Donnerstag, 28. Februar 2019

Aufwind - Gassn Singer - Jiddische Lieder & Klesmermusik

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)

Mittwoch, 27. Februar 2019

Kurt Weill - The Threepenny Opera (Off-Broadway Cast, Theatre de Lys, NY, 1954)

"Die Dreigroschenoper", Kurt Weill and Bertolt Brecht's radical reinterpretation of John Gay's 18th century operetta "The Beggar's Opera", was a sensation in Europe after its German premiere in 1928. But the show, with its decadent portrait of the underworld, was less appealing to Americans when it appeared as "The Threepenny Opera" on Broadway in 1933 and became a quick flop. It took another 21 years and a new English adaptation by Marc Blitzstein for "The Threepenny Opera" to succeed in New York.

Playing at a small Greenwich Village theater, the new version ran 2,611 performances (longer than any Broadway musical up to that time), meanwhile establishing off-Broadway as a legitimate extension of the theater. The cast album, the first such recording ever made of an off-Broadway show, suggests what it was that packed them in downtown. The music is played by an eight-piece band - keyboards, two clarinets, two trumpets, trombone, percussion, and banjo or guitar - making for spare arrangements that support the heavily literate songs in which Brecht comments sardonically on the world. The cast is led by a strong Polly Peachum, sung by soprano Jo Sullivan, and by Lotte Lenya (Weill's widow) in the role of Jenny Towler, here given the revenge fantasy "Pirate Jenny." Gerald Price confidently handles "The Ballad of Mack the Knife," soon to become a surprising pop hit.


Lotte Lenya (Jenny)
Bea Arthur (Lucy Brown)
Charlotte Rae (Mrs. Peachum)
Jo Sullivan (Polly Peachum)
Scott Merrill (Macheath "Mack The Knife")
Martin Wolfson (Mr. J.J. Peachum)
Gerald Price (The Streetsinger)
George Tyne (Tiger Brown).

Theatre de Lys, Greenwich Village, NY 03/10/1954

01. Prologue (Spoken)
02. Overture
03. The Ballad of Mac the Knife
04. Morning Anthem
05. Instead-Of-Song
06. Army Song
07. Wedding Song
08. Love Song
09. Ballad of Dependency
10. The World Is Mean
11. Melodrama and Polly's Song
12. Pirate Jenny
13. Tango Ballad
14. Ballad of the Easy Life
15. Barbara Song
16. Jealousy Duet
17. How to Survive
18. Useless Song
19. Solomon Song
20. Call from the Grave
21. Death Message
22. Finale The Mounted Messanger
23. Ballad of Mac the Knife


Marc Blitzstein, the son of a wealthy banker, was born in Philadelphia on 2nd March, 1905. His father was a socialist, but Blitzstein later recalled that he was "as modern in social thinking as he was conservative in musical taste". A child prodigy, he performed as a soloist with the Philadelphia Orchestra when he was only fifteen. He studied at the Curtis Institute of Music and later trained with Nadia Boulanger in Paris and Arnold Schonberg in Berlin.

Blitzstein wrote plays as well as music and joined the Group Theatre in New York City where he worked with Harold Clurman, Lee Strasberg, Elia Kazan and Clifford Odets. Members of the group tended to hold left-wing political views and wanted to produce plays that dealt with important social issues.

In 1932 Blitzstein wrote "Condemned", a play about the execution of Sacco and Vanzetti. The following year he married the novelist, Eva Goldbeck. Blitzstein was openly homosexual and the couple had no children. Eva introduced her husband to the work of Bertolt Brecht, a German writer who she had translated into English. Blitzstein wrote in 1935: “It is clear to me that the conception of music in society… is dying of acute anachronism; and that a fresh idea, overwhelming in its implications and promise, is taking hold. Music must have a social as well as artistic base; it should broaden its scope and reach not only the select few but the masses”. Soon afterwards he joined the American Communist Party. He also contributed to left-wing journals such as "New Masses".

Like other former members of the American Communist Party who worked in the entertainment industry, Blitzstein's name appeared in "Red Channels". In 1958, Blitzstein received a subpoena to appear before the "House Committee on Un-American Activities". Blitzstein admitted his membership of the Communist Party but refused either to name names, or co-operate any further. As a result he was blacklisted.

Kurt Weill - The Threepenny Opera (Off-Broadway Cast, 1954)
(192 kbps, front cover included)

Tom Robinson - Cabaret `79: Glad To Be Gay

Although his career had pretty much flamed out by the start of the '80s, there were few punk-era major-label performers as intensely controversial as Tom Robinson.

