João Gilberto‎– O Amor, O Sorriso E A Flor (1960)

"O Amor, o sorriso è a flor" (Love, a Smile, and a Flower) is the second in the trilogy of formative bossa nova albums released by João Gilberto between 1959 and 1961.

The most essential albums recorded by João Gilberto are his first three, "Chega de Saudade" (1959), "O Amor, O Sorriso e a Flor" (1960), and "João Gilberto" (1961). All three remain extremely up-to-date and share in common a superb standard of quality in compositions, arrangements (mostly designed by Tom Jobim), and Gilberto's performances at the guitar and voice. These albums are quite literally the aesthetic and musical blueprints for a genre that would exert an irresistible worldwide influence on popular music.

The second LP recorded by João Gilberto, "O Amor, O Sorriso e a Flor", included the "Samba de Uma Nota Só" ("One Note Samba") by Tom Jobim/Newton Mendonça, which was immediately successful the previous year with the release of the single "Samba de Uma Nota Só" and became a classic of bossa nova. Gilberto also interpreted "Outra Vez" (Jobim), which had been recorded by Dick Farney and Elizete Cardoso with quite different results. It was the first time that Gilberto recorded the other classics, "Só Em Teus Braços" (Jobim), "Se É Tarde, Me Perdoa" (Carlos Lyra/Ronaldo Bôscoli), "Meditação" (Tom Jobim/Newton Mendonça), "Corcovado," "Discussão," and "Outra Vez."                


Tracklist

A1	Samba De Uma Nota Só
A2	Doralice
A3	Só Em Teus Braços
A4	Trevo De 4 Folhas
A5	Se É Tarde Me Perdoa
A6	Um Abraço No Bonfá
B1	Meditação
B2	O Pato
B3	Corcovado
B4	Discussão
B5	Amor Certinho
B6	Outra Vez

João Gilberto‎– O Amor, O Sorriso E A Flor (1960)
(256 kbps, cover art included)

Matching Mole - Smoke Signals (1972)

"Recorded at various European performances from the spring of 1972, this is a substantial addition to the catalog of a band that only put out two studio albums. The sound is good, and the performances almost wholly instrumental art jazz-rock, not far removed from those heard in the early 1970s by the Soft Machine, drummer/singer Robert Wyatt's previous band. It's electric pianist Bill McRae who wrote most of the material on this disc, and it's the sort of cerebral, intricate, serious fusion-y stuff that might appeal as much, or more, to jazzheads as to prog rockers. Wyatt goes off into some wordless scats at one point, but these aren't conventional rock-songs-with-lyrics at all. There is an admirable variety of textures with some distortion and buzzing, cooked up by McRae and guitarist Phil Miller, but it doesn't boast very accessible melodic ideas, preferring to furrow into angular and at times ominous progressions. The eerie, electronically treated vocal scatting on Wyatt's mischievously titled "Instant Pussy" is a highlight. Five of the nine songs, incidentally, do not appear on the band's studio albums." - allmusic.com         

'Smoke Signals' was recorded in spring 1972 during an European tour mainly in Belgium and France. As these tapes were not planned for release the sound quality is just acceptable. A good idea so to re-create the original track order of the concerts with different sources.
'Smoke Signals' is an interesting document, because 'Matching Mole' just elaborated from a backing band for Robert Wyatt,(more or less imposed by CBS) and who had only played on one half of the first record to a real band. Most tracks appearing here were written by Dave Mc Rae and Phil Miller and would be recorded later for 'The Little Red Record'. Dave Sinclair who started the tournee with the band had left and was replaced by keyboarder Dave Mc Rae who had already guested on the first record and brought with him some fine tunes like 'March Ides' and 'Smoke Signal' presented here for the first time in a rough version. After a band introduction by Robert the band launches into 'March Ides'.The theme is played by Phil Miller, who is soloing then over an ostinato bass line, followed by a drum solo. The second theme is 'Smoke Signal' (here re-named 'Smoke Rings), maybe the most beautiful 'Matching Mole' theme by Dave Mc Rae. The theme is then followed by a longer improvisation until the re-exposure. The next theme 'Nan's True Hole' was written by Phil Miller, who plays an repeated riff over which Dave Mc Rae plays an improvisation followed by another drum solo. 'Brandy As In Benji' follows the same structure of expostion solo, followed by a heavily distorted e-piano solo, that launches again into the 'March Ides' theme, followed by 'Instant Pussy' the only Robert Wyatt composition from the first record, with treated vocals by Robert and an e-piano improvisation.The 'Smoke Signal' appears again, followed by another improvisation and a bass solo and finally the band launches into 'Lything and gracing' a Phil Miller composition, that would appear only as a Hatfield leftover on 'Afters'. A part from the fact, that the sound is not brillant the tapes miss the 'funny' side of the band and especially the Robert Wyatt lyrics, leaving a jazz rock outfit, that improvises mainly over an ostinato bass line and sometimes in a not very inspired way as on 'Lything and Gracing' which is utterly boring.Still an interesting document in the history of Matching Mole, but not recommended as a starter. - progarchives.com

