Dienstag, 22. Januar 2019

VA - Tales Of Tsotsi Beat - Urban South Africa

"Tales of Tsotsi Beat" is a solid compilation of modern urban South Africa. The music of the townships has long embraced American and European pop and dance/club styles. Over 14 cuts, the Sheer Sund label literally gets down to it.

There's the gritty hip-hop-meets-jazzy-house of the group Chiskop's club smash "Umunt'omnyama" with rapper in unison chanting over the steady jazzed-up rhythms and chords. There's the dubby/dancehall house of "For as Long as Ngisaphefumula (It's My House") by Kabelo, the spooky near drum'n'bass atmospheric of "Wolla Wolla" that gets wrapped in trance by M'Du and Ganyani, and the older straight-up disco-meets-pop track "Somlinda Gengoma" by Zola that is the most soulful and earthy thing here.

In all, this compilation paints a portrait, offers a look through the door of urban South African nightlife and its music. But it is only a glimpse, and this music goes so much deeper. That doesn't make this collection any less essential though; especially since some of these tunes will become (if they haven't already) classics.                

VA - Tales Of Tsotsi Beat - Urban South Africa
(256 kbps, cover art included)

Ensemble Modern - Die Dreigroschenoper (with Max Raaba, Nina Hagen and HK Gruber)

The "Ensemble Modern" performed its first concert on October 30, 1980, in the Deutschlandfunk broadcast hall, Cologne, Germany. Over the years it has consisted of about 20 players and is a fairly typical chamber orchestra in makeup, its members filling the orchestral sections of strings, brass, woodwind, and percussion in traditional proportions.
It was founded with the intent of promoting new and unusual compositions.

Image

The aforementioned 1980 inaugural concert, which featured works by Schönberg, Webern, Spahlinger, Goldmann, and Schnebel, was broadcast over German radio, giving the new group a measure of overnight recognition. The Ensemble soon developed a schedule of about 100 concerts per year and would perform at many of the world's major concert venues, including Lincoln Center, the Salzburg Festival, the Holland Festival (Amsterdam), and the Festival d'Automne (Paris). Since 1985 it has been based in Frankfurt and has regularly performed at the Alte Oper concert hall. Its 1995 recording of Frank Zappa's "Yellow Shark" achieved great success, and was followed by another Zappa disc, as well as a highly acclaimed 1999 version of Kurt Weill's "Threepenny Opera".

This newly edited version of the music of "Die Dreigroschenoper" was recorded for the first time by the Ensemble Modern led by HK Gruber. Singers include Max Raabe, Sona MacDonald, Nina Hagen, and Gruber himself. The songs are connected by Brecht's own brief narrations, also recorded here for the first time.

This sinuous, dark version of Kurt Weill's ironic morality tale (there's really no hope for anyone sucked into dog-eat-dog Soho, a metaphor for Berlin between the wars), fascinates and disturbs. The overall effect is of a chamber piece, played with controlled vigour rather than the rasping attack of some modern interpretations. As a result and thanks to the subtle playing of the Ensemble Modern, Weill's melancholy, edgy score has rarely sounded so haunting, or at times, delicate. The voices soar above with plaintive beauty, expressing the dreams and nostalgia of characters living off each other by whatever means they can. Max Raabe brilliantly conveys the vulnerability at the heart of the swaggering Macheath, betrayed once too many times by the whores. He is light years from the rocking images created by Ella Fitzgerald, Bobby Darin and Louis Armstrong in their pop versions of "Mack The Knife". Sona MacDonald is a mesmerising Polly Peachum, while erstwhile high priestess of German punk rock, Nina Hagen brings her distinctive gothic snarl to the role of Mrs Peachum. A note for trivia fans: Timna Brauer, an unusually elegant Pirate Jenny, sang for Austria in the 1986 Eurovision Song Contest.


Truly, this "Threepenny Opera" has something for everyone. It's a welcome supplement, adding new dimensions to a familiar and beloved work.

Ensemble Modern - Dreigroschenoper 1
Ensemble Modern - Dreigroschenoper 2
(192 kbps, front cover included)

Montag, 21. Januar 2019

39 Clocks - DNS (single) (No Fun Records, NF 101, 1980)

This single is a killer track. A kickass lo-fi garage punk classic I played in my younger days on heavy rotation. Loved their Velvet-inspired style and their absurd lyrics: "I see Nixon in a bomber plane, drinking Cuba Libre".