Cutting his teeth with folk-rockers Café Society (who released a Ray Davies-produced record on the head Kinks' Konk label in 1975), Robinson roared into the spotlight in 1978 with a great single ("2-4-6-8 Motorway") and a much-ballyhooed contract with EMI. What was remarkable about this was that Robinson was the kind of politically conscious, confrontational performer that major labels generally ignored: he was openly gay and sang about it ("Glad to Be Gay"), vociferous in his hatred for then-British Prime Minister Margaret Thatcher, helped form Rock Against Racism, and generally spoke in favor of any leftist political tract that would embarrass the ruling ultraconservative Tory government. His debut album, 1978's "Power in the Darkness", was an occasionally stunning piece of punk/hard rock agitprop that, along with being ferociously direct, was politicized rock that focused more on songs than slogans.

"Cabaret `79 - Glad To Be Gay" is a live album recorded at a series of Gay Pride shows in 1979 marking the 10th anniversary of the Stonewall riots.

It includes four bonus tracks: a rare indie single "Glad To Be Gay Part I" (renamed here 'Good To Be Gay'). Also a live cover of Carlton Edwards' AIDS classic "Last Rites" and the 1997 version of "Glad To Be Gay" by the present Tom Robinson Band, with updated lyrics.

Tracklist:
1Pub Hassle
2Coldharbour Lane
3Baby You're An Angel
4Glad To Be Gay 1979
5Stand Together
6Easy Street
7Truce
8Closing A Door
91967 (So Long Ago)
10Even Steven
11Sartorial Eloquence
12Mad About The Boy
13Good To Be Gay (AKA Glad To Be Gay Part 1)
14Glad To Be Gay (1997)
15Last Rites
16Gay Switchboard Jingle

Tom Robinson - Cabaret `79: Glad To Be Gay
(256 kbps, front cover included)

Kurt Weill - Symphonies 1 & 2 (1974, Gewandhausorchester Leipzig, Edo De Waart)

ImageYes, Kurt Weill wrote more than the "Threepennies opera" and Broadway songs. Symphonies for example.
Some of you may want to check these out and discover another side of Kurt 'September song' Weill.

These symphonies were performed by the Gewandhausorchester Leipzig and conducted by Edo de Waart. They were recorded in December 1973 at the Paul Gerhard Kirche, Leipzig, Germany, and originally released on LP in 1974.

Tracks:

Sinfonie Nr. 1 'in einem Satz' (1921)
1. Sinfonie Nr. 1 'in einem Satz' (25:41)

Sinfonie Nr. 2 (1933-34)
2. I. Sostenuto - Allegro molto (9:22)
3. II. Largo (12:03)
4. III. Allegro vivace (6:29)


Kurt Weill - Symphonies 1 & 2 (1974, Gewandhausorchester Leipzig, Edo De Waart)
(192 kbps, small front cover included)

Barbara Thalheim - Abgesang - 25 Jahre Lieder

The Leipzig-born Barbara Thalheim found her craft and metier in Berlin, the city she moved to when she was four. Her first album "Lebenslauf" appeared in 1978. Her work grew ever more confident, honed and pertinent. More than an essential voice of the East German literary revue scene, she is a coup de theatre motherlode.

Tracklist:

1 Ohne Vorschrift leben
2 Als ich vierzehn war
3 Und keiner sagt: ich liebe dich
4 Die erste eig'ne Wohnung
5 Die Alten
6 Schlimm ist, nicht geliebt zu werden
7 Sehnsucht nach der Schönhauser Allee
8 Marta (vorm Übergang)
9 Aus dem Leben einer Heimkehrerin
10 Im Osten geht die Freiheit auf
11 Das Ende der Märchen
12 Der Rest der Nacht
13 So lebten wir in den Zeiten der Stagnation
14 Aus dem Leben einer Spielverderberin
15 Die Kinder der Nacht
16 Alte Frau im Winter
17 Denn sie sollen getröstet werden
18 O Mensch voll Angst und Hochmut
(320 kbps, cover art included)