Tracklist:

1	Intro	0:44
2	March Ides I	4:22
3	Smoke Rings	7:51
4	Nan True's Hole	6:00
5	Brandy As In Benj	4:22
6	Electric Piano Solo	1:11
7	March Ides II	4:56
8	Instant Pussy	2:51
9	Smoke Signal	6:55
10	Lything & Gracing	11:48

Matching Mole - Smoke Signals (1972)
(ca. 224 kbps, cover art included)

Nico - Desertshore (1970)

While Nico was the member of the Velvet Underground who had had the least experience in music prior to joining the group (while she had recorded a pop single in England, she'd never been a member of a working band before Andy Warhol introduced her to the Velvets), she was also the one who strayed farthest from traditional rock & roll after her brief tenure with the band, and by the time she recorded "Desertshore", her work had little (if anything) to do with traditional Western pop.

John Cale, who produced and arranged "Desertshore", once described the music as having more to do with 20th century classical music than anything else, and while that may be going a bit far to make a point, even compared to the avant-rock frenzy of the Velvet Underground's early material, "Desertshore" is challenging stuff. Nico's dour Teutonic monotone is a compelling but hardly welcoming vocal presence, and the songs, centered around the steady drone of her harmonium, are often grim meditations on fate that are crafted and performed with inarguable skill and intelligence, but are also a bit samey, and the album's downbeat tone gets to be rough sledding by the end of side two. Cale's arrangements are superb throughout, and "My Only Child," "Afraid," and "The Falconer" are quite beautiful in their own ascetic way, but like the bulk of Nico's repertoire, "Desertshore" is an album practically designed to polarize its listeners; you'll either embrace it's darkness or give up on it before the end of side one. Then again, given the thoroughly uncompromising nature of her career as a musician, that's probably just what Nico had in mind. 

Tracklist:

Janitor Of Lunacy	4:01
The Falconer	5:39
My Only Child	3:27
Le Petit Chevalier	1:12
Abschied	3:02
Afraid	3:27
Mütterlein	4:38
All That Is My Own	3:54

Nico - Desertshore (1970)
(320 kbps, cover art included)             

Joe Gibbs & The Professionals - African Dub All-Mighty - Chapter 3

The third (and most impressive) of four volumes of dub mixes from the studio of producer Joe Gibbs, "African Dub, Chapter 3" finds engineer Errol Thompson getting a bit more adventurous than he had on the earlier installments. More of these dub versions keep shreds and snatches of the original vocal tracks in the mix, which is almost always a plus in a dub context - little snippets of disembodied vocals float through the otherworldly musical atmosphere, lending a sometimes spooky human element to the sound and often casting new and refracted light on the meaning of the original lyrics.

And on this volume, Thompson seems to be taking a few cues from his competitor Lee "Scratch" Perry, throwing such extramusical elements as water sounds (on "Freedom Call") and ringing telephones (on "Jubilation Dub") into the mix along with the usual gossamer shreds of guitar, horn, and keyboard. Highly recommended.               


Tracklist:

Chapter Three
Rema Dub
Tribesman Rockers
Freedom Call
Jubilation Dub
The Entebbe Affair
Angolian Chant
Zion Gate
Jungle Dub
Dub Three

Joe Gibbs & The Professionals - African Dub All-Mighty - Chapter 3
(320 kbps, cover art included)

Jorge Ben - África Brasil (1976)

This 1976 album is undoubtedly one of the greatest classics of Brazilian popular music, with Jorge Ben mixing funky samba, Afro-Brazilian beats, and crunching guitars to create one of the most fascinating sounds ever recorded in Brazil.

The album kicks off with the raw, energetic "Ponta de Lança Africano," and from there on it never slows down, but continues to pile up one fiery, funky gem after the other. The samba soul and samba funk scenes of the '70s in Brazil produced many great artists and many great recordings, fully comparable with the best soul and funk music recorded in the U.S. during the same period. Jorge Ben was the most prominent figure of this scene and "África Brasil" is probably the most famous of his '70s recordings. For any person who is interested in the music of Jorge Ben, or indeed Brazilian funk in general, there is no better sample of it than "África Brasil".

