the record's grooves evidence an artist who arrives fully formed; many of the traits Simone displayed throughout her career as not only a vocalist and pianist but as an arranger are put on first notice here. "My Baby Just Cares for Me" has a stride shuffle that is extrapolated on in the piano break. Her instrumental and improvising skills are put to good use on Tadd Dameron's "Good Bait," which is transformed into something classical from its original bebop intent. "You'll Never Walk Alone" feels more like some regal gospel song than the Rodgers & Hammerstein show tune it was. Of course, one of Simone's signature tunes was her version of "I Loves You, Porgy," which appears here for the first time and was released as a single.
Her own "Central Park Blues" is one of the finest jazz tunes here, and it is followed with yet another side of Simone's diversity in her beautiful take on the folk-gospel tune "He's Got the Whole World in His Hands," with quiet and determined dignity and drama. Another of her instrumentals compositions, "African Mailman," struts proud with deep Afro-Caribbean roots and rhythms.
Tracklist:
01. Mood Indigo
02. Don't Smoke In Bed 03. He Needs Me
04. Little Girl Blue
05. Love Me Or Leave
06. My
07. Good Bait
08. Plain Old Ring
09. You'll Never Walk Alone
10. I Loves You Porgy
11. Central Park Blues
Bonus tracks:
12. He's Got The Whole World In His Hands
13. For All We Know
14. African Mailman
Nina Simone - Little Girl Blue (1957)
(320 kbps, cover art included)
Twinkle Brothers - Free Africa

Grant plays drums and sings from deep in his chest in a clear, resonant baritone voice, while various other band members contribute tight, soaring harmonies. During this period, the Twinkle Brothers had one of the few truly unique ensemble sounds in reggae music, and this collection is an excellent introduction to their art.
Tracklist:
I Don't Want To Be Lonely Anymore | 4:10 |
Free Africa | 4:46 |
Love | 4:27 |
I Love You So | 3:28 |
Gone Already | 3:03 |
Solid As A Rock | 4:40 |
Come Home | 3:29 |
Shu Be Dup | 3:05 |
Patoo | 3:22 |
Never Get Burn | 3:24 |
Dread In The Ghetto | 3:48 |
Watch The Hypocrites | 3:35 |
Jahoviah | 3:57 |
Since I Through Away The Comb | 2:58 |
One Head | 3:44 |
Free Us | 3:44 |
Twinkle Brothers - Free Africa
(192 kbps, cover art included)
Fela Kuti & The Africa 70 - Gentleman (1973)

When the great tenor saxophone player Igo Chico left the Africa 70 organization in 1973, Fela Kuti declared he would be the replacement. So in addition to bandleader, soothsayer, and organ player, Fela picked up the horn and learned to play it quite quickly - even developing a certain personal voice with it. To show off that fact, "Gentleman" gets rolling with a loose improvisatory solo saxophone performance that Tony Allen eventually pats along with before the entire band drops in with classic Afro-beat magnificence.
"Gentleman" is also a great example of Fela's directed wit at the post-colonial West African sociopolitical state of affairs. His focus is on the Africans that still had a colonial mentality after the Brits were gone and then parallels that life with his own. He wonders why his fellow Africans would wear so much clothing in the African heat: "I know what to wear but my friend don't know" and also points out that "I am not a gentleman like that!/I be Africa man original." To support "Gentleman," the B-side features equally hot jazzy numbers, "Fefe Naa Efe" and "Igbe," making this an absolute must-have release.
Tracklist:
A1 Gentleman
B1 Igbe
B2 Fe Fe Ne Eye Fe
Fela Kuti - Gentleman (1973)
(320 kbps, cover art included)
Freitag, 22. Februar 2019
Paul Robeson – Ol’ Man River (1990)
Paul Leroy Robeson (April 9, 1898 – January 23, 1976) was an African-American concert singer (bass-baritone), recording artist, athlete and actor who became noted for his political radicalism and activism in the civil rights movement. The son of an escaped slave, Robeson was the first major concert star to popularize the performance of Negro spirituals and was the first black actor of the 20th century to portray Shakespeare's Othello in a production with an all white cast.
A nationally renowned football player from 1917 to the early 1920s, Robeson was an All-American athlete, and Phi Beta Kappa Society laureate during his years at Rutgers University. In 1923, Robeson drifted into amateur theater work and within a decade he had become an international star of stage, screen, radio and film. Robeson went on to be a recipient of the NAACP's Spingarn Medal, the Stalin Peace Prize and of honorary memberships in over half a dozen trade unions. James Earl Jones, Sidney Poitier and Harry Belafonte have cited Robeson's lead film roles as being the first to display dignity for black actors and pride in African heritage. Though one of the most internationally famous people of the 20th century, blacklisting during the Cold War, has nearly erased Robeson from mainstream interpretations of history.