Dienstag, 26. Februar 2019

Alexandrow Ensemble - Der Chor der Roten Armee - Rodina Moja

The "Alexandrow Ensemble" was formed out of the Frunze Red Army Central House in 1928, after Marshall Voroshilov, Minister of Defence, asked A.V. Alexandrov to create a military choir. There is also a story that Stalin then asked Alexandrov to relocate the choir to Moscow. Under the name Red Army Song Ensemble of the M. V. Frunze Red Army Central House or the “Red Army Choir”, twelve soldier-performers – a vocal octet, a bayan player, 2 dancers, and a reciter – officially performed for the first time on October 12, 1928 under the direction of their conductor, Alexandr Alexandrov, a young music professor at the Moscow Conservatory. The program, entitled The 22nd Krasnodar Division in Song, consisted mainly of short musical scenes of military life, including Songs of the First Cavalry Army, The Special Far-Eastern Army, and Song about Magnitostroi.
In 1929, the ensemble visited the far eastern lands of the Soviet Union, entertaining the troops working on the Far Eastern railway.
With the goal of developing amateur art within the ranks of the army and to encourage soldiers’ interest in good music, the ensemble grew to 300 performers by 1933, comprising three different forces of a male choir, an orchestra, and an ensemble of dancers. The Red Army Choir became known as a propagator of Soviet songs, performing original compositions by composers such as Vasily Solovyov-Sedoy, Anatoli Novikov, Matvey Blanter and Boris Mokrousov.
In 1935, the choir was bestowed the Order of the Red Banner and was renamed the Red Army Red-Bannered Song and Dance Ensemble of the USSR.
Having traveled widely throughout the Soviet Union, from the Arctic north to the sands of Tajikistan, the choir performed at the International Exposition dedicated to Art and Technology in Modern Life held in 1937 in Paris, France; it won the Grand Prix, the highest honor bestowed by the jury.
During World War II, the ensemble gave over 1500 performances at both Soviet fronts, entertaining troops about to go into battle, at gun emplacements, airfields, and in hospitals.
Following the death of Alexander Alexandrov, the Ensemble was taken over by his son, Boris Alexandrovich Alexandrov. Under his leadership, the Ensemble gained fame outside the Soviet Union, making extensive tours worldwide. Boris Alexandrov retired in 1987, and was succeeded by People’s Artist of Russia Igor Agafonnikov the same year, with Anatoly Maltsev as the ensemble chief. He retired as the principal conductor in 1994; he died that year and was buried in Moscow at the Novodevichy Cemetery. He was succeeded by Victor Fedorov, the chorus master since 1986.
This album is a compilation with songs originally released in the 1940s and 1950s on shellac.
Tracklist:
  1. Hymne der Sowjetunion
  2. Lied der Sowjetarmee
  3. Mein Heimatland
  4. Lied vom Vaterland
  5. Ruf der Heimat
  6. Der heilige Krieg
  7. Auf dem Wege
  8. Sing, Soldat sing
  9. Unser MG-Karren  
  10. Durchs Gebirge, durch die Steppe  
  11. Jugend
  12. Es wird Zeit sich auf dem Weg zu machen
  13. Ich ging durch die ganze Welt die Liebste zu finden  
  14. Im Walde sang der Kanarienvogel
  15. Feldchen, mein Feld
  16. Anuschka
  17. Volkstanz  
  18. Wiegenlied - Guten Abend, gute Nacht
(256 kbps, cover art included)

Schmetterlinge - Proletenpassion

"Die Schmetterlinge" ("The Butterflies" in English) were an Austrian political-folk-band. They started as a folk ensemble but later evolved into a complex theatrical progressive band, with "Sparifankal" and "Floh De Cologne" touches, moving onto progressive rock-opera.
.
"Die Proletenpassion" ("Worker´s Passion) is their most important work. Written by the poet and dramatist Heinz Rudolf Unger, it was first performed in 1976.
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It's the sung and spoken history of the working class through the centuries. Peasants' Wars, the French revolution etc. are represented of the "Schmetteringe" from the view of the working class. Historical original texts and texts by the band are performed with music of the respective centuries. The concept album offers a singular historical-musical outline of the European history of the working class and their struggle against exploitation and oppression. This piece of music is encouraging, critical, true, informative, and unfortunately something you will never learn in school.
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(192 kbps, cover art included)

Pete Seeger - Frontier Ballads, Vol. 1 (1954)


Pete Seeger's "Frontier Ballads" collection of 19th century American songs tracing rural life and the development of the American West was released both as a double-length LP and in two separate volumes on 10" discs.