Tracklist:

A1	Ponta De Lança Africano (Umbabarauma)	3:58
A2	Hermes Trismegisto Escreveu	3:04
A3	O Filósofo	3:30
A4	Meus Filhos, Meu Tesouro	3:53
A5	O Plebeu	3:18
A6	Taj Mahal	3:10
B1	Xica Da Silva	4:00
B2	A História De Jorge	3:53
B3	Camisa 10 Da Gávea	4:18
B4	Cavaleiro Do Cavalo Imaculado	4:43
B5	África Brasil (Zumbi)	3:48

Jorge Ben - África Brasil (1976)
(320 kbps, cover art included)             

Leroy Smart - Let Everyman Survive (1979)

Leroy Smart (born 1952, Kingston, Jamaica) is a reggae singer and producer. He was orphaned at the age of two. He was raised at Maxfield Park Children's Home and educated at Alpha Boys School, where he studied singing, drums and dancing.

Smart recorded his first single, "It Pains Me" in 1969 for a producer called Mr. Caribbean. In 1970 he recorded "Ethiopia" for Joe Gibbs, and the first version of one of his most famous songs, "Pride & Ambition", with producer Gussie Clarke. His breakthrough would come in 1973 with "Mother Liza", produced by Jimmy Radway, which topped the local singles chart, and led to "Pride & Ambition" also becoming a big local hit. After working with Bunny Lee for several years, he recorded another of his best-known songs, "Ballistic Affair" at Channel One, in 1976, and began producing himself in 1977. Smart has continued recording and remains popular, with over 35 albums to his name. He is regarded as one of Jamaica's most outrageous and colourful characters.
Smart appeared in the film Rockers along with contemporaries such as Gregory Isaacs and Jacob Miller.

In 1979, Leroy Smar joined up with producer Alvin "GG" Ranglin to bring out two albums, "Showcase Rub A Dub" and "Let Everyman Survive". It becomes abundantly clear from the ten numbers on this album that besides singing talent, Leroy also possesses original ideas and the ability to convert them into flowing texts.

Tracklist

1	Sugar In My Coffee
2	Jah Is At Hand
3	I Still Pray
4	If You Want My Love
5	Live Up Right
6	Let Everyman Survive
7	Collie Give Me Wisdom
8	You Are Mine
9	Black And White
10	You Never Need Me

Leroy Smart - Let Everyman Survive
(192 kbps, front cover included)

Claire Waldoff - Immer ran an´ Speck

Claire Waldoff , born Clara Wortmann) was a famous cabaret singer and entertainer in Berlin during the 1910s, 1920s and 1930s.

Clara Wortmann was born in 1884 the eleventh child of 16. Her parents owned a tavern in Gelsenkirchen. After completing school, she studied theatre and chose as her pseudoynm Claire Waldoff. In 1903, she got her first theatre jobs in Bad Pyrmont and in Kattowitz. In 1907, she went to Berlin, where she performed at the Figaro-Theater on Kurfürstendamm. In 1907, she also began a working as a cabaret singer. Rudolf Nelson gave her a job at the theatre Roland von Berlin on Potsdamer Straße. She had great success during the next several years in German cabaret. She sang at Chat Noir on Friedrichstraße and at the Linden-Cabaret on Unter den Linden. Waldoff was known for singing her songs in distinctive Berliner slang. Waldoff's success reached its peak in the 1920s. She performed at the two great Berlin varietés, Scala and Wintergarten, sang together with Marlene Dietrich, and had her songs played on the radio. Her repertoire included around 300 original songs.

Waldoff lived together with Olga von Roeder. The lesbian couple lived happily in Berlin during the 1920s. Together they met often other lesbian friends in the club, Damenklub Pyramide, in Berlin. After the German Nazis won the elections 1933 and Hitler came to power, Waldoff's success ended. In 1939, she and Olga von Roder left Berlin together, and they lived in Bayerisch Gmain. After World War II, she lost her money in German Monetary reform in 1948. In 1953 she wrote her autobiography. 1954 she got a little monetary support by senate of city Berlin. Waldoff died in 1957 and she was buried on the cemetery Pragfriedhof in Stuttgart. Waldoff has a star in Walk of Fame of Cabaret.