At the height of his career, Paul Robeson chose to become primarily a political artist. In 1950, Robeson's passport was revoked under the McCarran Act over his work in the anti-imperialism movement and what the U.S. State Department called Robeson's "frequent criticism while abroad of the treatment of blacks in the US." Under heavy and daily surveillance by both the FBI and the CIA and publicly condemned for his beliefs, Robeson's income fell dramatically and he was blacklisted from performing on stage, screen, radio and television. Robeson's right to travel was restored in 1958, but his already faltering health broke down under controversial circumstances in 1963. By 1965, he was forced into permanent retirement. He spent his final years in Philadelphia, Pennsylvania, unapologetic about his political views and career. Advocates of Robeson's legacy have restored his name to history books and sports records, honoring his memory with posthumous recognitions.
Here´s a compilation named after one of his most famous songs, "Ol´ Man River", released in 1990.
Tracks:
01 – Carry Me Back To Old Virginny/Round The Bend Of The Road/River, Stay ‘Way From My Door
02 – Swing Low, Sweet Chariot
03 – Blue Prelude
04 – My Old Kentucky Home
05 – The Old Ark’s A-Moving
06 – Got The South In My Soul
07 – Go Down, Moses
08 – I Stood On The River
09 – The Folks I Used To Know
10 – Scarecrow
11 – Piccaninny Shoes
12 – Shenandoa’
13 – I Want To Be Ready
14 – Wagon Wheels
15 – Joshua Fit The Battle Of Jericho
16 – So Shy
17 – Peter, Go Ring-A Dem Bells
18 – I Ain’t Lazy, I’m Just Dreamin’
19 – Mammy’s Little Kinky Headed Boy
20 – Roll The Chariot Along
21 – Hail The Crown/I Got A Robe/Oh Lord, I Done What You Told Me To Do/The Gospel Train/The Heaven Bells Are Ringin’/I’ll Hear The Trumpet Sound/Walk Together, Children
22 – Ol’ Man River
Paul Robeson - Ol´ Man River (1990)
(320 kbps, small front cover included)
Albert Ayler - Goin' Home (1964)

Ayler plays tenor and soprano saxophones on "Swing Low, Sweet Chariot," "Deep River," "Goin Home," "Down by the Riverside," "When the Saints Go Marchin In," and "Nobody Knows the Trouble I've Seen." These traditional compositions are treated with reverence and a lack of improvisation, played in a quietly passionate but respectful manner. They reveal a sensitivity that was obscured with the emotionally charged tenor screeching of the Ayler originals that were also recorded at this session: "Witches and Devils," "Spirits," "Holy, Holy," and "Saints."
Black Lion reissued "Goin' Home" with double takes of "Down by the Riverside," "Ol' Man River," and "Swing Low, Sweet Chariot." The "Goin' Home" rhythm section is held together by the gospel-influenced piano style of Call Cobbs. This was the first time the saxophonist had played with Cobbs, who, like Ayler, was from Cleveland and had recently moved to New York. Free jazz stalwarts Henry Grimes' bass and Sunny Murray's drums rounded out the proceedings, following Ayler and Cobbs lead, sounding more accessible than they had on previous recordings.
While "Goin' Home" and "Witches and Devils" haven't been released together on one compact disc, obtaining both and playing them back to back makes for an amazing comparison in moods and styles.
Tracklist:
1 | Goin' Home | 4:26 |
2 | Ol' Man River (Take 2) | 5:25 |
3 | Down By The Riverside (Take 6) | 4:39 |
4 | Swing Low, Sweet Chariot (Take 3) | 4:30 |
5 | Deep River | 4:15 |
6 | When The Saints Go Marchin' In | 4:12 |
7 | Nobody Knows The Trouble I've Seen | 4:44 |
8 | Ol' Man River (Take 1) | 3:58 |
9 | Swing Low, Sweet Chariot (Take 1) | 4:49 |
10 | Down By The Riverside (Take 5) | 4:28 |
Albert Ayler - Goin' Home
(192 kbps, cover art included)
Donnerstag, 21. Februar 2019
VA - Old Time DJ Come Back ... Again!

Spanning the roots reggae era and early dancehall days, the likes of U-Roy, Big Youth, Dennis Alcapone, Dillinger, and Prince Jazzbo made their musical trade respectable while the work of vocal soloists and groups dominated the charts. Along the way, their innovations would have a great influence on both the course of reggae music and once seemingly distant orbits as hip-hop.
