Otto Reutter - Gräme dich nicht - Akustische Aufnahmen 1909 - 1919

Otto Reutter (born Otto Pfützenreuter: April 24, 1870 in Gardelegen, Germany – March 3, 1931 in Düsseldorf, Germany) was a German comedian, coupletist, and singer.

Born into a poor Catholic family, Reutter attended the Catholic school in Gardelegen and was then trained as a salesman's assistant. After completing his apprenticeship, he moved to Berlin and became active in theater and as a comedian. Afterwards he moved to Karlsruhe and became part of a troupe of tavern singers and comedians there.
In 1895, he first appeared as a "salon humorist", probably in Bern, Switzerland. The following year he had his breakthrough.

Particularly notable about Reutter was his ability to deliver original, amusing lyrics in a singsong manner, his persona full of irony and wit. After a successful appearance in the "Wintergarten Variety" of the Berlin Central Hotel, Reutter was hailed as a celebrity, and was considered in the following decades as one of the leading artists of the stage in Germany.

In the 1920s, Reutter wrote many of the songs for which he is still well known today, songs that have been sung by many well-known German artists. He wrote over a thousand Couplets, a German form of amusing cabaret song.

Overstressed and having suffered some personal setbacks, Reutter intended to retire as a millionaire in 1919, after a successful thirty-year career. He had invested his fortune in his house (known as Waldschnibbe) in Gardelegen, as well as in war bonds. As World War I came to an end and the German inflation struck, Reutter lost a good portion of this fortune and thus had to continue to support himself by delivering his songs on various small stages.
Hence, starting around 1919, his "mature work" began to appear: songs that were especially characterized by humor and melancholy, the wisdom of life, and a kind of weary sass and bite.
His songs didn't just foresee societal changes, but also presented their listeners with comfort in times that required great sacrifice. His songs tended to follow the taste of the times, as well as current events.

Sick and exhausted, Otto Reutter died during a guest appearance in Düsseldorf in 1931, and was buried in Gardelegen.

Tracklist:
01.  Das find´ ich reizend von der Frau
02. Wie die kleinen Kinder
03. Das ist mir ganz egal
04. Ja, die Natur, die lässt sich nichts befehlen
05. Nun g´rade nicht!
06. Aber keiner fängt an!
07. Nicht so laut!
08. Des Bürgermeisters Töchterlein
09. Wissen Sie, was der mir geantwort´t hat?
10. In dem Moment
11. Vergänglichkeit
12. Das gefährliche Alter
13. Dann merkst du gleich, der Mann ist aus Berlin!
14. Gräme dich icht!
15. Die Lorelei
16. Na, nu tun Sie man nicht so!
17. Kolossal!
18. Dei Liebesgabenkiste
19. Sei gescheit!
20. Laß´ sie hungern!

Otto Reutter - Gräme dich nicht - Akustische Aufnahmen 1909 - 1919
(256 kbps, cover art included)

Violeta Parra - Las Ultimas Composiciones (1966)

Violeta Parra was an amazing woman who nearly single-handedly launched a revolution in music, art and culture in Chile... and went on to inspire a political revolution as well. This album captures some of her last works. Bittersweet, sometimes angry, sometimes sorrowful, but alway masterful, it captures her sentiment not long before she committed suicide. This is a must-have for folk music lovers, Canciones Nuevas lovers, and lovers of political music. Victor Jara, Isabel and Angel Parra, Inti-Illimani, Rolando Alarcon, Quilapayun and many others owe Violeta so much. Listen and know why.

"Las Ultimas Composiciones" is an excellent collection of 14 songs ranging from sweet lyricism to driving resistance. It is the last recording issued in her lifetime and many of the songs include accompaniment by Alberto Zapican and Violeta's children, Isabel and Angel Parra. The version here of "Gracias a la Vida" is especially haunting.


Tracklist:

Gracias A La Vida - Canción
El "Albertio" - Rin, Danza
Cantores Que Reflexionan - Refalosa
Pupila De Aguila - Huayno
Run Run Se Fue Pa'l Norte - Canción
Maldigo Del Alto Cielo - Sirilla Canción
La Cueca De Los Poetas - Cueca
Mazurquica Modernica - Mazurka
Volver A Los 17 - Sirilla Canción
Rin Del Angelito - Rin Danza
Una Copla Me Ha Cantado - Lamento
El Guillatun - Danza Estilo Araucano
Pastelero A Tus Pasteles - Cueca
De Cuerpo Entero - Cueca


Violeta Parra - Las Ultimas Composiciones (1966)
(192 kbps, cover art included)

Judy Collins - A Maid Of Constant Sorrow (1961)

Judy Collins' debut LP shows her relying more on enthusiasm than subtlety in her singing, with a deeper, heavier style than anyone would be accustomed to from her. It's almost as though, lacking confidence, she tried too hard in various spots to make the songs (and her voice) sound profound and significant, and wasn't aware of what the strongest part of her range was. 

Occasionally, on "The Pickilie Bush" or "Wild Mountain Thyme" when she reaches for the high notes, listeners hear the future of Collins' sound, but much of what's here is more strident than listeners are accustomed to from her. Not that's it's bad -- she makes a good case for her renditions of those songs and Ewan MacColl's "Tim Evans (Go Down You Murderers)" within the context of their time. She is more relaxed on the sea shanties such as "Sailor's Life," and those tracks have a timelessness that is lacking in much of the rest. The whole album has value, however, both as an artifact of the early New York folk boom and the first effort of a major artist -- and "John Riley" could fit in on any career retrospective on Collins' work.

Tracklist:

A1 A Maid Of Constant Sorrow 2:35

A2 The Prickilie Bush 3:25

A3 Wild Mountain Thyme 2:30

A4 Tim Evans 2:51

A5 Sailor's Life 2:41

A6 Bold Fenian Men 2:44

B1 Wars Of Germany 3:10

B2 O Daddy Be Gay 2:34

B3 I Know Where I'm Going 1:50

B4 John Riley 3:30

B5 Pretty Saro3 :03

B6 The Rising Of The Moon 4:07

Judy Collins - A Maid Of Constant Sorrow (1961)

(256 kbps, cover art included)

Ernst Toller - Eine Jugend in Deutschland

Ernst Toller, (born Dec. 1, 1893, Samotschin, Ger.—died May 22, 1939, New York, N.Y., U.S.), dramatist, poet, and political activist, who was a prominent exponent of Marxism and pacifism in Germany in the 1920s. His Expressionist plays embodied his spirit of social protest.