It´s the first single from the German cult band "39 Clocks" and it appears in a different form, complete with driving alto sax line, on their subsequent LP "Pain It Dark".

This single was released on No Fun records in 1980.

39 Clocks - DNS (single, 1980)
(160 kbps, cover art included)

Donnerstag, 17. Januar 2019

Miles Davis - At Newport 1958

This is a different Miles Davis. He's playing much better than he had when bebop was in its infancy. Accuracy and tone had always meant a lot to the trumpeter, and he worked hard to get it done just right. During the fifties, he kept getting better and better. Here, he's using both Harmon mute and a natural, open tone to get his message across.

This is also a far cry from the Miles Davis who later took his trademark Harmon into the electronic studio to add echoes and reverberation. It's natural, acoustic jazz. This was shortly after Bill Evans and Jimmy Cobb had joined the band. It's interesting to note the audience reception given each band member, as Willis Conover introduces them at the start of the album. Jimmy Cobb and Paul Chambers are met with enthusiastic applause. Then, Bill Evans and John Coltrane receive only polite, token handclaps. They were relatively unknown at that time. Julian "Cannonball" Adderley and Davis, of course, are recognized with wild cheers.

This was just eight months before they would record "Kind Of Blue". "Bye Bye Blackbird" serves to introduce the talents of Coltrane to the public. His solo runs for nearly four minutes and demonstrates his desire to get all the notes in. This contrasts with Evans' ensuing minimalist solo. Originally issued on "Miles And Monk At Newport", and "Newport Jazz Festival Live", these seven selections were recorded on one July night in 1958 at Newport, Rhode Island. They're something special in the history of jazz.

Tracklist:
1. Introduction
2. Ah-Leu-Cha
3. Straight, No Chaser
4. Fran-Dance
5. Two Bass Hit
6. Bye Bye Blackbird
7. The Theme

Miles Davis - At Newport 1958
(192 kbps, cover art included)

Montag, 14. Januar 2019

Gil Scott-Heron & Brian Jackson - Bridges (1977)

Gil Scott-Heron, Brian Jackson, and the Midnight Band take a slightly different approach with their 1977 effort, "Bridges". With less of the gaping and world-infused sound prevalent on previous albums, the songs are more concise and Scott-Heron comes into his own as a singer depending less on his spoken word vocal style.

This album may not be one of his better-known releases (the long out of print LP was slated to make it's CD debut in the fall of 2001), but the excellent songwriting exposes Scott-Heron at the height of his powers as a literary artist. The social, political, cultural, and historical themes are presented in a tight funk meets jazz meets blues meets rock sound that is buoyed by Jackson's characteristic keyboard playing and the Midnight Band's colorful arrangements. Scott-Heron's ability to make the personal universal is evident from the opening track, "Hello Sunday! Hello Road!," all the way through to the gorgeous "95 South (All of the Places We've Been)." The most popular cut on the album, "We Almost Lost Detroit," which shares its title with the John G. Fuller book published in 1975, recounts the story of the nuclear meltdown at the Fermi Atomic Power Plant near Monroe, MI, in 1966. This song was also contributed to the No Nukes concert and album in 1980. Along with the two records that would follow in the late 70s, "Bridges" stands as one of Scott-Heron's most enjoyable and durable albums.

Tracklist:

A1 Hello Sunday! Hello Road!
A2 Song Of The Wind
A3 Racetrack In France
A4 Vildgolia (Deaf, Dumb & Blind)
B1 Under The Hammer
B2 We Almost Lost Detroit
B3 Tuskeegee #626
B4 Delta Man (Where I'm Coming From)
B5 95 South (All Of The Places We've Been)


(320 kbps, cover art included)

Sonntag, 13. Januar 2019

Kurt Weill - Symphonies No. 1 & No. 2 - Kracow Philharmonic Orchestra

Yes, 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 to Kurt 'September song' Weill.

Weill´s first symphony may surprise listeners who mainly know him through his collaborations with Brecht, for the young composer was writing in a post-Wagnerian idion strongly reminiscent of Liszt, Strauss, mahler and ideed Schoenberg himself. In 1957, seven years after Weills death, the symphony was give its premiere, under the title "Berlin Symphony", in a broadcast performance by the North-West German Radio Orchestra under Wilhelm Schüchter.