Seeger accompanies himself on the banjo (with the occasional a cappella song thrown in) on material divided into three thematic sections, the first two of which appear on this first volume. Immigrants contains seven songs referring to those who came to the U.S., their experiences explored in such lyrics as "No Irish Need Apply." The next seven songs, The Trek, concern the movement west with special attention paid to the "Cumberland Gap" and the "Erie Canal," as well as encounters with "Sioux Indians." The album's extensive liner notes put the songs into historical context, and Seeger's spirited performances bring to life a panorama of American experiences during the 19th century when the country was being discovered and settled. (The second volume recounts the experiences of The Settlers as they hunt, farm, build railroads, distill liquor, and just live.) 

   Tracklist:
                           
Immigrants
A1Fare You Well, Polly
A2No Irish Need Apply
A3Johnny Gray
A4Greer County Bachelor
A5Cowboy Yodel
A6The Trail To Mexico
A7Joe Bowers

The Trek
B1Wake Up, Jacob
B2Cumberland Gap
B3Erie Canal
B4Blow The Man Down
B5Ox Driver's Song
B6Texian Boys
B7Sioux Indians

Pete Seeger - Frontier Ballads, Vol. 1 (1954)
(256 kbps, cover art included)                  

Montag, 25. Februar 2019

Reverend Gary Davis – Children Of Zion (Reverend Gary Davis In Concert)

Reverend Gary Davis, also Blind Gary Davis (born Gary D. Davis, April 30, 1896 – May 5, 1972), was a blues and gospel singer who was also proficient on the banjo, guitar and harmonica. Born partially blind, Davis lost what little was left of his sight at a young age. Self-taught on the guitar, he assumed a unique multi-voice style produced solely with his thumb and index finger, playing not only ragtime and blues tunes, but also traditional and original tunes in four-part harmony. 

"Children Of Zion" is long out of print on vinyl and a wonderful live album by Reverend Gary Davis, singing great blues and gospel songs that were Inspiration for many other artist.

Tracklist:

A1 I'm Going To Sit Down On The Banks Of The River 3:20
A2 Twelve Gates To The City 4:15
A3 (I Heard The) Angels Singing 4:00
A4 Twelve Sticks 2:30
A5 Long Way To Tipperary 3:32

B1 When The Train Comes Along (Meet You At The Station) 4:22
B2 Come Down And See Me Sometime 4:52
B3 Buck Dance 2:12
B4 Soldier's Drill 7:35


Reverend Gary Davis – Children Of Zion (Reverend Gary Davis In Concert)
(320 kbps, cover art included)

Lightnin' Hopkins & Sonny Terry - Last Night Blues (1960)

Outside of Blind Lemon Jefferson, Lightnin' Hopkins may be Texas's most distinctive and influential blues export. His easy, fluid fingerpicking and witty, extemporaneous storytelling are always a delight, and his performances on "Last Night Blues" are no exception. The album is spare and acoustic, with Hopkins's voice and guitar accompanied by minimal percussion and Sonny Terry's harmonica.

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:                           
A1Rocky Mountain
A2Got To Move You Baby
A3So Sorry To Leave You
A4Take A Trip With Me
B1Last Night Blues
B2Lightnin's Stroke
B3Hard To Love A Woman
B4Conversation Blues

Lightnin' Hopkins & Sonny Terry - Last Night Blues (1960)
(320 kbps, cover art included)

Otto Reutter - In 50 Jahres ist alles vorbei

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

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

Rolling Stone (12/2/70) - "...Lightnin' is one of the most powerful bluesmen going, and this is probably his finest album..."

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

PhotobucketClaire Waldoff, the chanson and cabaret singer with the snappish voice, has been an entertainment star for more than three decades. She never made a secret of her love to Olga von Roeder - they were inseparable for 40 years. Even today, her hits like ”Hermann heeßt er“ (His name is Hermann), “Wer schmeißt denn da mit Lehm?“ (Who’s throwing clay?) or “Hannelore“ are a pleasure to listen to - and worth (re-) discovering.

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.

Image

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)

Sonntag, 24. Februar 2019

Abbey Lincoln - Straight Ahead (1961)

Reissued several times since it originally came out on a Candid LP, this is one of Abbey Lincoln's greatest recordings.

It is a testament to the credibility of her very honest music (and her talents) that Lincoln's sidemen on this date include the immortal tenor saxophonist Coleman Hawkins (who takes a memorable solo on "Blue Monk"), Eric Dolphy on flute and alto, trumpeter Booker Little (whose melancholy tone is very important in the ensembles), pianist Mal Waldron, and drummer Max Roach.

Highpoints include "When Malindy Sings," "Blue Monk," Billie Holiday's "Left Alone," and "African Lady."    