Toller studied at Grenoble University in France but went back to Germany in 1914 to join the army. Invalided after 13 months at the front during World War I, Toller launched a peace movement in Heidelberg. To avoid arrest he fled to Munich, where he helped lead a strike of munition workers and was finally arrested. In 1919 Toller, an Independent Socialist, was elected president of the Central Committee of the revolutionary Bavarian Soviet Republic. After its suppression he was sentenced to imprisonment for five years. A scheme to get him shot in the prison yard was frustrated by a kindly old guard, who routed him away from the gunmen.

In confinement Toller wrote Masse-Mensch (1920; Man and the Masses, 1923), a play that brought him widespread fame. Books of lyrics added to his reputation. In 1933, immediately before the accession of Hitler, he emigrated to the United States. Also in that year he brought out his vivid autobiography, Eine Jugend in Deutschland (I Was a German, 1934).

In Hollywood Toller had a brief, unhappy stint as a scriptwriter. Impoverished, convinced that his plays were passé, and separated from his young wife, he committed suicide in his Manhattan hotel.

 'Eine Jugend in Deutschland', (1933, translated into English 'I was a German') is his biography, detailing the turbulent years of the Weimar Republic, Hitler's rise to power and his experiences.  I would recommend 'Eine Jugend in Deutschland' to anybody interested in German history of that era.

Ernst Toller - Eine Jugend in Deutschland
(Audiobook, German language)

Nina Simone - Folksy Nina (1964)

Like the 1963 LP "Nina Simone at Carnegie Hall", this was recorded at Carnegie Hall on May 12, 1963, but duplicates little of the material found on that prior album. It isn't just unworthy leftovers, but a strong set in its own right, concentrating on material that could be seen as traditional or folk in orientation.

It's not exactly strictly folk music, in repertoire or arrangement (which includes piano, guitar, bass, and drums, though not every tune has all of the instruments); "Twelfth of Never" (which had also appeared on the Carnegie Hall LP) certainly isn't folk music. However, there was also an uptempo piano blues, Leadbelly's "Silver City Bound"; covers of the Israeli "Erets Zavat Chalav" and "Vanetihu" which served as further proof that Simone's eclecticism knew no bounds; and the stark, moody, spiritually shaded ballads at which she excelled ("When I Was a Young Girl," "Hush Little Baby"). "Lass of the Low Country" is as exquisitely sad-yet-beautiful as it gets.

Tracklist

A1	Silver City Bound	5:08
A2	When I Was A Young Girl	5:57
A3	Erets Zavat Chalav	4:25
A4	Lass Of The Low Country	6:15
B1	The Young Night	5:25
B2	Twelfth Of Never	3:33
B3	Vanetihu	2:27
B4	You Can Sing A Rainbow / Hush Little Baby	7:11

Nina Simone - Folksy Nina (1964)
(320 kbps, cover art included)
             

King Tubby‎– King Tubby's "Rastafari Dub" (1974 - 1979)

King Tubby didn't make any bad records in the '70s. Even his less appreciated digital era isn't worthy of the scorn it receives.

"Rastafari Dub" is another classic '70s dub album in the impressive Clock Tower catalog. On this record, King Tubby works his effects magic on the vocals of the era's best singers.

Johnny Clarke's "King of the Arena" opens the album with small tastes of smooth vocals echoed, reverbed, and dropped in to create the thick King Tubby sound. Those who enjoyed Jacob Miller's vocals on "King Tubbys Meets Rockers Uptown" will appreciate Rastafari Dub for its up-front use of the original vocal tracks.

The production is in the finest roots tradition, and only falls short of "King Tubbys Meets Rockers Uptown" because the originals don't have the godlike perfection that Augustus Pablo and Jacob Miller brought.

"Rastafari Dub" is King Tubby at his best, working behind the boards with the best material available to him at the time. The album has no shortcomings other than its former obscurity. The Clock Tower catalog is so deep with talent and gems...

Tracklist:
                           

A1	King Of The Arena Dub	3:16
A2	No Partial Dub	2:33
A3	Crazy Bald Head Dub	3:29
A4	A Living Dub	5:54
A5	Rastafari Dub	3:12
A6	Heartless Dub	3:12
B1	A Yard Dub	3:43
B2	Destroy Dub Style	2:54
B3	Book Of Numbers Dub	3:28
B4	Natty Roots Man Dub	3:53
B5	A Sunny Dub	4:17
B6	Jam Style Dub	3:57

King Tubby‎– King Tubby's "Rastafari Dub" (1974 - 1979)
(192 kbps, cover art included)

Paul Graetz - Heimweh nach Berlin

In the late 1920s, Berlin was the world´s third-largest city and a metropolis of culture and science with a vibrantly diverse population comprised of immigrants and native Berliners. In the aftermath of the Nazi regime´s rise to power in 1933 and the terror of the 1938 November Pogroms, an appalling number of men and women who had contributed to the diversity of Berlin´s cultural and social landscapes were persecuted and driven into exile - many others were deported and murdered.

As the "most quintessential of Berlin´s comedians", Paul Graetz was among the most popular German cabaret performers in the years before 1933.

Graetz, who was a Jewish artist and had warned against the threat posed by the Nazis, fled Germany after the Reichstag fire.

After working in London as an actor, he emigrated to New York and then to Hollywood, where he died in 1937, "heartbroken at the loss of his native Berlin", as a fellow-artist reported.

Tracklist:

Paul Graetz • Heimweh nach Berlin : Chansons und Texte von Walter Mehring, Kurt Tucholsky u.a.

1-1 Heimat Berlin / Mit der Hand übern Alexanderplatz 2:15
1-2 Wenn der alte Motor wieder tackt 5:31
1-3 Der Schlafwagenschaffner 5:53
1-4 Das ist der Herzschlag, der zusammenhält 6:04
1-5 Sonntagvormittag 2:53
1-6 Berliner Bilderbogen 12:42
1-7 Wo kommen die Löcher im Käse her? 5:33
1-8 Ich hab ein Häuschen am Wald und am See 3:01
1-9 Schuster Pinne vor Gericht 3:09
1-10 Mensch, ick bin Type 3:21
1-11 Das ist bei mir so 3:19
1-12 Lied des Kellermann [Aus "Der Studentenprinz"] 2:56
1-13 Bi-bi-bitte sehr [Aus "Hoffmanns Erzählungen"] 3:13
1-14 Augen in der Großstadt 3:16
1-15 Über den Dächern von Berlin 3:16
1-16 Uns kann keener 2:00
1-17 Bei Muttern 3:03
1-18 Berlin 2:54