Tracklist:

1. Mir hab'n se die Gurke vom Schnitzel weggemopst
2. Na Dann Lass Es Dir Mal Jut Bekommen
3. Warum Soll Er Nicht Mit Ihr
4. Immer Ran An' Speck
5. Raus Mit Den Männern Aus Dem Reichstag
6. Im Nussbaum Links Vom Molkenmarkt
7. Mich Hat Ein Fremder Mann Geküsst In Der Nacht
8. Wat Braucht Der Berliner Um Glücklich Zu Sein?
9. Meine Maxe
10. Emilie Vom Kurfürstendamm
11. Der Schlips Im Kohlenkasten
12. Lied Der Harvenjuhle
13. Er Ist Nach Mir Ganz Doll
14. Wenn Der Bräut'gam Mit Der Braut
15. Wenn Die Soldaten Durch Die Stadt Marschieren
16. Mein Paulchen Ist Weg
17. Verliebt, Verlobt, Verheiratet
18. Unsere Minna
19. Dann wackelt die Wand

Claire Waldoff - Immer ran an´ Speck
(192 kbps, front cover included)

The Residents – The Third Reich 'N' Roll (1976)

Technically the third album from the group, though released as a follow-up to "Meet the Residents", this 40-minute assault on the music of the '60s follows Picasso's dictum of all artists killing their (aesthetic) fathers. 

Two side-long medleys of songs both classic ("Papa's Got a Brand New Bag") and obscure ("Telstar") are destroyed, deconstructed, mangled, spat on, spit out, ground up, and injected with gleeful humor. If there's any concept here, it's that the brain-numbing catchiness of pop music was fascism in disguise, keeping teenyboppers docile while selling them rebellion, hence the cover art of a gestapo-uniformed Dick Clark holding a carrot. 

Whether it's only much-suppressed love for these songs (as they went on to return again and again to the themes and artists examined here, including James Brown, "Land of 1000 Dances," and "Double Shot"), it's up to the listener to decide. Mostly any fan of the group will spend many hours trying to decode all the songs here, all the time with a smile on their face. (Officially, there are 29 songs, but there could be more).

The album generated some controversy due to its cover art and Nazi imagery (promotional photos featured the Residents dressed as giant swastikas and wearing oversized swastika glasses). A window display in Berkeley was met with protests and threats of violence, and the album with its original cover (featuring American Bandstand host Dick Clark dressed in a Nazi uniform clutching a carrot) is still banned in Germany. Regardless, it is considered one of the group's masterworks along with most of their material from the 1970s.

Tracklist:
1 Swastikas On Parade
2 Hitler Was A Vegetarian

Bonus Tracks:
3 Satisfaction
4 Loser ≅ Weed
5 Beyond The Valley Of A Day In The Life
6 Flying

The Residents – The Third Reich 'N' Roll (1976)

(320 kbps, cover art included)

Alton Ellis - Sunday Coming (1970, Studio One)

Alton Ellis is one of the best Jamaican vocalists to have emerged during the ska and rocksteady periods in the '60s. His singing prowess remained intact through the reggae, dancehall, and ragga years as well, proving that his uniquely soulful delivery and impeccable phrasing could transcend reggae's many changes.

Recording with his preferred producer Clement Dodd, Ellis cut "Sunday Coming" around 1969-1970 at Dodd's legendary Brentford Road studio. Most likely backed by the producer's Sound Dimension band (featuring the great Jackie Mittoo as arranger and organist), Ellis offers up a typical set of originals and choice covers from the day's charts. On the handful of tracks Ellis co-wrote with Dodd, breezy medium-tempo cuts like "It's True" and "The Picture Was You" particularly stand out; the buoyant soul-based rocksteady beats, occasional jazz chords, and sweet harmonies all seem to be part of a musical setting in which Ellis thrived.

The point is substantiated by great Ellis performances on similarly disposed covers like the Guess Who's "These Eyes," Blood, Sweat & Tears' "You Make Me So Very Happy," and the Junior Walker hit "What Does It Take (To Win Your Love)." Ellis also shows some musical flexibility with his funky James Brown-inspired jam "Alton's Groove" and the fine roots reggae track "Reason in the Sky"; he even proves his contemporary relevance on two impressive tracks from 1994, including the updated rocksteady cut "Joy in the Morning" and a digitally enhanced number entitled "The Winner." This disc is one of Ellis' best and comes highly recommended to newcomers and reggae enthusiasts alike.

Alton Ellis - Sunday Coming
(320 kbps, front cover included)

Sun Ra - Pictures Of Infinity (1971)

Although no precise date is given, these five cuts are thought to have been documented circa 1967-1968 by Sun Ra (piano) and his Arkestra in New York City, where the band was in residence at the time. There is a mixture of older works as well as newer selections on 1971's "Pictures of Infinity".