Tracklist:
  1. "Straight Ahead" (Abbey Lincoln, Earl Baker, Mal Waldron) — 5:24
  2. "When Malindy Sings" (Oscar Brown, Paul Lawrence Dunbar) — 4:05
  3. "In the Red" (Chips Bayen, Abbey Lincoln, Max Roach) — 8:32
  4. "Blue Monk" (Abbey Lincoln, Thelonious Monk) — 6:39
  5. "Left Alone" (Billie Holiday, Mal Waldron) — 6:48
  6. "African Lady" (Langston Hughes, Randy Weston) — 3:46
  7. "Retribution" (Abbey Lincoln, Julian Priester) — 3:50

Abbey Lincoln - Straight Ahead (1961)
(320 kbps, cover art included)        

Hanns Dieter Hüsch - Starportrait (1983)

Hanns Dieter Hüsch was born on May 6, 1925 in Moers, North Rhine-Westphalia, Germany. He was a German author, cabaret artist, actor, songwriter and radio commentator, known for Goldener Sonntag (1976), Quartett der Komiker (1972) and Max Ernst: Mein Vagabundieren - Meine Unruhe (1991).
He was married to Christiane Rasche and Marianne Lüttgenau. He died on December 6, 2005 in Werfen, Windeck, North Rhine-Westphalia.

With a working life of more than 53 years on the German cabaret stage and 70 of his own programmes he was one of the most productive and successful representatives of literary cabaret in Germany in the 20th century.

This double album is a kind of a "best of" and was released in 1983.

Tracklist:

LP1/Side 1:
1) Mein Volkslied
2) Himmliches Gespräch 
3) Wenn der Abend ...
4) Kraut und Rüben
 5) Niederrrheinische Chronik
LP1/Side 2:
1) Das Lied vom runden Tisch
2) Niederrheinisches Geständnis
3) Das Phänomen 
4) Fröhlicher Wecker
5) Ihr ehrenwerten Herren
6) Es muß was geschehen
7) Friedenschoral

LP2/Side 1:
1) Frieda und der Wilde Westen
2) Radio-Vorschau
3) Humanistisches Gymnasium
4) Das Wort zum Sonntag
5) Tanz ums elitäre Kalb
LP2/Side 2:
1) Hagenbuch I
2) Blödsinniges Lied
3) Hagenbuch VII 
4) Geschichte
5) Gedankengang
6) Für wen ich singe

Hanns Dieter Hüsch - Starportrait (1983)
(128 kbps, cover art included)

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 Baby Just Cares For Me
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

The Twinkle Brothers have been in existence since the 1960s, and although bandleader Norman Grant continues to record under the Twinkle Brothers name, the three Frontline LPs from 1979 and 1980 probably mark the high point of their work.
Those albums (Love, Praise Jah, and Countrymen) are selectively represented on this 16-track compilation, which swings back and forth between songs that show a heavy gospel influence (the almost hymnlike "Solid as a Rock" and "Free Us") and others that betray a clear debt to vintage American R&B ("Shu Be Dup" and "Since I Threw the Comb Away").

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 Anymore4:10
Free Africa4:46
Love4:27
I Love You So3:28
Gone Already3:03
Solid As A Rock4:40
Come Home3:29
Shu Be Dup3:05
Patoo3:22
Never Get Burn3:24
Dread In The Ghetto3:48
Watch The Hypocrites3:35
Jahoviah3:57
Since I Through Away The Comb2:58
One Head3:44
Free Us3:44


Twinkle Brothers - Free Africa
(192 kbps, cover art included)  

Fela Kuti & The Africa 70 - Gentleman (1973)

"Gentleman" is both an Africa 70 and Afro-beat masterpiece. High marks go to the scathing commentary that Fela Anikulapo Kuti lets loose but also to the instrumentation and the overall arrangements, as they prove to be some of the most interesting and innovative of Fela's '70s material.

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)

Perlen der Kleinkunst - Hans Söhnker

07 November 2018, Berlin: Honorary medals for Hans Söhnker (1903-1981) and Heinz Gützlaff (1905-1961), who were recognized by the Holocaust memorial Yad Vashem as "righteous among the nations", lie at the ceremony in the Berlin memorial "Silent Heroes". "Righteous among the Nations" is a title of honour for gentile people who used their lives under the Nazi regime to save Jews from murder. The title is awarded by a commission under the auspices of the Israeli Holocaust Memorial "Yad Vashem".