'Und wo hab ick Murmeln jespielt?' : Vom Heimweh des Schauspielers Paul Graetz • Feature von Volker Kühn

2-1 Tausend Worte Berlinisch
2-2 Über den Dächern von Berlin
2-3 Paule - Eine Berliner Instanz
2-4 Bei Muttern
2-5 Anfänge als Schauspieler
2-6 Das Kabarett "Schall und Rausch"
2-7 Wenn der alte Motor wieder tackt
2-8 "Graetz - Das ist wirklisches Brettl!"
2-9 Tucholskys Lieblings-Interpret
2-10 Heimat Berlin
2-11 Bekannt von Bühne, Film, Funk und Schallplatte
2-12 Max Reinhardts "Cochenille"
2-13 Von den Nazis vertrieben
2-14 "Berlin - Hier bin ick zuständig!"
2-15 Emigration in die USA
2-16 Tod in Hollywood
2-17 Berlin

Paul Graetz - Heimweh nach Berlin
(192 kbps, front cover included)

"Und wo hab ick Murmeln jespielt?" - Feature von Volker Kühn

(320 kbps, cover art included)

Katja Ebstein - Laßt euch nicht verführen (Bertolt Brecht)

Katja Ebstein is a german pop vocalist, most famous in the 70s with a lot of popular german pop songs.

She was activ in the 60s student movement and began performing in the Berlin cabaret scene at the end of the 60s with Insterburg & Co.
In the 70s she was married with her manager and producer Christian Bruhn, who wrote a lot of german pop hits for her.

Today she is performing chansons and poems by Heinrich Heine, Kurt Tucholsky and Bertolt Brecht. She was and is active in social movements, for example against nucelar weapons and for the rights of children and women.

Here is a programm by Katja Ebstein singing and reciting songs and poems by Bertolt Brecht.
Tracks:

Jetzt wachen nur noch Mond und Katz
Der Bilbao Song
Die Auswanderung der Dichter
Über die Bezeichnung Emigranten
Das Lied von der Moldau
Vom armen B.B.
Gegen Verführung (Vers. 1)
Mögen andere von ihrer Schande sprechen
Das Lied vom SA Mann
Gegen Verführung (Vers. 2)
Lied einer deutschen Mutter
Intervention
Gegen Verführung (Vers. 3)
Kälbermarsch -Kindermarsch
Gegen Verführung (Vers. 4)
Bitten der Kinder
Das Lied von der Judenhure Maria Sanders
Kinderhymne
Das Lied von der Unzulänglichkeit menschlichen Strebens
Lob des Lernens
Das Lied von der harten Nuss
Jugend
Das Lied von der Suppe
Surabaya Johnny
Der Nachgeborene
Ein bitteres Liebeslied
Wechsel der Dinge
Erinnerungen an Marie A
Ih möchte mit dem gehen
Der Pflaumenbaum
Die Liebenden
Die Kellerassel
Wenn ich auf zuberischen Karussellen
Das Pferd
An die Nachgeborenen
Das Lied der Seeräuber Jenny
Ich benötige keinen Grastein
Alles wandelt sich

Katja Ebstein - Laßt euch nicht verführen (Bertolt Brecht)
(256 kbps, small front cover included) 

Stockholms Anarkafeministkor - I Sparen Av Kampande Systrar (2002)

 Thanks a lot to Bob for sharing this album with us. It´s a pleasure!

It was recorded in 2002 in Sweden and features great vocal versions of some well knows political - antifascist, feminist - songs.

1 Kvinno-Internationalen
2 La Lega
3 Enhetsfrontsång
4 On The Day The Nazi Died
5 Sången Om Sexualmyterna
6 Nån Har Frågat Mig
7 Nån Har Frågat Mig
8 Vi Ska Gå Ut Tillsammans
9 Homophobia
10 Ända Sen En Tid Tillbaka Är Herrarna Rädda
11 Bella Ciao

12 Feminismen
13 Till Barrikaderna
14 Ay Carmela
15 Internationalen

Stockholms Anarkafeministkor - I Sparen Av Kampande Systrar (2002)

(320 kbps, cover art included)

Claire Waldoff - Es gibt nur ein Berlin

.From the mid-20s, Claire Waldoff celebrated her greatest successes, performed one-woman shows in the two largest Berlin Varietés, the Scala and the Wintergarten, and on all other renowned stages in Germany. The socially active artists became popular all over Germany through radio and disk recordings with record circulations. The coming into power of the Nazi regime meant a significant turning-point for Waldoff, however, not an abrupt ending of her career. Her living and working conditions in the Third Reich are surrounded by mystery.

Actually, the singer was subjected to a “political stage ban“ at the beginning of 1933 because she participated in events of the communist Red Aid. However, she returned to the stage after having presented her “Aryan proof“ and having joined Goebbel’s Reich’s culture chamber. The audience still loved her despite - or just because - her hallmarks - neck tie, shirt, and “bronze-red crackling page-boy cut" and sometimes “smoking and swearing like a dustman“ as declared her friend Heinrich Zille - she did not meet the type of women propagandised by the regime. Her cohabitation with Olga von Roeder also did not comply with the “popular sentiment“ of the Nazis. Her songs, to the extent known, also lacked anything nationalist and racist.

“I danced on the brink but nobody dared to throw me in", she states in her autobiography. Sometimes, however, much less frequent, she also performed in other German cities and in Berlin she amused her audience together with the dancer Lene Ludwig whom she got to know in the mid-30s. Lene Ludwigs performed parodist dances with masks of popular personalities, among them also Claire. Lene Ludwig told in 1992: ”This was a double success“. First, Claire came on stage with her songs and then I with the mask. The audience got wild and clapped. Claire was no beauty in the common sense, but she was amusing, she was full of ideas, and when she came on stage, she had an enormous charisma.“

There is proof of Claire Waldoff still performing at the beginning of 1943; in January 1942 even in Paris which had been occupied for one and a half year at that time. This served to spread high spirits among the soldiers. While Waldoff sang before the armed forces, Marlene Dietrich, her former friend and the "love of her life“, who turned her back on Nazi Germany and sang before American soldiers, soon was to move into the liberated Paris together with the allied forces..Arrests and stage bans are again and again implied.

Claire Waldoff - Es gibt nur ein Berlin (192 kbps)

Petros Pandis - Songs of the greek resistance (vinyl rip, 1974)

This is a compliation of songs from the greek resistance against the German nazis and Italian and Bulgarian fascists in the occupation during 1941 and 1944. Some of these songs were also sung during the civil war against Greek fascists in 1946 - 1949.
The composers are various and some of them are still unknown (if not noted in the tracklist below). All the songs were performed by Petros Pandis. This compilation was released in 1974.