More than any other work, the second symphony marks a turning-point in Weill´s life. The first movement was completed, at least in sketch form, in Berlin in January 1933, and is thus very close in date to the last two stage works to be completed and performed in Germany, "Die Bürgschaft" and "Der Silbersee". Weill put the finishing touches to the symphony in February 1934 in Louveciennes, a suburb of Paris, which became his first fixed abode while in exile. Weill´s second symphony may be seen as the reflection and sum of his musical and stylistic devolopment at that time.

This album was recorded in 1989 and 1990 with the Kracow Philharmonic Orchestra, conducted by Roland Bade.

Roland Bader (born 24 August 1938) is a German choral conductor and music director. He is the principal guest conductor of the Kraków Philharmonic Orchestra and the Opera Krakowska, officially authorized as representative for their guest performances in Germany and Switzerland.

Trackslist:

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 No. 1 & No. 2 - Kracow Philharmonic Orchestra
(256 kbps, front cover included)

Komintern‎– Le Bal Du Rat Mort (1971)

"Le Bal Du Rat Mort" was influenced by early hyper-progressive rock and the radical politics of May 1968. Komintern, a French band formed in 1970 and disbanded in 1975, are often labeled as "the first Rock In Opposition band".

"One of the most legendary of French underground rock bands, Komintern were part of that post-May of '68 armada of arch iconoclasts that first established French rock of the era as an unsurpassed force for radicalism, a lineage that would include the likes of Red Noise, Fille Qui Mousse, Martin Circus, Magma, and Moving Gelatine Plates amongst others. Komintern's particular breed of sonic malarky comes couched in a frothy effervescence and jolliness that can initially mask just how extraordinary their achievement is, at one time or another musically touching on everything from early Gong-like whimsy to chanson and from Moving Gelatine Plates-style post-Canterbury motion to Red Noise-like Dadaist piss-takery. A work of timeless genius." -  http://mutant-sounds.blogspot.de

"This French band was founded by Francis Lemonnier (sax and vocals) and Serge Catalano (drums and percussions) in May 1970 after they left Red Noise due to musical and political disagreements. The name chosen gives you a clear indication as to their political views. The band released one album called "Le Bal Du Rat Mort" in 1971 and one single "Fou, roi, pantin" and were active until 1975. The musicians that joined them were Michel Musac (guitar), Olivier Zdrzalik (bass, vocals, organ and piano) and Pascal Chassin (guitar). At first they were less focused on composing only music but more on mixing it along with satiric theater - a sort of "cabaret satirique", in order to express their extreme left views. They used their music to enhance their message, and they did it in a manner that mixed several styles of music that would fit their show and the message to be passed on to the crowd/listeners. They were related to extreme left movements such as the "Ligue Communiste Révolutionnaire" and they toured in the summer of 1970 in, among other places, universities and factories that were in strike." - music_emporium
Tracklist:                                                       
Bal Pour Un Rat Vivant 16:34
-Featuring
A1.1Bandiera Rossa
A1.2Los Cuatros Generales
A1.3Elle Était Belle. Elle Aimait Bach Et Chopin. Et Les Beatles. Elle Était Tres Intelligente. Et Mois Aussi.

Le Bal Du Rat Mort
B1Hommage Au Maire De Tours (Hymne Pour Le Front De Libération Des Scatophages)2:10
B2Petite Musique Pour Un Blockhaus5:06
B3Pongistes De Tous Les Pays... D'Apres "La Ligue Anti-Prussienne" 2:22
B4Fou, Roi, Pantin - Suivi De: Pour Le Front De Libération Des Kiosques Á Musique7:02


Komintern‎– Le Bal Du Rat Mort (1971)
(320 kbps, cover art included)

Hanns Ernst Jäger - Bertolt Brecht - Songs, Gedichte, Prosa (Pläne, 1968)

Hanns Ernst Jäger (January 01, 1910, Wien, Austria -  August 15, 1973, Munich, Germany) was an Austrian actor and voice actor.

Jäger became was one of the famous Brecht interpreters, he played the Puntila in "Herr Puntila und sein Knecht Matti", Schweyk in "Schwyk im zweiten Weltkrieg", Galilei in "Leben des Galilei" and the cook in "Mutter Courage und ihre Kinder" and Adzak in "Der kaukasische Kreidekreis". He also made an album with works by Kurt Tucholsky, featured earlier on this blog.