That said, even the established compositions - most notably the full-throttled reading of "Saturn" that commences the collection - are given fresh sonic visages. Tenor saxophonist John Gilmore is particularly potent with his flawless fluidity running melodic yet hard bopping lines over top of the solid rhythm section. He gives a hearty personality to his interjections as they dart in and out of the spiraling mile-a-minute arrangement. Bassist Ronnie Boykins is commanding, especially as his solo emerges out of drummer Nimrod Hunt's rapid-fire timekeeping. "Song of the Sparer" is an exquisite and rarely documented tune that begins with some intricate phrases from Ra before evolving into a languid and practically dirgelike improvisational piece. "Spontaneous Simplicity" is highlighted by some warm and inviting interplay between a flutist - presumably either Danny Davis or Pat Patrick - and Ra, whose strident piano accompaniment is remarkably suited to the earthy nature of the woodwind's ethereal, alternately liberating and plaintive sound. Immediately contrasting the more rural expressions is the aggressive extended free jazz attack heard on "Somewhere There." The bombastic percussion and practically sadistic sax-and-drum onslaught thrash about in an almost definitive example of the sheer power possessed by the Arkestra. The "Outer Spaceways Incorporated" chant concluding this long-player is similar to other versions and remains an affirmative statement juxtaposing an inescapably dissonant introduction with the playful nature of the singalong quality of the verses.                

Tracklist:

A1		Somewhere There	15:10
A2		Outer Spaceways Incorporated	7:02
B1		Saturn	6:08
B2		Song Of The Sparer	4:22
B3		Spontaneous Simplicity	7:56

Sun Ra - Pictures Of Infinity (1971)
(256 kbps, cover art included)

39 Clocks - Cold Steel to the Heart (1985)

The 39 Clocks were an underground band from Hannover. Together with Nova Express, The Beauty Contest, Shiny Gnomes, Multicoloured Shades, Kastrierten Philosophen and Yellow Sunshine Underground they contributed to the German underground neo-psychedelic scene of the 1980s.

In 1976, Jürgen „J.G.39“ Gleue (guitar, bass, vocals) and Christian „C.H.39“ Henjes (guitar, orgal, vocals), both from Hannover, played together under the name Killing Rats, and later Automats (trans: "Machines"). The nucleus of the band was soon expanded with the addition of drummer Claudius Hempelmann (he later joined labelmates and new wave proponents Der Moderne Mann) and Rüdiger Klose, also known for his work with Die Kastrierten Philosophen. In the studio they were joined by, amongst others, Süsskind from Kosmonautentraum (Spaceman Dream) on the melodica, and Emilio Winschetti, singer with labelmates Mythen In Tüten, later in Mint and The Perc Meets The Hidden Gentleman, on synthesizer. In 1980, a 7" of 'DNS' was released through the independent record label, No Fun Records, as was their 1981 LP, 'Pain It Dark'. For their second record, Gleue and Henjes founded their own record label, Psychotic Promotion, through which Die Kastrierten Philosophen also released their first record. In 1983, the duo split and Henjes founded The Beauty Contest, who released records through the Hamburg label, What's So Funny.

Visually, the band were reminiscent of the Velvet Underground, and musically, they were influenced by the American garage rock of the 1960s with a psychedelic direction and its comparable simplistic production techniques, along with a bastardised use of the English language, somewhat similar to what we know today as "Denglisch" (the German equivalent of Franglais). They were always dressed in black, wearing sunglasses, and coined phrases such as "black and white TVs show better films than colour sets." Rather than melodic psychedelic rock, they called their music "psycho-beat". Many speak retrospectively of thegroup as "the German Velvet Underground" - a comparison that the duo always rejected. The Clocks never had an entry into the Hannover rock hall of fame, however they've not quite been forgotten. For example, in 1998 one of the Clocks' songs found its way onto the soundtrack of the film, "23 - Nichts ist so wie es scheint" ("23 - nothing is quite as it seems"). In addition, many remember them as the forerunners of the German psychedelic renaissance.


39 Clocks - Cold Steel to the Heart (1985)
(256 kbps, front cover included)

VA - Bluegrass Breakdown - Newport Folk Festival

This recording documents live Newport Folk Festival performances by many of the greatest bluegrass artists of the Sixties, an era in which bluegrass was to see some radical changes. Younger artists were discovering the music with great enthusiasm, and were carrying on the tradition established by the music´s originators with tremendous vitality.

Here can be heard the roots of bluegrass, in the od-timey fiddle styles of Lue Berline, Clayton McMichen and Fiddling Arthur Smith; the bluegrass bands that were legends in their time, Bill Monroe and The Bluegrass Boys, The Stanley Brothers and The Dillards; and of course the next generation, citybillies who eagerly embraced the older styles and embellished them with their own imaginations and talents: Byron Berline, The New York City Ramblers and the Greenbriar Boys.

This album was recorded at the Newport Folk Festival in 1963 - 1965. It ends with "Bluegrass Breakdown", which gives this collection its name, another Bill Monroe original that always left the audience hollering for more.