Tracklist:

01 MAURA KORAKIA
02 O ANTARTIS TOU ELAS
03 PESATE THIMATA
04 ST ARMATA (N Karvouni-astrapogianou).mp3
05 BELOGIANIS (D.Renti-L.Chatzi).mp3
06 TO TRAGOUDI TOU ARI
07 PEDIA SIKOTHITE
08 SAN ATSALINO TEIXOS
09 MALIA SGOURA
10 TI TA THELOUME TA OPLA
11 IROES (S.Mpakalis).mp3
12 STOUS DROMOUS (A.Xenou-A.Spiliou).mp3
13 APOPSE THA PLAGIASOUME
14 I SIMAIA
15 TO TRAGOUDI TIS AGROTIAS
16 ANEMOI THIELLES
17 TI THELOUN OI EXTHROI MAS
18 I MANA TOU ANTARTI
19 FISA AGERA
20 AKRONAUPLIA

Petros Pandis - Songs Of The Greek Resistance (vinyl rip, 1974)

(256 kbps, front cover included)

Folk Festival At Newport, 1959 - Volume 3

Here´s the third and final set of recordings, done at the Newport Folk Festival, July 11/12, 1959. It features artists like Earl Scruggs Jean Ritchie, John Jacob Niles, Frank Hamilton, Oscar Brand, Cynthia Gooding and Ed McCurdy.

Earl Scruggs was a banjo-player with Bill Monroe´s Bluegrass Boys who left the ranks in 1948. Kentucky-born Jean Ritchie was the youngest of 14 children, and distinguished herself from her brothers and sisters by learning to play the Appalachian dulcimer. Oscar Brand, like Pete Seeger a director of the festival, makes a cameo appearance with her, while Minnesota-born Cynthia Gooding was an early exponent of world music. She recorded a number of LPs for the Elektra label including collections of Turkish, Spanish and Mexican folk songs.

Frank Hamilton and John Jacob Niles also impress, but the honour of closing the show falls to another Elektra artist, Ed McCurdy. Best known for the anti-war classic "Last Night I had The Strangest Dream", the majority of his contributions here are traditional.

Tracklist:

Earl Scruggs- Flinthill Special
Jean Ritchie
- What're We Going To Do With The Baby-Oh
- Pretty Saro
- Shady Grove
Jean Ritchie & Oscar Brand (accompanied by Billy Faier & Oscar Brand, g; Jean Ritchie, dulcimer)
- Paper Of Pins
John Jacob Niles
- The Hangman, or The Maid Freed From The Gallows
Frank Hamilton
- Lady Gay
Frank Warner
- Old Racoon

Earl Scruggs
- Earl's Breakdown
Oscar Brand (assisted by Billy Faier, voc, g)
- Which Side Are You On?
Cynthia Gooding
- Un Domingo
- Jalisco
Ed McCurdy
- The Old Fisherman
- When Cockle Shells Turn Silver Bells
- Twinkle Twinkle Little Star
- Frankie And Johnny
Earl Scruggs
- Cumberland Gap

New link:
Folk Festival At Newport, 1959, Volume 3
(192 kbps, cover included)

VA - Wintergarten - Musik des neuen Berliner Wintergartens - Ouvertüre - Finale (Volume 1)

Here´s the first volume of the "Wintergarten Edition", an album with recordings related to the famous Berlin cabaret "Wintergarten". It was released on the occasion of the re-opening of the "Wintergarten" in September 1992. The album features tracks by André Heller, Josephine Baker, Maurice Chevalier, Marlene Dietrich, Friedrich Holländer and others.

The Central Hotel opened in the year 1880 in Friedrichstraße. A special attraction for its guests was the “jardin de plaisanterie” or winter garden. Situated in a magnificent glass hall reminiscent of a crystal palace, it covered some 2,000 sq. m. and was unrivalled in quality and size at the time. The guests at the plush hotel delighted in promenading through the garden with its palm trees, evergreen shrubs and creepers, fountains and grottoes. The first concerts were held the same year.

In 1888 the stage was extended and fitted with the large, semicircular apron later regarded as its hallmark. The appropriate technical facilities were installed to allow for performances by acrobats. Both the management of the theatre and the press refered to the Wintergarten for the first time as a variety theatre.

In the year 1895 the Wintergarten scored a world premiere when the Skladanowsky brothers brought the sensational new art of cinematography to the stage.

In 1900 the management was changed and further conversion work was carried out. The famous starry sky was installed in the auditorium, which has already been fitted with a concert shell, main stage and scene bay. The Wintergarten ranked as the best of the 80-odd variety theatres in Berlin at the turn of the century. No new act, no sensation and no great entertainer could afford to ignore the Wintergarten. The theatre played host to many opera and circus stars, the best-known dancing girls, virtuoso performers, the clowns, Grock and Charlie Rivel, the marvellous juggler, Rastelli, and the incredible escape artist, Houdini. Stars, entertainers and muses of every nationality regarded an engagement at the Wintergarten as an honour.

Variety theatre boomed in the Roaring Twenties and the Wintergarten was in its heyday. During these crazy years full of eccentric fashions, demure divas and talented characters it were Claire Waldoff and Otto Reutter, in particular, who leaved their mark on the Wintergarten.

After 56 years of shows and a final performance on 21 June 1944 the Wintergarten was destroyed in a bombing raid. The most spectacular variety theatre Germany has ever known lied in ruins.

The name "Wintergarten" was taken on by a theatre in Potsdamer Strasse in 1992.

VA - Wintergarten - Musik des neuen Berliner Wintergartens - Ouvertüre - Finale (Volume 1)
(256 kbps, cover art included)

Otto Reutter - Alles weg´n de Leut´

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

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

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

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

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

Nina Simone And Her Friends (1959)

Nina Simone and Her Friends is an album released by the Bethlehem Records label that compiled songs by Jazz singers Nina Simone, Carmen McRae and Chris Connor.

All three artists had left the label and signed with other companies by the time Bethlehem released this album. The songs of Nina Simone were previously unissued “left overs” from the recording sessions for her debut album Little Girl Blue (1958) and released without her knowing.

The tracks by Chris Connor and Carmen McRae were already issued together this way as Bethlehem's Girlfriends in 1956 accompanied by the debut recording session of Julie London.