This collection provides 15 prime examples of their art, including cuts by both the aforementioned toasters and other expert chatters like U-Brown, Brigadier Jerry, Trinity, and Jah Stitch. A fine primer for Jamaican DJ newcomers.
Tracklist:
1 | –Brigadier Jerry | Raggamuffin | 3:54 |
2 | –Dillinger | Cocaine | 3:43 |
3 | –U Brown | Bits Of Paper | 3:34 |
4 | –Massive Dread | Action | 3:36 |
5 | –Tappa Zukie | Judge I Oh Lord | 3:38 |
6 | –Trinity | Trinty Is My Name | 3:40 |
7 | –Big Youth | Back In Time | 4:02 |
8 | –I Roy | A Fi Talk | 4:02 |
9 | –U Roy & J.C. Lodge | Satisfy My Soul | 4:00 |
10 | –Dennis Alcapone | Teacher Teacher | 2:50 |
11 | –Scotty | Information | 3:50 |
12 | –Rankin Joe | Kings Time | 4:00 |
13 | –Jah Stitch | How Long | 3:59 |
14 | –Jah Micky | It's Of The Pass | 3:49 |
15 | –Prince Jazzbo | So The West Was Won | 3:12 |
VA - Old Time DJ Come Back ... Again!
(192 kbps, cover art included)
VA - It´s Rockin´ Time - Duke Reid´s Rocksteady 1967 - 1968 (Trojan)
"It´s Rockin´ Time" features sixteen rock steady cuts, produced by Duke Reid at the Treasure Isle Studios in 1967 and 1968. Whether instrumental or vocal, this is good Jamaican beach music, relaxed and seductively melodious.
Tommy McCook & the Supersonics weigh in with four instrumental tracks, highlighted by "Indian Love Call," with its snake-charming horns. Their makeover of the New Vaudeville Band's "Winchester Cathedral" into "Train to Ska-thedral" is a good blow to the funnybone. The Techniques and the Melodians sing some tight, soulful harmonies; Phyllis Dillon's rendition of the Shirelles' "Things of the Past" is a real goodie.
It's not one of the more prominent rock steady comps, but it's a fine collection for enthusiasts of the style, and one of the better entries into the genre if you're unfamiliar with the music.
Tracklist:
1. Lloyd & Glen - Jezebel
2. Eric "Monty" Morris - If I Didn't Love You
3. Justin Hinds & The Dominoes - Fight Too Much
4. Tommy McCook & The Supersonics - Indian Love Call
5. Phyllis Dillon - It's Rocking Time
6. The Techniques - Day-O
7. The Conquerors - I Fall In Love
8. Tommy McCook & The Supersonics - Jam Session
9. Phyllis Dillon - Things Of The Past
10. The Conquerors - Lonely Street
11. The Techniques - Drink Wine
12. Tommy McCook & The Supersonics - Train To Ska-Thedral
13. The Three Tops - The Sound Of Music
14. The Melodians - I Know Just How She Feels
15. The Silvertones - Slow And Easy
16. Lynn Taitt With Tommy Mccook & The Supersonics - Spanish Eyes
VA - It´s Rockin´ Time - Duke Reid´s Rocksteady 1967 - 1968 (Trojan)
(320 kbps, cover art included)
Tracklist:
1. Lloyd & Glen - Jezebel
2. Eric "Monty" Morris - If I Didn't Love You
3. Justin Hinds & The Dominoes - Fight Too Much
4. Tommy McCook & The Supersonics - Indian Love Call
5. Phyllis Dillon - It's Rocking Time
6. The Techniques - Day-O
7. The Conquerors - I Fall In Love
8. Tommy McCook & The Supersonics - Jam Session
9. Phyllis Dillon - Things Of The Past
10. The Conquerors - Lonely Street
11. The Techniques - Drink Wine
12. Tommy McCook & The Supersonics - Train To Ska-Thedral
13. The Three Tops - The Sound Of Music
14. The Melodians - I Know Just How She Feels
15. The Silvertones - Slow And Easy
16. Lynn Taitt With Tommy Mccook & The Supersonics - Spanish Eyes
VA - It´s Rockin´ Time - Duke Reid´s Rocksteady 1967 - 1968 (Trojan)
(320 kbps, cover art included)
Sonntag, 17. Februar 2019
VA - Celebration - The Big Sur Folk Festival 1970
This album contains otherwise unavailable live performances taken from the October 3, 1970, Big Sur Folk Festival held in Monterey, CA, at the same fairgrounds that hosted the Monterey International Pop Festival three years earlier. Although the titles are undeniably similar, this disc should not be confused for the soundtrack to the "Celebration at Big Sur" (1971), documenting the 1969 event.