Tracklist:

1	–Lue Berline And Byron Berline	New Broom
2	–Lue Berline And Byron Berline	Old Logan
3	–Lue Berline And Byron Berline	Crazy Creek
4	–Lue Berline And Byron Berline	Dusty Miller
5	–Stanley Brothers, The	How Mountain Girls Can Love
6	–Stanley Brothers, The	A Man Of Constant Sorrow
7	–Stanley Brothers, The	Big Tildy
8	–Stanley Brothers, The	Orange Blossom Special
9	–Fiddling Arthur Smith	Leather Britches
10	–Fiddling Arthur Smith	Blackberry Blossom
11	–Greenbriar Boys, The	Levee Breakin' Blues
12	–Greenbriar Boys, The	At The End Of A Long Lonley Day
13	–Dillards, The	Old Joe Clark
14	–Dillards, The	Ground Hog
15	–Dillards, The	Banjo In The Hollow
16	–Dillards, The	Polly Vaughn
17	–Dillards, The	Dueling Banjos
18	–Clayton McMichen	Alabama Jubilee
19	–Clayton McMichen	Sourwood Mountain
20	–New York City Ramblers, The	You Better Get Right Little Darlin'
21	–New York City Ramblers, The	I'm Coming Back But I Don't Know When
22	–New York City Ramblers, The	Cedar Hill
23	–New York City Ramblers, The	Tell It To Me
24	–Bill Monroe And The Bluegrass Boys*	Muleskinner Blues
25	–Bill Monroe And The Bluegrass Boys*	Blue Moon Of Kentucky
26	–Bill Monroe And The Bluegrass Boys*	Walls Of Time
27	–Bill Monroe And The Bluegrass Boys*	Somebody Touched Me
28	–Bill Monroe And The Bluegrass Boys*	Bluegrass Breakdown

VA - Bluegrass Breakdown - Newport Folk Festival
(256 kbps, front cover included)

VA - Dance Crasher - Ska To Rock Steady (Trojan)

Probably only of interest to the most diehard reggae fans, "Dance Crasher" traces the Jamaican music scene from fast-paced ska to slower rock steady. These two forms were later to develop into what is now known as reggae. It's a fascinating chronicle with tracks from reggae superstars like the Skatalites, the Maytals, the Ethiopians, and Lee Perry and the Soulettes.

All of the songs were cut between 1962 and 1966, and many such as "Hallelujah," "Doctor Dick" and "Big Bamboo" were produced by the legendary C.S. Dodd, one of Jamaica's early studio pioneers.

Some of the recording quality leaves much to be desired, but it's still a good listen. The most interesting piece is "Shame and Scandal," a hilarious story of Jamaican family life ("your daddy's not your daddy, but your daddy don't know"),  recorded by what was then called Peter Tosh and the Wailers.   

Tracklist:

1. Big Bamboo - Lord Creator

2. Latin Goes Saka - The Skatalites

3. Hallelujah - The Maytals

4. Garden Of Love - Don Drummond

5. Rough And Tough - Stranger Cole

6. Beardman Ska - The Skatalites

7. Shame & Scandal - Peter Tosh & The Wailers

8. Street Corner - The Skatalites

9. Bonanza Ska - Carlos Malcomlm And The Afro Caribs

10. Dance Crasher - Alton Ellis & The Flames

11. Let George Do It - Don Drummond

12. Rudie Bam Bam - The Clarendonians

13. Ska Jam - Tommy McCook & The Supersonics

14. Doctor Dick - Lee Perry & The Soulettes

15. Ball O'Fire - The Skatalites

16. Owe Me No Pay Me - The Ethiopians

17. Independece Ska - Baba Brooks & Band

18. Don't Be A Rude Body - The Rulers

VA - Dance Crasher - Ska To Rock Steady (Trojan)
(256 kbps, front cover included)        

VA - Help Rwanda! African Artists For Africa (1995)

"Help Rwanda! African Artists For Africa" is a charity album supporting "Ärzte ohne Grenzen" ("Doctors Without Borders") and UNHCR.

In 1990, the Rwandan Patriotic Front (RPF), a rebel group composed of nearly 500,000 Tutsi refugees, invaded northern Rwanda from their base in Uganda, initiating the Rwandan Civil War. The group condemned the Hutu-dominated government for failing to democratize and confront the problems facing these refugees. Neither side was able to gain a decisive advantage in the war, but by 1992 it had weakened Habyarimana's authority; mass demonstrations forced him into a coalition with the domestic opposition and eventually to sign the 1993 Arusha Accords with the RPF. The cease-fire ended on 6 April 1994 when Habyarimana's plane was shot down near Kigali Airport, killing him. The shooting down of the plane served as the catalyst for the Rwandan genocide, which began within a few hours. Over the course of approximately 100 days, around 800,000[ Tutsi and politically moderate Hutu were killed in well-planned attacks on the orders of the interim government. Many Twa were also killed, despite not being directly targeted.