Tracklist:

01 Vom armen B. B.
02 Das Lied von der Schlacht
03 Das Lied von er Widersinnigkeit des Krieges
04 Das Lied vom Chaos, von der Schönheit der Revolution
05 Legende von der Entstehung des Buches Taoteking
06 Gegen Verführung
07 Fragen eines lesenden Arbeiters
08 An meine Landsleute
09 DerSoldat von La Ciotat
10 Bei der Kanone dort
11 Der Kälbermarsch
12 Das deutsche Miserere
13 Das Lied von der Moldau
14 Die Nachtlager
15 Die Regierung als Künstler
16 Bei der Geburt eines Sohnes
17 Wenn die Haifische Menschen wären
18 Kinderhymne
19 Ich benötige keinen Grabstein

Hanns Ernst Jäger - Bertolt Brecht - Songs, Gedichte, Prosa (Pläne, 1968)
(192 kbps, front cover included)

Samstag, 12. Januar 2019

Wolfgang Neuss - Kabarettgeschichte(n) - Ein Porträt

Wolfgang Neuss (3 December 1923 – 5 May 1989)[ was a German actor and Kabarett artist. Beginning in the mid-1960s, he also became famous for his political engagement, first for the SPD, then for the extra-parliamentary opposition, APO. He died in 1989 from a longtime cancer.

At the age of 15 he went to Berlin to become a clown but was dismissed. When Germany entered into the Second World War Neuss was drafted, first to the Reich Labour Service where he was occupied with road construction. Later he was sent to the Eastern Front where he became injured and was rewarded with the Iron Cross. It was during his stays in military hospitals and, after the war during military detention that Neuss began to discover his interest in acting and for Kabarett.


Tracklist:

1. Der Mann Mit Der Pauke
2. Ich Bin Der, Vor Dem Mich Meine Eltern Immer Gewarnt Haben
3. Eine Kindheit In Breslau Zwischen Theke Und Biertischchen
4. Der Schlachterlehrling Mit Clownstalent
5. Humor Als Waffe Auf Hitlers Feld Der Ehre
6. Neuss'sche "Lachkalorien" In Den Hungerjahren
7. Das Sensationelle Erfolgsduo Im Wirtschaftswunderland: Wolfgang Neuss Und Wolfgang Müller
8. "Maulkorb Statt Pauke" - Tonstörungen Beim Fernsehen Des SFB
9. Neuss, Der Polit-Clown, Behauptet Seinen Platz Zwischen Allen Stühlen
10. Der Fernseh-Krimi-Spielverderber Der Nation
11. Folgenreicher Seitensprung Nach Ostberlin
12. "Neuss Testament" An Aufrechte Erben
13. Position Zur Politischen Situation Der 60er Jahre - Leidenschaftliche Opposition
14. Resignation, Sozialhilfe, Drogenmissbrauch - "Bin Soeben Durchs Soziale Netz Gepurzelt. Endlich wieder unter Menschen"
15. Zahnloses Berliner Schandmaul Gelegentlich Mit Biss


Wolfgang Neuss - Kabarettgeschichte(n) - Ein Porträt
(320 kbps, front cover included)



Dienstag, 8. Januar 2019

Olodum - Filos Do Sol (1994)

Samba-reggae is a music genre born in Bahia, Brazil. As the name suggests, it was originally derived from a blend of Brazilian samba with Caribbean reggae. It arose in the context of the black pride movement that occurred in the city of Salvador de Bahia, around the 1970s, and it still carries connotations of ethnic identity and pride for Afro-Brazilians today. Bahia's population has a large proportion of dark-skinned Brazilians who are descendants of African slaves who were brought to Brazil by the Portuguese in the 18th and 19th centuries. These Afro-Brazilians played a major role in the early development of samba, which first took form in a Bahian style of dance and music called "samba de roda”. Samba de roda was brought to Rio de Janeiro by Bahians around 1900, where it was combined with harmonic and rhythmic elements from European influences (such as chorinho and military marches). By the 1930s, samba de roda had developed into the faster, more harmonically complex Rio-style samba that is now played in Rio's Carnival. Samba-reggae represents an effort by black Brazilians to develop a Carnival parade music that they could call their own, and to form all-black or mostly-black blocos with which they could parade during Carnival. The afro bloco music was very different because they aimed to recreate and strengthen their community through their music.