With the exception of the Beach Boys -- who were rumored to be releasing their entire set at one point -- each artist donated a pair of performances to this package. According to the original LP jacket, "With this record, the money that ordinarily goes to the artists and producer, will go to the institute for the study of non-violence, Palo Alto, CA, to be shared with the united farm workers and war resisters international." Joan Baez -- one of the coordinators of the gathering -- is accompanied by an uncredited group of backing vocalists and acoustic guitar players on both "The Night They Drove Old Dixie Down" -- which is given a ragtag singalong reading -- as well as an exceedingly affective and hopeful version of the Beatles' "Let It Be." Linda Ronstadt's countrified rocker readings of "The Only Mama That'll Walk the Line" and "Lovesick Blues" are among the high points, recalling her post-Stone Ponies' work. It also stands as a reminder of the influence that groups such as the Flying Burrito Brothers and Nashville-informed the Byrds had on the vocalist prior to her more familiar status as a mid-'70s rocker. Fittingly, Merry Clayton's soulful and show-stopping versions of "The Times They Are A-Changin'" and the emotionally charged "Bridge Over Troubled Water" are at the heart of this release. Although primarily known for her backing vocals -- most notably on the Rolling Stones' "Gimme Shelter" -- Clayton also issued a handful of solo platters in the early '70s. By comparison, the Beach Boys' might as well have stayed home. Their half-baked attempt at "Wouldn't It Be Nice" is one of this effort's few disappointments. Luckily, both Country Joe McDonaldand Kris Kristofferson -- who are the only artists playing their own compositions -- counter with some incisive and profound contributions. McDonald's self-effacing showbiz parody "Entertainment Is My Business" can be found on his then yet-to-be issued "Incredible! Live" (1972), while "Air Algiers" hails from his concurrent long player "Hold on It's Coming" (1971). Amazingly, Kristofferson was probably one of the least-known names on the bill at the time. However, the politically charged "The Law Is for the Protection of the People" and the sublime rendering of "To Beat the Devil" are considered primal entries from his self-titled debut. Initial vinyl pressings also included a four-panel insert with passages from Leo Tolstoy's Working Classes of All Nations, as well as "The Teeth-Mother Naked at Last" by Robert Bly. Sadly, this folio is not replicated on the CD reissue.
1 –Joan Baez The Night They Drove Old Dixie Down
2 –Joan Baez Let It Be
3 –Linda Ronstadt Zhe Only Mama That'll Walk The Line
4 –Linda Ronstadt Lovesick Blues
5 –Merry Clayton The Times They Are A Changin'
6 –Merry Clayton Bridge Over Troubled Water
7 –The Beach Boys Wouldn't It Be Nice
8 –Country Joe McDonald Entertainment Is My Business
9 –Country Joe McDonald Air Algiers
10 –Kris Kristofferson The Law Is For The Protection Of The People
11 –Kris Kristofferson To Beat The Devil
Tracklist:
1 –Joan Baez The Night They Drove Old Dixie Down
2 –Joan Baez Let It Be
3 –Linda Ronstadt Zhe Only Mama That'll Walk The Line
4 –Linda Ronstadt Lovesick Blues
5 –Merry Clayton The Times They Are A Changin'
6 –Merry Clayton Bridge Over Troubled Water
7 –The Beach Boys Wouldn't It Be Nice
8 –Country Joe McDonald Entertainment Is My Business
9 –Country Joe McDonald Air Algiers
10 –Kris Kristofferson The Law Is For The Protection Of The People
11 –Kris Kristofferson To Beat The Devil
(320 kbps, cover art included)
Mittwoch, 13. Februar 2019
Lokomotive Kreuzberg - Kollege Klatt (1972)
Lokomotive Kreuzberg was a Berlin polit-rock band founded in early 1972. The group performed in various formations touring extensively through Germany until 1977 at the dissolution of the group when finances became an issue.
The group consisted of founding member Andreas Brauer (vocals, keyboards, violin, flute, guitar, percussion), lyricist Kalle Scherfling (vocals), Volker Hiemann (vocals, guitar) and Uwe Holz (drums, vocals, harmonica, percussion). Later they were joined by Uve Müllrich (Guitars, Bass) and he also played bass in Embryo, and was founder of the Dissidenten. He was replaced from 1973 by Bernhard Potschka, Manfred Praeker and Herwig Mitteregger from 1976. Members later played in the Nina Hagen Band and later founded German rockers Spliff.