The Tutsi RPF restarted their offensive, and took control of the country methodically, gaining control of the whole country by mid-July.[ The international response to the genocide was limited, with major powers reluctant to strengthen the already overstretched UN peacekeeping force. When the RPF took over, approximately two million Hutu fled to neighbouring countries, in particular Zaïre, fearing reprisals;[ additionally, the RPF-led army was a key belligerent in the First and Second Congo Wars. Within Rwanda, a period of reconciliation and justice began, with the establishment of the International Criminal Tribunal for Rwanda (ICTR) and the reintroduction of Gacaca, a traditional village court system. Since 2000 Rwanda's economy, tourist numbers, and Human Development Index have grown rapidly; between 2006 and 2011 the poverty rate reduced from 57% to 45%, while life expectancy rose from 46.6 years in 2000 to 59.7 years in 2015.


Tracklist:
1 –Bundhu Boys * Radio Africa 4:05
2 –Four Brothers * Uchandifunga 4:33
3 –Real Sounds * Wende Zako 8:23
4 –Biggie Tembo * Out Of Africa 5:40
5 –Machanic Manyeruke * Kana Vatsvene Vopinda 3:44
6 –Bundhu Boys * Pombi 5:08
7 –Four Brothers * Rudo Chete 4:57
8 –S. E. Rogie * My Lovely Elizabeth 2:59
9 –Machanic Manyeruke * Cain Na Abel 3:32
10 –Biggie Tembo * Punza 5:33
11 –S. E. Rogie * I Wish I Was A Cowboy 3:14
12 –Real Sounds * Dynamos vs. Tornados 13:21


VA - Help Rwanda! African Artists For Africa (1995)
(320 kbps, front cover included)

Alton Ellis & The Heptones - Mr. Ska Bean´a (1980)

One of the first vocalists to enter the Jamaican music business, Alton Ellis was generally revered as the greatest and most soulful singer the country ever produced — that is, until Bob Marley came along. Ellis had his first hit during the ska craze, but made his true lasting mark as the definitive solo singer of the rocksteady era. Sweet, smooth, and deeply emotive, Ellis was equally at home on Jamaican originals or reggae-fied covers of American R&B hits.

This collaboration with the Heptones was produced at Black Ark and Channel One and was released in 1980 on the Cha Cha label.

Tracklist:

A1	Humble Will Stumble
A2	Hard To Be A Lover
A3	Pure Sorrow
A4	Inside My Soul
A5	Loving You
B1	Mr Ska Beana
B2	Bless You
B3	Children Are Crying
B4	Woe Child

Alton Ellis & The Heptones - Mr. Ska Bean´a (1980)

(192 kbps, cover art included)

The Ex - Disturbing Domestic Peace (1980)

Emerging out of Amsterdam's vibrant squat scene in 1979, The Ex – a name chosen for the ease and speed with which it could be spray-painted onto a wall – have for four decades been an entirely self-sustaining musical entity, charting a course through the global underground with a spirit of freedom and radical exploration.

"Disturbing Domestic Peace", The Ex's debut album, appeared mere months after their first single, 1980's "All Corpses Smell The Same". Originally released on the band's own Verrecords (they made up different label names with each record), the LP falls squarely within a punk idiom and, at the same time, shows this influential Dutch group's restless energy. Terrie Ex's guitar serves up vectors of percussive pulse, fraying the edges of the music's squared-off rhythms. Vocalist G.W. Sok – an anarchist Dziga Vertov with a mic – observes, declaims and condemns across a set of interrelated political concerns that would return in Ex-music for years to come.

While The Ex channel the poise and principled attack of Crass or Flux Of Pink Indians, they create a unique declamatory sound all their own – trailing brilliant flashes of color in the wake of punk's monochrome palette. Offering ten songs in only twenty-two minutes, "Disturbing Domestic Peace" lays bare a vivid snapshot of a truly singular band who (at the time) were just finding their feet.

This album comes with free bonus live 7" "Live~Skive" (on Eh Records).

Tracklist:

A1 The Sky Is Blue Again 2:01
A2 Map 1:14
A3 Outlook-Army 0:39
A4 Sucking Pig 1:58
A5 A Sense Of Tumour 4:00
B1 Meanwhile 3:54
B2 Rules 1:41
B3 Squatsong 1:51
B4 Warning-Shot 2:55
B5 New Wars 2:46

Live~Skive:
C1 Introduction
C2 Human Car
D1 Punk
D2 Horse

The Ex - Disturbing Domestic Peace (1980)
(320 kbps, cover art included)

39 Clocks - Subnarcotic (1982)

Here´s another 39 Clocks album: "Subnarcotic" was released in August, 1982 on the german Eigelstein label.