Olodum is undoubtedly the most famous musical act performing samba-reggae in Brazil. The band plays powerfully percussive pop which combines thunderous traditional African rhythms with intensely sensual samba melodies. Olodum is a weird phenomenon - more a musical collective and Africanist social movement than simply "a band." Their first "samba-reggae" records in the mid-1980s helped reinvigorate Brazilian pop, and several Olodum songs are now standards. 

Tracklist:
1Cartão Postal3:32
2Samba Rap3:17
3Girassol3:55
4Furacão4:06
5Hora H3:50
6Estrada Da Paixão3:58
7Trem Da História3:40
8Gira3:40
9Valente Nordeste3:38
10Careta Feia3:36
11Desce E Sobe3:53
12Poético Olodum4:20
13Evangelização3:28
14Parada Obrigatória3:59
15Encantada Magia3:40
16Mordida De Vampiro3:55

Olodum - Filos Do Sol (1994)
(256 kbps, cover art included)

Kurt Tucholsky - Lieder und Texte (Oliver Steller)

PhotobucketKurt Tucholsky was born in his Jewish family's comfortable apartment in the Moabit district of Berlin (Lübecker Straße 13) on January 9, 1890. His father, Alexander Tucholsky, was an accountant at Berlin's Handelsgesellschaft bank. By the time little Kurt was two, the Tucholskys had moved to more prosperous living quarters in Berlin, but shortly thereafter, in 1893, the family moved to the Baltic port city of Stettin in Pommerania, where Kurt's father had been promoted by his bank. Many of Kurt's childhood memories were of this coastal north German landscape and the Plattdeutsch dialect he heard around him. (His father's family was from Greifswald, another northern port town.) While in Stettin, young Kurt began his first attempts at writing poetry. But in 1899, the ever-expanding Handelsgesellschaft bank moved Kurt's father back to Berlin as a bank director. Kurt attended Berlin's respected Französisches Gymnasium, the French secondary school founded by French Huguenots in 1689, where he was an average student. In 1903 he transferred to the Königliches Wilhelms-Gymnasium, where he ended his secondary education without standing out in any way. He later termed his school years in Berlin as “verlorene Jahre” (lost years).

In 1905 Kurt's father died and he lived for a time with his mother Doris until moving out to be on his own. In 1909, inspired by his uncle Max, an attorney, Kurt began law studies in Berlin. In 1910 he spent a summer semester studying in Geneva (his French was quite good). But even during his university studies, young Tucholsky was also getting his critical and satiric works published. By the time he graduated with a law degree (with some difficulty, in Jena in 1915), he was a published writer under various pseudonyms (Kurt, KT, Ignaz), a custom he would continue - later as “Peter Panter,” “Theobald Tiger,” “Ignaz Wrobel,” and “Kaspar Hauser.” But World War I had broken out and Tucholsky soon found himself in the Prussian army and on the war front.

With the war's end in 1918, Tucholsky became the chief editor of Ulk, a satiric magazine in Berlin, for which he had written anonymously as far back as 1907. In 1920 he married the physician Else Weil (the fictional Claire in Tucholsky's Rheinsberg novel). That same year he joined the USPD (Independent Socialist Party of Germany) and was also active in various anti-war activities. Beginning in 1924, Tucholsky was living in Paris as a correspondent for the Weltbühne and Vossische Zeitung, writing under his various pen names. He divorced Else Weil and married Mary Gerold, whom he had first met during the war. In 1926 he became the editor of the Weltbühne and changed it from a magazine for theatrical criticism into a voice for leftist intellectuals.

In 1929, the same year his Deutschland, Deutschland über alles was published, Tucholsky left Germany for Hindas, Sweden (near Gripsholm, the title of his 1931 novel). Beginning in 1932, he spent 14 months in Zurich, Switzerland, where he lived with his close friend Hedwig Müller (nicknamed "Nuuna"), a physician. While in Zurich, Tucholsky received news of the arrests of some of his friends and accquaintances in Germany. The Gestapo also ransacked his wife's apartment in Berlin. In 1933, by mutual agreement for Mary's protection, Tucholsky divorced his wife. That same year he had his books burned in Berlin and he lost access to his German book royalties. The Nazis also revoked Tucholsky's German citizenship (and that of 32 other artists and writers, including Heinrich Mann). In October 1933 Tucholsky returned to exile in Sweden, where he lived isolated for the most part from any local contact, with the exception of occasional visits by friends from France or Switzerland. He had become close friends with the Swedish Gertrude Meyer, and she accompanied him on his visits to the seashore that seemed to help his nose problems a little.
For years, Tucholsky had been suffering from illness and problems with his sense of smell and taste. Several operations had done little to help his condition. The news from Germany hardly helped his state of depression. On December 21, 1935, on one of her regular visits, Gertrude found Tucholsky unconscious on the floor. He died that night in the hospital in Göteborg, according to official records as the result of an overdose of Veronal. Some people then and now have questioned whether the death was really a suicide or not, but there is no real proof either way. Kurt Tucholsky's ashes were laid to rest in Sweden under an oak tree in the Mariefred cemetery he had described in his 1931 novel Schloß Gripsholm.