Tracklist:

01.  He's Got The Whole World In His Hands

02.  Cottage For Sale
03.  Old Devil Moon
04.  I Loves You, Porgy
05.  Try A Little Tenderness
06.  You Made Me Care
07.  For All We Know
08.  What Is There To Say
09.  Too Much In Love To Care
10.  African Mailman
11.  Good Bye
12.  Last Time For Love

Nina Simone And Her Friends (1959)
(320 kbps, front cover inlcuded)

Harry Mudie Meet King Tubby's - Dub Conference Volume 1 (1976)

Harry Mudie combined the sweetness and the heaviness that have always been integral to Jamaican music, even on occasion successfully integrating lush string arrangements. Tubby mostly made obvious the sheer weight of Mudie´s rhythms, but wisely maintained snatches of strings on some tracks.

"Produced by living legendary reggae producer Harry Mudie and mixed in conference at King Tubbys Studio, Kingston, Jamaica, W.I., with the late, great dub inventor, sound system and recording engineer Osbourne Ruddock a.k.a King Tubbys. King Tubbys, the creator of dub music in the late '60s, mixed reggae musical tracks that the drum and bass predominated in the mix and at irregular intervals introduced echo reverbs and delay with other sound effects he conjured up at his will. Dub Conference Volume 1, mixed in 1976, is making history for the second time with producer Harry Mudie's introduction of strings to dub music as he did in reggae music with strings and flute in a classical form."

Tracklist:

A1	Full Dose Of Dub	3:17
A2	Madhouse Dub	3:02
A3	Dub For The Dread	3:11
A4	Dub With A Difference	2:54
A5	Caught You Dubbing	3:43
B1	Roman Dub	3:02
B2	Dub Conference	3:09
B3	Heavy Duty Dub	3:09
B4	Strip Tease Dub	3:19
B5	String Dub In Rema	2:59

Harry Mudie Meet King Tubby's - Dub Conference Volume 1 (1976)
(320 kbps, cover art included)

Katja Ebstein - Singt Heinrich Heine (1975)

Although she had to wait until early 1970 before she enjoyed her first hit, German singer Katja Ebstein’s involvement in the hippy and student scenes of the late 1960s meant she was often perceived as a voice of the 1968 generation.  

She was born Karin Witkiewicz on 9 March 1945 near what was then the German town of Breslau and is now Wroclaw in Poland. She and her mother fled the approaching Red Army and ended up in Berlin.

After swapping Karin for Katja, the young singer became a familiar face on the local music scene. She performed backing vocals for local group Insterburg and Co and for orchestra conductor James Last.

In 1966 she landed a recording contract with the Ariola label, where she released her first single, Irgendwann. That year she also took part in the Knokke Cup in Belgium, appearing alongside singers such as Britain’s Truly Smith and Belgium’s Ariane.

She met Liberty label bosses at a German Woodstock-type festival in Burg Waldeck and they showed an interest in signing the singer.

With the addition of a surname, which she adapted from the name of the street where she lived, Ebsteinstraße, she joined the Liberty label in 1969.

In 1975 she took to the stage with the Heinrich-Heine-theatre company. Together they performed a Heine-cycle with music composed by Christian Bruhn. This song-cycle was released on the album "Katja Ebstein - Sing Heinrich Heine".

Apart from her musical career Katja is politically very active and outspoken. She was an active member of the 1968 student movement, she supported Willy Brandt in 1972 and was arrested in the eighties for participating in a blockade of an American atomic weapon depot in Germany. In 2003 she demonstrated against the war in Iraque. In 1992 she founded the 'Katja Ebstein Foundation' which has the goal to support children in socially weak families. She also supports the social development program in Mali called 'Hilfe zur Selbsthilfe', which helps local people to build houses for poor people.

Heinrich Heine (13 December 1797 – 17 February 1856) was one of the most significant German poets of the 19th century. He was also a journalist, essayist, and literary critic. He is best known outside Germany for his early lyric poetry, which was set to music in the form of Lieder (art songs) by composers such as Robert Schumann and Franz Schubert. Heine's later verse and prose is distinguished by its satirical wit and irony. His radical political views led to many of his works being banned by German authorities. Heine spent the last 25 years of his life as an expatriate in Paris.

 
Tracklist:
1. Es erklingen alle Bäume
2. Die schlesischen Weber
3. Wir saßen am Fischerhause
4. Es ist eine alte Geschichte
5. Kleines Volk
6. Es fällt ein Stern herunter
7. Lied der Marketenderin
8. Du hast Diamanten und Perlen
9. Auf die Berge will ich steigen
10. Ich weiss nicht was soll es bedeuten
11. Panaschierter Leichenwagen
12. Eine grosse Landstraß' ist unser Erd
13. Meeresstille
14. Es war ein alter König
15. Mein Kind, wir waren Kinder
16. Die Liebe begann im Monat März
17. Die heil'gen drei Könige
18. Das Fräulein stand am Meere

Fresh link:
Katja Ebstein - Singt Heinrich Heine (1975)
(192 kbps, front & back cover included)

The Newport Folk Festival 1960, Volume 2

Bob Gibson was a close friend of Pete Seeger who inspired Gibson to buy a banjo and study American folk music. Before long, Gibson had become a major talent in his own right as well as "discovering" and fostering the talents of many other musicians such as Joan Baez, Glen Yarbrough, Odetta and Judy Collins. He sings traditionals as well as his own compositions "You can tell the world" and "Well, well, well", which he co-wrote with English folk-singer and actor Hamilton Camp (credited as Bob Camp at the festival).

Lester Flatt and Earl Scruggs were part of the hugely influential bluegrass band the Foggy Mountain Boys, who formed in 1948.

Tracklist:

Side One

This Little Light Of Mine - Bob Gibson

Wayfaring Stranger - Bob Gibson
You Can Tell The World - Bob Gibson
Well, Well, Well - Bob Gibson w/Bob Camp
Railroad Bill - Cisco Houston
The Cat Came Back - Cisco Houston
Hush Little Baby - Ed McCurdy
The Lavender Cowboy - Ed McCurdy
Blood On The Saddle - Ed McCurdy

Side Two

Handsome Molly - Peggy Seeger
Willie Moore - Peggy Seeger
Lang A Growing - Ewan MacColl
The Ballad Of Springhill - Peggy Seeger & Ewan MacColl

Salty Dog Blues - Lester Flatt & Earl Scruggs

Before I Met You - Lester Flatt & Earl Scruggs
Cabin On The Hill - Lester Flatt & Earl Scruggs
Jimmy Brown - Lester Flatt & Earl Scruggs

The Newport Folk Festival 1960, Volume 2
(192 kbps, front cover incuded)

Tyrannosaurus Rex‎ - For The Lion And The Unicorn In The Oak Forests Of Faun

Its abysmal sound quality notwithstanding, "For the Lion and the Unicorn" is one of the earliest known live recordings of Tyrannosaurus Rex and, as such, stands among the most precious artifacts in the entire Marc Bolan catalog. One of the first shows to feature Bolan stepping out with an electric guitar, it sees the group already poised for the transition that would, a couple of years later, take the entire country by surprise. But still it captures precisely the same mystic magic that the duo was already renowned for, a world of elves and unicorns, Afghan women and Abyssinian seas, and Bolan's inimitable grasp of life through lyrics set to a churning sea of half-electric rumination.