Hans Albert Edmund Söhnker was born in Kiel on October 11th 1903. His father was a carpenter and an active member of the Social Democratic Party. After finishing school, Hans Söhnker took up an apprenticeship in a warehouse and at the same time started taking acting lessons from Clemens Schubert and Gustaf Gründgens. In 1922, he made his stage debut at the Stadttheater Kiel, and subsequently played in theatres in Frankfurt/Oder, Danzig, Chemnitz and Bremen.

While visiting Germany, Ernst Lubitsch recommended Söhnker to Paramount in Berlin, and Söhnker applied at the company in 1933. He made screen tests for Ufa, and was finally cast as Marta Eggerth's partner in "Der Zarewitsch". After reprising the role of the young and careless lover for "Schwarzwaldmädel" and "Die Csardasfürstin", Söhnker avoided being typecast again and instead proved his ability to play more serious characters with "Arzt aus Leidenschaft". The understatement and elegance of his acting was reminiscent of American movie stars and made him an extraordinary presence in German cinema.

He excelled as the romantic rival of both Heinz Rühmann in "Der Mustergatte" and Hans Albers in "Große Freiheit Nr. 7". The latter was directed by Helmut Käutner, who frequently cast Söhnker and put his natural charm to its best use, for instance in "Frau nach Maß".

Hans Söhnker was on the Gestapo's black list in Nazi Germany because he often helped and hid Jews.

After the war, Söhnker, who had always continued to work as a stage actor, returned to the theatre. He re-emerged as a movie actor with "Film ohne Titel", which was produced by Käutner and directed by Rudolf Jugert. Jugert also cast Söhnker in the comedies "Hallo Fräulein" and "1 x 1 der Ehe". His dramatic performances in "Nur eine Nacht" and "Weiße Schatten" again proved his ability to shift effortlessly between genres, and the well aged Söhnker remained an elegant presence in the German Post-War cinema of the 1950s. From the 1960s on, he starred in several successful TV series like "Der Forellenhof", "Salto Mortale" and "Meine Schwiegersöhne und ich", which sustained Söhnker's popularity up to his old age. Hans Söhnker passed away in Berlin on April 20th 1981.

Perlen der Kleinkunst - Hans Söhnker
(192 kbps, front cover included)

Kurt Weill - Anne Sofie Von Otter, John Eliot Gardiner – Speak Low (Songs By Kurt Weill) & The Seven Deadly Sins

Kurt Weill's ballet with songs is one of this century's greatest theatrical works. It has all the wit and melodic appeal of The Threepenny Opera and social conscience of Mahagonny, but more warmth and musical sophistication than either. It's also all over with in about 40 minutes. Some critics believe the piece was intended as a sort of love poem to Weill's wife, Lotte Lenya; given the tenderness of much of the music, it's hard to disagree. Lenya herself recorded the piece in the 1950s (a recording recently reissued by Sony) and this very much newer performance is welcome particularly for Anne Sofie von Otter's highly intelligent and musical way with the text. The other songs, from both Weill's Berlin and Broadway periods, make the perfect filler.

Tracklist:

Die Sieben Todsünden
1) Introduktion: Andante sostenuto "Meine Schwester . . . [3:24]
2) Faulheit: Allegro vivace "Müssiggang ist aller Laster" [3:47]
3) Stolz: Allegretto, quasi andantino "Als wir aber" [4:19]
4) Zorn: Molto agitato "Das geht nicht vorwärts" [4:00]
5) Völlerei: Largo "Das ist ein Brief aus Philadelphia" [2:58]
6) No.5 Unzucht "Und wir fanden einen Mann in Boston" [5:36]
7) Habsucht: Allegro giusto "Wie hier in der Zeitung" [2:56]
8) Neid: Allegro non troppo "Und die letzte Stadt" [5:06]
9) Epilogue "Darauf kehrten wir zurück nach Lousiana" [1:50]

Lady in the Dark
10) 3. My Ship [2:42]
11) 1. One Life to Live [3:01]

Two songs with piano
12) Buddy on the Nightshift [2:09]
13) Nannas Lied [4:02]

Happy End (1929)tran. Chris Hazell/Tony Burke
14) 1. Bilbao Song [4:27]
15) 2. Surabaya Johnny [6:01]
16) 6. Das Lied von der harten Nuss (Song of the Big Shot) [1:06]

Three songs with piano
17) Je ne t'aime pas [4:29]
18) Schickelgruber [2:51]
19) Der Abschiedsbrief [3:25]

One Touch of Venus
20) Foolish Heart [2:28]
21) Speak Low [3:59]
22) I'm A Stranger Here Myself [3:13]