Enjoy it!

Tracks:

Heat Of Violence

Dom (Electricity Elects The Rain)

Psychotic Louie Louie

Past Tense Hope &

Instant Fears On 42nd Street

Virtous Girl

Three Floors Down

Rainy Night Insanities

A Touch Of Rot

Aspetando Godo

Fresh link:

39 Clocks - Subnarcotic (1982)

(256 kbps, front & back cover included)

Violeta Parra - El Folklore De Chile (1957)

Violeta Parra (born October 14, 1917 in San Carlos de Itihue, Chile) was a notable Chilean folklorist and visual artist. She set the basis for Nueva Canción Chilena, a renewal and a reinvention of Chilean folk music. Parra revived the Peña, (now known as La Peña de Los Parra), a community center for the arts and for political activism. Her most renowned song, Gracias a la Vida, was popularized throughout Latin America by Mercedes Sosa and later in the US by Joan Baez. It remains one of the most covered Latin American songs.

From 1949 to 1952 she formed a duo with her sister, Hilda Parra: "Las Hermanas Parra". She had other brothers dedicated to music, as Roberto Parra and Lalo Parra, or poets, as Nicanor Parra.

Violeta Parra committed suicide with a gunshot on February, 5, 1967, in Santiago, because of her depression over the breakup of her relationship with Gilbert Favre.                 

 

After her dead a lot of memorial-events and concerts were hold. She inspired a huge part of Latin-American artist, like Victor Jara and the hole musical-movement of the "Nueva Cancion Chilena", which renewed the chilean folklore.

Tracklist:

La Inhumana
Es Aquí O No Es Aquí
Son Tus Ojos
Parabienes Al Revés
Tres Cuecas Punteadas
Verso Por Saludo
Ausencia
Las Naranjas
El Sacristán
Verso Por La Sagrada Escritura
Viva La Luz De Don Creador
El Bergantín
Verso Por La Niña Muerta
Tres Polkas Antiguas
Verso Por Despedida A Gabriela Mistral
No Habiendo Como La Maire
La Paloma Ingrata

Violeta Parra - El Folklore De Chile

(256 kbps, cover art included)

VA - Singt eener uff´n Hof - Kurt Tucholsky als Kabarettautor

On 10 May 1933, a remarkable act of barbarism, a prelude to the many worse ones that followed, took place in the city of Berlin. Students from the Wilhelm Humboldt University, all of them members of right-wing student organizations, transported books from their university library and from other collections to the Franz Joseph Platz; adjacent to the university. Accompanying their actions with declaimed denunciations of the authors, they proceeded to toss thousands of titles, by writers famous and obscure, foreign and native, into the flames of an already ignited bonfire. The egregiously primitive act lasted for hours, interrupted only by the incantation of Nazi songs and a speech by Propaganda Minister Joseph Goebbels.

Among the 20,000 volumes hurled into the flames were the writings of Henri Barbusse, Franz Boas, John Dos Passos, Albert Einstein, Lion Feuchtwanger, Friedrich Förster, Sigmund Freud, John Galsworthy, André Gide, Ernst Glaeser, Maxim Gorki, Werner Hegemann, Ernest Hemingway, Erich Kästner, Helen Keller, Alfred Kerr, Jack London, Emil Ludwig, Heinrich Mann, Thomas Mann, Karl Marx, Hugo Preuss, Marcel Proust, Erich Maria Remarque, Walther Rathenau, Margaret Sanger, Arthur Schnitzler, Upton Sinclair, Kurt Tucholsky, Jakob Wassermann, H.G. Wells, Theodor Wolff, Emilé Zola, Arnold Zweig, and Stefan Zweig.

The next day, and in the weeks following, there was a massive reaction in the world press, especially since many other German university towns imitated this infamous act. German newspapers reported in triumph that Germany was beginning to purge itself of the alien and decadent corrupters of the German spirit, while newspapers and magazines abroad, from as far away as China and Japan, responded in surprise and shock. Even then, some knowledgeable journalists recalled the prediction of the poet Heinrich Heine, who had said a century earlier: "Where one burns books, one will soon burn people."

The album "Singt eener uff´n Hof - Kurt Tucholsky als Kabarettautor" features interpretations of Kurt Tucholsky lyrics, recorded between 1920 and 1966., with artists like Paul Graetz, Kate Kühl, Trude Hesterberg, Claire Waldoff and Ernst Busch.

VA - Singt eener uff´n Hof - Kurt Tucholsky als Kabarettautor
(256 kbps, cover art included)