The band released a number of albums; "Kollege Klatt" (1972), "James Blond - Den Lohnräubern auf der Spur" (1973), "Fette Jahre" (1975), "Mountain Town" (1977).
Lokomotive Kreuzberg played funky krautrock, with some folk rock, sounding similar to Gong and Mother Gong. The lyrics are left wing with a direct political message. Here´s their debut "Kollege Klatt" from 1972.
Tracklist:
Lokomotive Kreuzberg - Kollege Klatt (1972)
(192 kbps, cover art included)
The group consisted of founding member Andreas Brauer (vocals, keyboards, violin, flute, guitar, percussion), lyricist Kalle Scherfling (vocals), Volker Hiemann (vocals, guitar) and Uwe Holz (drums, vocals, harmonica, percussion). Later they were joined by Uve Müllrich (Guitars, Bass) and he also played bass in Embryo, and was founder of the Dissidenten. He was replaced from 1973 by Bernhard Potschka, Manfred Praeker and Herwig Mitteregger from 1976. Members later played in the Nina Hagen Band and later founded German rockers Spliff.
The band released a number of albums; "Kollege Klatt" (1972), "James Blond - Den Lohnräubern auf der Spur" (1973), "Fette Jahre" (1975), "Mountain Town" (1977).
Lokomotive Kreuzberg played funky krautrock, with some folk rock, sounding similar to Gong and Mother Gong. The lyrics are left wing with a direct political message. Here´s their debut "Kollege Klatt" from 1972.
Tracklist:
A1 | Abfahrt | 2:45 |
A2 | Ein Mann geht die Straße lang I | 4:56 |
A3 | Was glaubst du was du bist | 5:02 |
A4 | Wenn ick nach de Arbeit | 5:08 |
B1 | Ich könnt' ein Kommunist wohl sein | 5:12 |
B2 | Ein Mann geht die Straße lang II | 2:52 |
B3 | Lohnpredigt | 5:04 |
B4 | Geldsack | 5:26 |
B5 | Solidaritätslied | 3:00 |
Lokomotive Kreuzberg - Kollege Klatt (1972)
(192 kbps, cover art included)
Ihre Kinder - Anfang ohne Ende (1972)

The core of "Ihre Kinder" were the keyboarder and singer Sonny Hennig, the guitarist Ernst Schultz and the producer Jonas Porst. Their music combined influences from the American protest song (Bob Dylan), white blues music from England and - in a cautious way - the typical German electronic rock music of the early 70s to a progressive und unique mixture. Their most impressive songs are about political topics like nuclear armament ("Toter Soldat") or social problems like drugs ("Weißer Schnee, Schwarze Nacht"). At their early time the phrase "progressive" was yet to be born. Lacking other definitions they were elected the best German "Blues band" by the readers of "Express" in 1970. Key albums were "Leere Hände" (1970) - also published in the UK as "Empty Hands" - "2375 004" (1970) - also known as "Jeanscover" - and "Werdohl" (1971), by which Ernst Schultz had substituted Jonas Porst as producer.
Sonny Henning published the solo album "Tränengas" in 1971, in which he discussed the political situation in Germany from a left-wing view, and in the same year Ernst Schultz recorded his opus "Paranoia Picknick", which excelled with a blend of serious lyrics and sophisticated guitar work. The best of the latter was "Synthetischer Orient No. 1".
After the break-up in 1972 every now and then band members came together to play at festivals and recorded some albums.
Tracklist:
Fliessbandlied | 3:14 |
Ein Lied für Dich | 4:02 |
Für Dich und mich | 3:19 |
Auf dem Schachbrett | 4:41 |
Alptraum | 3:38 |
In Ewigkeit Amen | 4:21 |
Unny Wersaal und seine Band | 4:06 |
Wer hat Angst vorm schwarzen Mann | 4:05 |
Anfang ohne Ende | 8:46 |
Ihre Kinder - Anfang ohne Ende (1972)
(192 kbps, cover art included)
Montag, 11. Februar 2019
Etoile De Dakar - Xalis (1978)

The roots of the Etoile De Dakar were planted in 1960 when Ibra Kasse, owner of the Miami Club in Dakar, assembled members of two bands — Guinea Band De Dakar and Star Band De Senui — and created a supergroup, known initially as The Star Band. Although it reached its apex with the arrival of N'Dour in 1975, The Star Band splintered three years later when several members left with N'Dour to form Etoile De Dakar. Relocating to Paris in 1983, the group changed its name to Super Etoile.
"Xalis" was recorded in a Dakar nightclub in 1978.