Anne Sofie von Otter
Bengt Forsberg
NDR-Sinfonieorchester
John Eliot Gardiner
Recording: Hamburg-Harburg, Friedrich-Ebert-Halle, 9/1993

Kurt Weill - Anne Sofie von Otter - Speak Low & the Seven Deadly Sins
(192 kbps, cover art included)

Bewegte Zeiten - Neue Musik in der Weimarer Republik 1919 - 1933

"Bewegte Zeiten - Neue Musik in der Weimarer Republik 1919 - 1933" is a great 2-cd-set compilation, released only in Germany. The compilation includes excerpts from works by such composers as Feruccio Busoni, Heinz Tiessen, Alban Berg, Franz Schreker, Paul Hindemith, Ernst Krenek, Erwin Schulhoff, Kurt Weill, Alexander von Zemlinsky, Wilhelm Kempff, Emil Bohnke and Arnold Schönberg.

The compilations features performances by András Schiff, Dietrich Fischer-Dieskau, Anne Sofie von Otter, Hagen Quartett. Staatskapelle Dresden, Royal Concertgebouw Orchestra, London Sinfonietta,
Deutsches Symphonie Orchester Berlin, Berliner Philharmoniker et al. The conductors are Giuseppe Sinopoli, Karl Böhm, David Atherton, Herbert von Karajan, John Eliot Gardiner, Paul Hindemith.

Bewegte Zeiten - Neue Musik in der Weimarer Republik 1919 - 1933 - CD 1
Bewegte Zeiten - Neue Musik in der Weimarer Republik 1919 - 1933 - CD 2
(256 kbps, front cover 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)

Lokomotive Kreuzberg - Gesammelte Werke

Lokomotive Kreuzberg was a Berlin based polit-rock band, who were launched onto the scene in early 1972 with enthusiastic help from Floh De Cologne.

They played funky krautrock with a lot of folk rock included. Gong and Mother Gong is a very good reference. The music is mainly built around the lyrics and their message to the left wing scene. The band breaks out into gospel and Canterbury prog at the twenty minutes long "Mountain Town" epic.

This "best of" compilation was released in 1994 on the Pläne label.

Tracklist:

1. Frühmorgens (3:42)
2. Leise Sohlen (3:35)
3. Fette Jahre (5:34)
4. Come Back (2:44)
5. Verfassungslied (3:00)
6. Tempo Mann (4:03)
7. Hand in Hand im Park (3:51)
8. Hey Mr. Amerika (4:46)
9. (a) Mountain Town, (b) Mountain Town Song (20:35)
10. Requiem (3:17)

Lokomotive Kreuzberg - Gesammelte Werke
(320 kbps, cover art included)

Albert Ayler ‎- Goin' Home (1964)

Albert Ayler was confronted with a spiritual anxiety that both plagued and comforted him throughout his life. This is frighteningly clear listening to the highly intense musical yin and yang that was present February 24, 1964, when the tracks for "Goin' Home" and "Witches and Devils" were recorded.

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:
1Goin' Home4:26
2Ol' Man River (Take 2)5:25
3Down By The Riverside (Take 6)4:39
4Swing Low, Sweet Chariot (Take 3)4:30
5Deep River4:15
6When The Saints Go Marchin' In4:12
7Nobody Knows The Trouble I've Seen4:44
8Ol' Man River (Take 1)3:58
9Swing Low, Sweet Chariot (Take 1)4:49
10Down By The Riverside (Take 5)4:28

Albert Ayler ‎- Goin' Home
(192 kbps, cover art included)

The Chambers Brothers - New Generation (1971)

Like their West Coast contemporaries Sly and the Family Stone, the Chambers Brothers shattered racial and musical divides to forge an incendiary fusion of funk, gospel, blues, and psychedelia which reached its apex with the perennial 1968 song "Time Has Come Today."

Eschewing their normal frenzied mix of soul and rock, the brothers package their socially uplifting messages more in James Brown-style funk than usual.

They produce the album themselves and their ambition often exceeds their grasp. String orchestrations by band members Brian Keenan and Joe Chambers clutter an already-busy mix.

The title track is the kind of extended rave-up that seems to be on every one of their albums. "Going to the Mill" closes the session with a straightforward, and welcome, shot of gospel.