Certainly the live appeal of the duo is not hard to see, even if it is a little difficult to discern - the sound quality is akin to standing outside the hall with a tin can pressed to the fire escape, and some of the subtler nuances of the music are certainly lost in the translation. But a powerful set drawing from all three Tyrannosaurus Rex LPs to date highlights the glory that was theirs for the taking, and if a better quality tape ever turns up, it would be the rival of any other live Bolan out there.      


Tracklist:

1-1	Unicorn / Hot Rod Mama	3:32
1-2	Afghan Woman	1:49
1-3	Debora	3:30
1-4	Mustang Ford	3:01
1-5	Stacey Grove	2:04
1-6	Salamanda Palaganda	2:16
1-7	Wind Quartets	2:59
1-8	One Inch Rock	2:18
1-9	Chariots Of Silk	2:43
1-10	Seal Of Seasons	1:57
1-11	Consuela	2:35
1-12	Nijinsky Hind	2:21
1-13	Once Upon The Seas Of Abyssinia	2:21
1-14	Interstellar Overdrive	0:28
1-15	Do You Remember	3:35
1-16	The Wizard	4:02
1-17	Eastern Spell	1:58
1-18	Strange Orchestras	2:12
1-19	Misty Coast Of Albany	2:45
1-20	Evenings Of Damask	2:27
1-21	Pewter Suitor	3:16
1-22	Travelling Tragition	1:49

Tracks 1 to 16 recorded at The Lyceum, London on 11.4.69; 17 & 18 at Broendby Club, Copenhagen in 1969; 19 at Café Au Gogo, New York on 16.8.69; and 20-22 at Queen Elizabeth Hall, London on 13.1.69.          

Tyrannosaurus Rex‎ - For The Lion And The Unicorn In The Oak Forests Of Faun 
(320 kbps, cover art included)

Sun Ra - Calling Planet Earth (1971)

"The Paris concert was supposed to be the last of this ill-fated tour -- but at the last minute, Sun Ra decided to go to Egypt. Someone had tipped him off to cheap airfare from Copenhagen to Cairo and a handful of gigs in Denmark were cobbled together to pay for a trip to the Land of the Pharaohs (see Campbell & Trent p.178). Egypt was a place of obvious spiritual importance to Sun Ra, but half of the rapidly shrinking Arkestra bailed out and returned home. Nevertheless, the core musicians dutifully carried on with the shoe-string adventure. As it turned out, the Danish promoters failed to pay, and Sonny financed the trip by selling a batch of tapes to the Black Lion label, the desperate transaction taking place on the tarmac as the Cairo-bound plane awaited its departure (Id. p.179; Szwed p.292). Among those tapes was a recording from Odense on December 3, 1971 but never issued (has anyone heard this?) and the December 5th concert from the Tivoli Theatre in Copenhagen, which was finally released by the DA Music/Freedom label as Calling Planet Earth in 1998.

The homemade stereo recording was made from the stage (probably by Tommy Hunter), and while it sounds fine, there is some distortion during the loudest parts and you can hear the seams of a hasty editing job. Hunter’s voice (likely recorded in the hotel room afterwards) announces the date and venue before cutting into a brief turbulent percussion jam, which serves as an introduction to “Discipline 5.” The through-composed sequence of sweet-n-sour harmonies rises and falls over the busy percussion section, yielding to an unaccompanied alto saxophone solo by Danny Davis, and returning for the reprise. Kwami Hadi remains as the only brass player, but the saxophone section is full and lush: besides Davis, mainstays Marshall Allen, John Gilmore, Pat Patrick, Danny Thompson, and Eloe Omoe and newcomers Larry Northington and Hakim Rahim are all present and help to flesh out the intricate arrangement. “Discipline 10” is more groove-oriented, propelled by Ra’s barbequed organ comping over which the Arkestra riffs on a handful of big-voiced chords. Ra solos interestingly on organ while Patrick grinds out a stumbling bass line until Gilmore enters with a fiercely overblown solo on tenor sax. Unfortunately, he’s way off-mic and hard to hear. Even so, you can tell he’s really blowing his ass off! After a return of the head, Ra steers the band into a nicely sung rendition of “Enlightenment." A severely truncated version of “Love in Outer Space” ends what would have been side one of the LP, fading out just as things start to come to a boil.

“Discipline 15” begins with a fugue-like organ solo, outlining the highly chromatic harmonic areas of the piece. Then the ensemble enters tentatively with the richly orchestrated rubato theme, dark, reedy saxophones contrasted with airy flute and trumpet. Ra takes a dramatic unaccompanied organ solo before suddenly shifting gears, launching into “The Satellites Are Spinning” which is taken up by June Tyson and Gilmore in a sung duet. After the urgent chanting of “Calling Planet Earth,” the Arkestra slams into “The Outers,” some high-energy free jazz skronk: the horns wail, the drums bash, and Sonny attacks his electronic keyboards with fists and elbows. This goes on for a while, until Sun Ra takes over for good with an agitated mad-scientist-style solo on organ. A deft edit drops us into the floating space-groove of “Adventures Outer Planes” (mis-titled “Adventures Outer Space” on the CD), a two-chord vamp supporting a wandering melody for flute and trumpet that never quite seems to gel. Ra again leads the way with a genially meandering organ solo, while the Arkestra takes up small percussion instruments. A second time through the composition sounds a bit more confident than before, although there are some weird (and possibly wrong) notes strewn about. The track fades out inconclusively. Hmm. According to Campbel & Trent, this piece was only performed this one time (p.811); too bad as it definitely had potential. It is astonishing to discover so many tantalizing but rarely performed works scattered throughout the discography!

While there is some interesting music here, the Arkestra sounds hesitant on the newer material and some of the more exciting improvisational music has obviously been edited out from a much longer performance, making this album less than totally satisfying to me. Then again, I’m spoiled. Any good-sounding Ra music from this vintage should be heartily welcomed. Next stop: Egypt."
 - Thanks to NuVoid for the review.