Tracks (transl.):
1. Money
2. Eagle
3. Thoughts About Life and the World
4. Lay Is the Name of a Marabout
5. Hombre Misterioso Soy
6. Banana
Tracks (orig.):
1. Xalis (badou n'diaye) 4:00
2. Thiely (pape seck) 4:12
3. Sama xalatu aduna (el hadj faye) 5:40
4. Lay suma lay (fatou kasset) 4:11
5. Hombre misterioso soy (eric m'backé n'doye) 4:37
6. Banana (sallo dieye) 4:38
Band:
Abdou Fall - Timbales
Alla Seck - Vocals
Alpha Seyni Kante - Guitar (Rhythm)
Assane Thaim - Tama
Badou N'Diaye - Guitar, Bandleader
El Hadj Faye - Vocals
Eric M'Backe N'Doye - Vocals
Etoile de Dakar - Main Performer
Kabou Gueye - Bass
Matar Gueye - Conga
Youssou N'Dour - Vocals
Etoile De Dakar - Xalis
(ca. 320 kbps, small front cover inlcuded)
Theodore Bikel & Cynthia Gooding - A Young Man And A Maid (Love Songs of Many Lands, 1956)
Cynthia Gooding is a major interpreter of folk songs from around the world in their original language and translation.
Tracklist:
A1 Where Does It Lead
A2 A Meidl In Di Yoren
A3 Sur La Route
A4 Laredo
A5 Greensleeves
A6 Ro'e Vero'a
A7 Aupres De Ma Blonde
A8 Mi Jacalito
B1 As I Roved Out
B2 Coplas
B3 Katherine Jaffrey
B4 Hej Pada Pada
B5 Well Met, Pretty Maid
B6 La Ballade Du Chercheur D'Or
B7 Western Wind
B8 Proschay
Theodore Bikel & Cynthia Gooding - A Young Man And A Maid (Love Songs of Many Lands, 1956)
(192 kbps, cover art included)
Tracklist:
A1 Where Does It Lead
A2 A Meidl In Di Yoren
A3 Sur La Route
A4 Laredo
A5 Greensleeves
A6 Ro'e Vero'a
A7 Aupres De Ma Blonde
A8 Mi Jacalito
B1 As I Roved Out
B2 Coplas
B3 Katherine Jaffrey
B4 Hej Pada Pada
B5 Well Met, Pretty Maid
B6 La Ballade Du Chercheur D'Or
B7 Western Wind
B8 Proschay
Theodore Bikel & Cynthia Gooding - A Young Man And A Maid (Love Songs of Many Lands, 1956)
(192 kbps, cover art included)
Sonntag, 10. Februar 2019
VA - Rare Schellacks - 1902-1948 - München - Volksänger
Bavaria has always been the heartland of traditional music in Germany. On this record you will find historic recordings of Bavarian vernacualr folksingers from the 78rpm-era playing their homegrown dances in a powerful style. Listen to the brass bands, string ensembles or zither solists and discover a musical world which is far removed from the oompah cliché.
Tracklist:
VA - Rare Schellacks - 1902-1948 - München - Volksänger
(192 kbps, cover art included)
Tracklist:
1 | –August Junker | Der Stolz von der Au | 2:47 |
2 | –Jakob "Papa" Geis | Das Bachstelzenlied (Travestie) | 1:32 |
3 | –Weiß Ferdl | Der Umgang | 2:58 |
4 | –J. D. Westermair | Münchener Schnaderhüpfl | 1:19 |
5 | –D'Weinschütz - 1. Münchner Instrumental Terzett | Oberbayrischer Gebirgsländler | 1:49 |
6 | –August Junker & Alois Hönle | Der Jackl und der Girgl! | 2:53 |
7 | –Karl Valentin | Die alten Rittersleut | 3:35 |
8 | –Bally Prell | Isarmärchen! | 4:18 |
9 | –Weiß Ferdl | I woaß net wia ma is! | 3:00 |
10 | –Hans Blädel und Robert Lang | Schlierseer G'stanzln | 2:43 |
11 | –August Junker | A Bier will i hab'n | 2:07 |
12 | –Liesl Karlstadt | Der Pflastererlehrling | 3:00 |
13 | –Hans Strassmeier und die erste Dachauer Blaskapelle | Trompetenländler | 2:49 |
14 | –Weiß Ferdl | König Ludwig II. | 3:01 |
15 | –August Junker | So a Gauner hat a Leben | 2:28 |
16 | –Xaver Terofal | Weibl, Weibl, sei doch nicht so hart | 2:45 |
17 | –Karl Valentin und Liesl Karlstadt | Das Lied vom Sonntag | 2:46 |
18 | –Weiß Ferdl | Mei Loatal | 2:32 |
19 | –Liesl Karlstadt | Singt Chinesisch | 3:00 |
20 | –Hans Blädel und Seine Bauernkapelle | Klarinettenländler | 2:29 |
21 | –Weiß Ferdl | Übaschen Übaschen | 2:53 |
22 | –August Junker | Da werd's was hab'n | 2:13 |
23 | –Karl Valentin | In einem kühlen Grunde | 3:19 |
24 | –Josef Ahndl | Da Hans und's Bärbele | 1:27 |
VA - Rare Schellacks - 1902-1948 - München - Volksänger
(192 kbps, cover art included)
Mittwoch, 6. Februar 2019
The Kingston Trio - Here We Go Again! (1959)

By December of that year, the Kingston Trio would have four albums in the Billboard Top Ten. Spirited versions of "Haul Away" and "Molly Dee," as well as the gospel-ish "Round About the Mountain" are standout tracks among the songs included. "The Unfortunate Miss Bailey" (which brings to mind the Clancey Brothers) and the stark "San Miguel" help make "Here We Go Again!" a very well-rounded album.