Tracklist:
A1Are You Ready
A2Young Girl
A3Funky
A4When The Evening Comes
A5Practice What You Preach
B1Reflections
B2Pollution
B3New Generation
B4Going To The Mill

The Chambers Brothers - New Generation (1971)
(320 kbps, cover art included)

Liederjan - Drei Gesellen

"It is nigh-impossible to over-estimate the way the north German group Liederjan shook up the scene. Along with Zupfgeigenhansel, pre-Reunification they were one of the few Wessi acts who caused Ossi ears to prick up. Simply too original to ignore with a succession of unapologetically German repertoires they have no need to court foreign audiences. A catalogue of national traits as riddled with wordplay as Jörg Ermisch´s "Brigitte" renders translation pointless. Either one speaks German or is damned to have no Liederjan in one´s life." - Ken Hunt


Tracklist:

1 Drei Gesellen 3:19 
2 O König von Preussen 3:20
3 Abendlust 3:21
4 Herr und Knecht 3:48
5 Die Moorsoldaten 5:07
6 Schlemmerlied 3:11
7 Bauer und Kalb 3:16
8 Schnitter Tod 3:54
9 Tripp - Trapp 3:00
10 Das Kassler Verschüttlied 3:18
11 Ballade von der Unzulänglichkeit menschlichen Seins 1:44
12 Es brennt 2:45
13 Hoch Lebe Der Mann Mit Dem Hut 3:30
14 Das erwachte Bewusstsein 2:08
15 Lustig, lustig ihr lieben Brüder 3:04
16 Mönch im Nonnenkloster 4:27
17 Die Weber 4:29
18 Fünf Söhne 4:08


(192 kbps, cover art included)

Donnerstag, 21. Februar 2019

Il Contemporaneo Di Modena – Zeitgenossen (1971)

This album from the German communist label "Pläne Verlag" never saw a cd release. "Zeitgenossen" was recorded in West-Berlin by Italian communist activists calling themselves "Il Contemporaneo Di Modena" . Only 5 musicians were left from the 10 who started the band. Online info only in Italian, scans with German infos & lyrics. On back cover and Discogs track 10 is listed as 3 different tracks, on record and label it's only 1 track.

Translation from the cover:
"Our time is the period of transition from capitalism to socialism. The fight against imperialism
unites 3 powerful contemporary forces: the socialist world system, the international working class and the national liberation movement."

Biography from Istituto Storico Modena:
"Il Contemporaneo nasce nel 1967 dal Gruppo giovanile Arri di Modena, sul quale si innestano elementi provenienti dal Circolo della canzone popolare di Carpi. Il gruppo da subito si ritaglia un ruolo importante nell’ambito della Canzone politica giovanile, partecipa a numerosi festival musicali all’interno e al di fuori dei confini nazionali ponendo al centro della propria produzione temi come l’emigrazione, Vietnam, problemi dei lavoratori ecc. Il primo recital organico del gruppo è “La TV del mio stivale” (1969), una satira politica sul sistema televisivo, segue il 33 giri Zeitgenossen (che in tedesco significa Contemporaneo) interamente registrato a Berlino ovest, ed un secondo recital “Pelle o Classe” sulla discriminazione razziale. Nel 1972 il Contemporaneo si esibisce in cento concerti attraversando tutta la penisola, da Bolzano a Lecce. Nello stesso anno arriva il terzo recital dal titolo “Agnelli ti vede e ti punisce”. Nel 1973 partecipano, insieme agli Inti Illimani tra altri, al Festival Internazionale della Canzone Politica di Carpi e si producono in ben 150 concerti, comprese due lunghe turnè in Germania e a Cuba. Nei testi si fanno spazio i temi dell’Internazionalismo e lo studio sul campo delle tradizioni di costume, di lotta e di vita delle province emiliane. Nel 1974 musicano un testo sull’eccidio del gennaio 1950 alle Fonderie Riunite di Modena. …"

Tracklist:
01. Bella Ciao 02:03
02. Comandante "Che Guevara" 03:47
03. Sortiris Petrula 02:10
04. Io Non Sono 01:47
05. Dove Vola L'Avvoltoio 03:15
06. Se Il Cielo Fosse Bianco Di Carta 03:41
07. Drink Americano 03:12
08. Dormi Dormi 01:56
09. So Stato A Lavora A Montesicuro 02:10
10. Io Son Metalmeccanico · Non Ne Posso Più · Per Santa Caterina Dei Pastai 06:04
11. Uguaglianza 03:09
12. Signor Studente 03:44
13. Valle Giulia 02:55
14. Questo È Il Nostro Vietnam 03:49
15. Contessa 04:02


(ca. 256 kbps, cover art included)