Sun Ra - Calling Planet Earth (1971)
(256 kbps, cover art included)

Eddie Gale ‎– Black Rhythm Happening (1969)

Love it or hate it, trumpeter Eddie Gale's second Blue Note outing as a leader is one of the most adventurous recordings to come out of the 1960s. "Black Rhythm Happening" picks up where "Ghetto Music" left off, in that it takes the soul and free jazz elements of his debut and adds to them the sound of the church in all its guises - from joyous call and response celebration on the title track (and album opener), to the mournful funeral sounds of "Song of Will," to the determined Afro-Latin-style chanting on "Mexico Thing" that brings the pre-Thomas Dorsey gospel to the revolutionary song style prevalent in Zapata's Mexico - all thanks to the Eddie Gale Singers. 

Elsewhere, wild smatterings of hard and post-bop ("Ghetto Love Night") and angular modal music ("Ghetto Summertime," featuring Elvin Jones on drums and Joann Stevens-Gale on guitar), turn the jazz paradigm of the era inside out, simultaneously admitting everything in a coherent, wonderfully ambitious whole. There is no doubt that Archie Shepp listened to both "Ghetto Music" and "Black Rhythm Happening" before setting out to assemble his "Attica Blues" project. The album closes with "Look at Teyonda," a sprawling exercise in the deep melding of African and Latin folk musics with the folk-blues, flamenco, and jazz rhythms. Funky horns (courtesy of Gale, Russell Lyle, and Roland Alexander) moan toward Fulumi Prince's startlingly beautiful vocal. Stevens-Gale's guitar whispers the tune into the field before the saxophones and brass come to get it, and when they do, long open lines are offered slowly and deliberately, as Jones' shimmering ride cymbals triple-time the beat into something wholly Other. 

"Black Rhythm Happening" is a timeless, breathtaking recording, one that sounds as forward-thinking and militant in the 21st century as it did in 1969.


Tracklist:

Black Rhythm Happening 2:57

The Gleeker 2:16

Song Of Will 3:08

Ghetto Love Night 5:30

Mexico Thing 5:08

Ghetto Summertime 3:13

It Must Be You 5:44

Look At Teyonda 9:31


Eddie Gale ‎– Black Rhythm Happening (1969)
(192 kbps, cover art included)

Richie Havens - Alarm Clock (1971)

Richard P. "Richie" Havens (born January 21, 1941; died April 22, 2013) is an American folk singer and guitarist. He is best known for his intense rhythmic guitar style (in open tunings), soulful covers of pop and folk songs, and his opening performance at the 1969 Woodstock Festival.

Following the success of his Woodstock performance, Richie started his own record label, "Stormy Forest", and delivered "Stonehenge" in 1970. Later that year came "Alarm Clock", which yielded the George Harrison- penned hit single "Here Comes the Sun", and became Havens's first album to reach Billboard’s Top 30 Chart.


Tracklist:

A1 Here Comes The Sun 3:43
A2 To Give All Your Love Away 2:48
A3 Younger Men Grow Older 3:34
A4 Girls Don't Run Away 4:17
A5 End Of The Seasons 3:38
B1 Some Will Wait 2:40
B2 Patient Lady 4:45
B3 Missing Train 4:55
B4 Alarm Clock 5:17

Richie Havens - Alarm Clock (1971)
(320 kbps, cover art included)

Arlo Guthrie - Last Of The Brooklyn Cowboys (1973)

.
In the midst of the singer/songwriter era, Arlo Guthrie chose to become his generation's true folk singer, closer in spirit to Pete Seeger than to James Taylor, more an interpreter than a prolific songwriter.

In this role, he kept songs alive that may have been forgotten or were never known, and recorded songs from the pens of his contemporary peers. "Last of the Brooklyn Cowboys" follows a formula similar to its predecessor, "Hobo's Lullaby", with one exception - there is no hit single à la "City of New Orleans."

However, this release has some very strong material woven into its mix. Guthrie gives his father's "Gypsy Davy" a bouncy Caribbean feel, breathing new life into this tale of wanderlust in a way probably not envisioned by Woody Guthrie. He also pays tribute to Hank Williams with a yodeling rendition of "Lovesick Blues," and delivers his customary Dylan song. This time it's "Gates of Eden," featuring the fingerpicked electric guitars of Clarence White and the bottleneck slide of Ry Cooder. The album also contains two of Guthrie's finest original songs, "Last Train" and "Cooper's Lament."

Arlo Guthrie - Last Of The Brooklyn Cowboys (1973)
(320 kbps, cover art included)

These Arlo albums are posted with special greetings to a special person. You know who you are...

Pete Seeger - Birds, Beasts, Bugs and Fishes (Little and Big)

Previously available on two separate 1955 Folkways LPs ("Birds, Beasts, Bugs and Little Fishes" and "Birds, Beasts, Bugs and Bigger Fishes"), this CD combines both of these children's records onto one disc, complete lyrics included in the accompanying booklet.

Pete Seeger released 28 songs and stories about animals on two short LP records in 1955 to an enthusiastic audience. Ever since, they have been sung by generations of parents, grandparents, and children. The two original releases have been combined on this single CD creating an irresistible collection of songs to sing along with, to draw pictures about, to play hand games to, and to be enjoyed by the entire family.

As the titles make plain, the songs were devoted to animals of all sorts; "Birds, Beasts, Bugs and Little Fishes" was aimed toward younger kids, and "Birds, Beasts, Bugs and Bigger Fishes" for older ones.


Pete Seeger - Birds, Beasts, Bugs and Fishes (Little and Big)
(256 kbps, cover art included)

  

Inti-Illimani - Viva Chile! (Pläne, 1973)

For well over 30 years, Inti-Illimani (the name translates as "Sun God") has held a beacon for Chilean music, both the traditional folk styles and the more contemporary nueva cancion. Back in 1967 a group of students at Santiago's Technical University formed a band to perform folk music. Taking their name from the Aymaran Indian language of the Andes, they began playing traditional music - something few did back then - and quickly earned a reputation around the capital, becoming more and more adept on their instruments. By the '70s they'd grown into a political beast, taking on the nueva cancion (literally "new song") of many young groups, and being quite outspoken lyrically - enough to be forced into exile in 1973, where they'd stay for 15 years. However, they refused to be cowed by the Chilean dictatorship. Basing themselves in Rome, Italy, they continued to record, and toured more heavily then ever before, earning a powerful reputation around the globe, and becoming very unofficial ambassadors of Chilean music, as well as opponents to the ruling regime. In addition to performing with a number of famous, political figures like Pete Seeger and Mikis Theodorakis, they were included on the famous 1988 Amnesty International Tour, along with Sting, Peter Gabriel, and Bruce Springsteen.