Tracklist:
Side 1:
- "Molly Dee" (John Stewart)
- "Across the Wide Missouri" (Ervin Drake, Jimmy Shirl)
- "Haul Away" (Traditional)
- "The Wanderer" (Irving Burgess)
- "'Round About the Mountain" (Lou Gottlieb)
- "Oleanna" (Harvey Geller, Martin Seligson)
- "The Unfortunate Miss Bailey" (Traditional, Gottlieb)
- "San Miguel" (Jane Bowers)
- "E Inu Tatou E" (George Archer)
- "A Rollin' Stone" (Stan Wilson)
- "Goober Peas" (Dave Guard, Traditional)
- "A Worried Man" (Traditional, Tom Glazer, Dave Guard)
The Kingston Trio - Here We Go Again! (1959)
(320 kbps, cover art included)
Jacques Brel - La Valse à Mille Temps (1959)

If any one Jacques Brel album can be said to encapsulate everything he means to a rock/pop-oriented audience, his fourth LP is the one. Four of its ten songs have since become virtual standards. "Seul" (as "Alone") and "La Valse a Mille Temps" ("Carousel") are perhaps best known for the interpretations included in the "Alive and Well" stage play, but both have been recorded much farther and wider than that.
"La Mort" ("My Death") was a regular component of David Bowie's live show during 1972-1973, and again in the mid-'90s, while Scott Walker also cut a popular version. And "Ne Me Quitte Pas" "If You Go Away" has been set upon by so many MOR crooners that it is sometimes easy to forget there ever was an "original" version of the song, let alone one which is performed in French. Since this most crippling heartbroken of lyrics was translated into English by Rod McKuen in the early '60s, just two of countless covers come close to the sheer desolation of Brel's original performance, the impassioned piano and voice interpretation which haunts the first "Marc & the Mambas" album, and the fresh translation unveiled by Momus on his own debut album. The remainder, a litany which runs from Terry Jacks to Frank Sinatra, are but the palest shadows by comparison. To dwell on the magnificence of its best-known songs, however, is to overlook the quality which relentlessly drives the remainder of this album. With Francois Rauber now firmly installed as Brel's orchestrator of choice, the album spawned hit after hit - "Les Flamandes," Brel's moving tribute to his Belgian heritage; "La Dame Patronesse," a smirkingly conspiratorial piece set to a charmingly clumsy piano; even "La Mort" proved a major smash, although it must be pointed out that the grandiloquent self-pity which permeates the best-known English language renditions is nowhere to be found in Brel's vocabulary. His death waits with barely disguised good humor - unlike the grimmer demise awaiting the young soldiers who pack the railway station in "La Colombe." Set against the turmoil of France's then on-going war in north Africa, the song is neither the first nor the loudest of Brel's anti-war compositions. It is, however, one of the most moving. Not to be confused with the Serge Gainsbourg composition of the same name, "Je T'aime" is nevertheless as passionate as its better-known namesake (albeit without the orgasms), while "La Tendresse" (to rhyme, of course, with "le diable caresse" - the devil caresses) is one of those anti-love love songs at which Brel had long since proven himself a master. "Jacques Brel 4" was Brel's final studio album for the Philips label. However, it also marked the beginning of his so-cautious romance with the United States. With a handful of revisions, it would become his first U.S. LP later in the year.