This was not the first album to be released by the Chilean folk group Inti-Illimani. But it was the first of the group's albums to emerge from a new life as exiles in Rome; so, literally, this spirited music of revolution and rebellion was recorded within a short stroll from the type of hearty lunchtime pasta that is more likely to inspire a siesta. The decisive summarization of thoughts that sometimes occurs as a preamble to dreamland is a nice way to describe the choice of both repertoire and final program sequence. "Viva Chile!" lays bare the musical roots of this ensemble, in large part a style of folk music from the Andes that has unfortunately become a trifle stereotyped due to overexposure. In the case of Inti-Illimani, the growth from this original starting point has been lush, extending into a challenging form of expression known as nuevo cancion, or new song. Rich emotions and musical surprises bloom almost constantly from these pieces. In combination with politics, as in "Venceremos" or "Cueca de la C.U.T.," it becomes a garden that any lover of protest songs will want to sit in and meditate. Sniffing along while the military industrial complex is overthrown is hardly the only sweet bouquet provided, however. From the very start of the album, intricate and terrifically mixed percussion breaks provide some of the finest moments. "Cueca de la C.U.T." is simply amazing, sounding like small drunken men have invaded the speaker box with wooden mallets. Instrumental pieces involving various combinations of stringed instruments such as guitar, tiple, and charango are also part of the program, a style that the group seems to have downplayed in later releases. "Ramis," "Tatati," and "Subida" are short and simple treats; "Longuita" utilizes a picking style that sounds like country & western, though it is uncertain what country. "Venceremos" is the big vocal hit, an anthem among anthems, and as is typical in the effective sequencing, it is sandwiched between two of the instrumentals.           

This album was released in different countries on different labels, in Germany on the Pläne label as part of the "Serie Sieg".

• 01. Fiesta de san Benito - 3:41
• 02. Longuita - 2:00
• 03. Cancion del poder popular - 3:04
• 04. Alturas - 3:02
• 05. La segunda independencia - 2:37
• 06. Cueca de la C.U.T. - 1:46
• 07. Tatati - 3:32
• 08. Venceremos - 2:29
• 09. Ramis - 2:22
• 10. 'Rin' del angelito - 3:23
• 11. Subida - 2:03
• 12. Simon Bolivar - 2:46

Inti-Illimani - Viva Chiloe! (Pläne, 1973)
(256 kbps, cover art included, vinyl rip)

Richie Havens - Something Else Again

As a little thank you for all the nice comments related to the earlier Richie Havens postings, here´s one more of his albums: "Something Else Again".

The sound here is more keyboard-heavy than its predecessor "Mixed Bag", but Richie Havens continues in a similar vein with his distinctive smoky voice and thumb-fretted open-tuned guitar.

"No Opportunity Necessary, No Experience Needed" and "Don't Listen to Me" are propelled by Warren Bernhardt's percussive electric piano, while "Inside of Him" and "Sugarplums" are pretty ballads featuring the flute of Jeremy Steig. "The Klan" and "Run Shaker Life" are cut from the same mold as "Handsome Johnny," the Woodstock show-stopper from "Mixed Bag". The melody of "New City" has attractive, expansive intervals, and "From the Prison" is an intense piece of balladry built around a riff on the guitar's bass strings. Finally, the title track is seven-and-a-half minutes of sitar, flute, tamboura, and tabla, very much of its time, when George Harrison's interest in Ravi Shankar led many musicians to experiment with Indian instruments, rhythms, and melodies. This cut could be the soundtrack to a flower-power dance in the park or an incense-laced gathering around a hookah beneath posters and black lights.

Tracklist:

A1 No Opportunity Necessary, No Experience Needed 2:58
A2 Inside Of Him 4:27
A3 The Klan 4:31
A4 Sugarplums 2:54
A5 Don't Listen To Me 4:25
B1 From The Prison 3:40
B2 Maggie's Farm 4:35
B3 Somethin' Else Again 7:26
B4 New City 2:50
B5 Run, Shaker Life 5:45


Richie Havens - Something Else Again
(320 kbps, cover art included)

Lokomotive Kreuzberg – Fette Jahre (Pläne, 1975)

From "The Crack In The Cosmic Egg": Lokomotive Kreuzberg was an inventive Berlin polit-rock band, who were launched onto the scene in early 1972 with enthusiastic help from Floh De Cologne, to whom Lokomotive Kreuzberg were comparable in many ways. Amazingly creative, even on their debut, Lokomotive Kreuzberg blended hard-rock and blues together with more progressive sounds, with socio-political lyrics and elements of satirical theatre. "Kollege Klatt" was remarkable for its invention, accomplishing a sound that pre-dated Floh De Cologne's "Tilt!", witty and creative, with original use of synthesizer and theatric elements. Later albums varied the mix somewhat. Their third album "Fette Jahre" was much more tongue-in-cheek, being a parody of various musical styles from doo-wop through to psychedelic and experimental, feeling very much like a German Mothers Of Invention. "Mountain Town" is the most Zappa cum Floh De Cologne mixture of all, and makes use of some luminary jazz guests for a wide ranging and engaging palette of styles, all with that wry tongue-in-cheek edge of political theatre, yet I'm not so sure about the reggae track! Latterly the nucleus of Lokomotive Kreuzberg (without Andreas Brauer, who went on to release a couple of solo albums) ended up as being the backing musicians for Nina Hagen, and eventually transmuted into the pop-satire group Spliff.

Tracklist:
1. Rondo 05:00
2. Comeback 02:48
3. Requiem 04:28
4. Fette Jahre 05:36
5. Nostalgie 05:52
6. Leise Sohlen 04:19
7. Verfassungslied 03:07
8. Parlamentsmarsch 04:43

Artists:
Bernhard Potschka: ac. guitar, el. guitar, vocals
Andreas Brauer: violin, piano, flute, percussion, synthesizer, vocals
Manfred Praeker: bass, ac. guitar, percussion, vocals
Uwe Holz: drums, percussion, harmonica, vocals
Karl-Heinz Scherfling: percussion, vocals, text
Conny Plank: engineer
Dieter Süverkrüp: graphics
Recorded Januar 1975 @ Connys Studio, Neunkirchen

Lokomotive Kreuzberg – Fette Jahre (Pläne, 1975)
(320 kbps, cover art included)