Jacques Brel - La Valse à Mille Temps (1959)
(256 kbps, cover art included)
Dienstag, 5. Februar 2019
VA - They Shall Not Pass - CNT Productions
From the linernotes:
"This LP contains a selection of songs released by CNT productions of Leeds between September 1981 and October 1983. It was compiled during the tenth month of the British miners' strike and is dedicated to the striking miners and their families. DEATH TO ROCK AND ROLL MONETARISM"
Tracklist:
Redskins - Lean On Me 3:52
Sisters Of Mercy, The - Adrenochrome 2:56
Three Johns, The - Pink Headed Bug 3:27
Mekons, The - Fight The Cuts 2:02
Newtown Neurotics - Mindless Violence 2:45
Carlton B. Morgan - Shave The Ayatollah 3:52
Three Johns, The - Men Like Monkeys 4:18
Three Johns, The - Two Minute Ape! 2:15
Newtown Neurotics - Kick Out The Tories 3:48
Mekons, The - This Sporting Life 6:10
Sisters Of Mercy, The - Body Electric 4:27
Vicky Talbot - We Don't Get Fooled Again 1:27
Redskins - Unionize! 5:00
A1: recorded at Berry St. Studio. Low Noise Music. Released as CNT016 in July 183
A2: recorded at KG Bridlington. Copyright Control. Released as CNT002 in March 1982
A3: recorded at KG Bridlington. Low Noise Music. Released as CNT in January 1983. CNT011
A4 recorded at Bossa Nova Estrada Leeds, December 1977. Low Noise Music. First released as CNT008 in October 1982. Then CNT009 November 1982
A5: recorded at Elephant Studios London. Kristannar Music. Released as CNT004 in June 1982
A6: recorded in Splott, Cardiff. Low Noise Music. Released as CNT00666 in March 1983
B1: recorded at Berry St. Studio. Low Noise Music. Released as CNT013 in May 1983
B2: recorded at Berry St. Studio. Low Noise Music
B3 recorded at Elephant Studios London. Kristanner Music. Released as CNT004 in June 1982
B4: recorded at Spaceward Studios Cambridge. Low Noise Music. Released as CNT001 in September 1981
B5: recorded at KG Bridlington. Copyright Control. Released as CNT002 in March 1982
B6: released in December 1982 as CNT005
B7: recorded at Berry St. Studio. Low Noise Music. Released in July 1983 as CNT016
VA - They Shall Not Pass - CNT Productions
(192 kbps, cover art included)
"This LP contains a selection of songs released by CNT productions of Leeds between September 1981 and October 1983. It was compiled during the tenth month of the British miners' strike and is dedicated to the striking miners and their families. DEATH TO ROCK AND ROLL MONETARISM"
Tracklist:
Redskins - Lean On Me 3:52
Sisters Of Mercy, The - Adrenochrome 2:56
Three Johns, The - Pink Headed Bug 3:27
Mekons, The - Fight The Cuts 2:02
Newtown Neurotics - Mindless Violence 2:45
Carlton B. Morgan - Shave The Ayatollah 3:52
Three Johns, The - Men Like Monkeys 4:18
Three Johns, The - Two Minute Ape! 2:15
Newtown Neurotics - Kick Out The Tories 3:48
Mekons, The - This Sporting Life 6:10
Sisters Of Mercy, The - Body Electric 4:27
Vicky Talbot - We Don't Get Fooled Again 1:27
Redskins - Unionize! 5:00
A1: recorded at Berry St. Studio. Low Noise Music. Released as CNT016 in July 183
A2: recorded at KG Bridlington. Copyright Control. Released as CNT002 in March 1982
A3: recorded at KG Bridlington. Low Noise Music. Released as CNT in January 1983. CNT011
A4 recorded at Bossa Nova Estrada Leeds, December 1977. Low Noise Music. First released as CNT008 in October 1982. Then CNT009 November 1982
A5: recorded at Elephant Studios London. Kristannar Music. Released as CNT004 in June 1982
A6: recorded in Splott, Cardiff. Low Noise Music. Released as CNT00666 in March 1983
B1: recorded at Berry St. Studio. Low Noise Music. Released as CNT013 in May 1983
B2: recorded at Berry St. Studio. Low Noise Music
B3 recorded at Elephant Studios London. Kristanner Music. Released as CNT004 in June 1982
B4: recorded at Spaceward Studios Cambridge. Low Noise Music. Released as CNT001 in September 1981
B5: recorded at KG Bridlington. Copyright Control. Released as CNT002 in March 1982
B6: released in December 1982 as CNT005
B7: recorded at Berry St. Studio. Low Noise Music. Released in July 1983 as CNT016
VA - They Shall Not Pass - CNT Productions
(192 kbps, cover art included)
Unterm Arm die Gitarre - 15 Jahre Singebewegung 1966 - 1980 - Ein Report (Amiga 1981)
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