Here is a collection of songs and poems by Kurt Tucholsky, read and sung by Oliver Steller.

Kurt Tucholsky - Lieder und Texte
(192 kbps, 86 MB)

John Lee Hooker - Burning Hell (1958)

A 1958 recording that was inexplicably not issued in the United States until 1992, "Burning Hell" ranks among John Lee Hooker's most edgy and focused performances. A companion piece to "The Country Blues of John Lee Hooker", it finds Hooker singing country-blues, accompanied only by his own acoustic guitar - something he rarely did after traveling north from the Mississippi Delta.

Tackling several originals as well as tunes associated with Howlin' Wolf, Muddy Waters, Lightnin' Hopkins, and Big Bill Broonzy, Hooker shows himself to be an excellent interpreter who could have held his own with Delta bluesmen of any era. Although his guitar playing is pretty raw even by blues standards, Hooker more than compensates with his powerful, resonant voice. Several tracks, including "Burnin' Hell" and "You Live Your Life and I'll Live Mine," are downright frightening in their intensity. Although Robert Jr. Lockwood is often identified as Robert Johnson's successor, this album would seem to indicate that John Lee Hooker is the most likely candidate to have a hellhound on his trail.               

Tracklist:
A1Burning Hell
A2Graveyard Blues
A3Baby Please Don't Go
A4Jackson ,Tennessee
A5You Live Your Life And I'll Live Mine
A6Smokestack Lightnin'
B1How Can You Do It?
B2I Don't Want No Woman If Her Hair Ain't No Longer Than Mine
B3I Rolled And Turned And Cried The Whole Night Long
B4Blues For My Baby
B5Key To The Highway
B6Natchez Fire


John Lee Hooker - Burning Hell (1958)
(256 kbps, cover art included)

Samstag, 5. Januar 2019

The Last Poets - Holy Terror (1993)

With "Holy Terror", the Last Poets lay their claim to be the originators of hip-hop. Containing some of the Poets' most trenchant political and social lyrics, "Holy Terror" shows the Last Poets, Umar Bin Hassan and Abiodun Oyewole, still as fiery and sharp as ever.

"Homesick" and "Pelourinho" are descriptions of slavery that are as vivid and riveting as any movie. "Black Rage" paints a portrait of urban hell that will chill any listener to the bone.

The album is also superbly produced, with a funk sound that supports the lyrics while never overshadowing them. Credit is due to seminal producer Bill Laswell, who, armed with a first-class band made up of P-Funk alumni George Clinton, Bootsy Collins, and Bernie Worrell, along with Grandmaster Melle Mel, constructs dense, intricate grooves that are simultaneously modern and traditional.

For both fans of the classic Last Poets albums and newcomers interested in one of the missing links between classic funk and modern hip-hop, "Holy Terror" is worth a listen. 

Tracklist:
1Invocation
2Homesick
3Black Rage
4Men-tality
5Pelourinho
6Funk
7If We Only Knew
8Illusion Of Self
9Talk Show
10Last Rite

The Last Poets - Holy Terror (1993) 
(320 kbps, cover art included)      

The Kingston Trio - Goin´ Places (1961)

The final album by the original Kingston Trio shows no sign of the group slackening its standards or rushing through the material. It peaked at number three on the Billboard charts and spent 41 weeks in the Top 40. The lead-off single was "You're Gonna Miss Me" (a new arrangement of "Frankie and Johnny") which failed to chart. It's B-side was "En El Agua". Goin' Places was the last album recorded with founder Dave Guard as a member.

In addition to the jaunty "Billy Goat Hill," which rated a place on the group's first greatest hits collection, the trio turned in a surprisingly effective interpretation of Woody Guthrie's "Pastures of Plenty"; harmonized exquisitely on "Guardo el Lobo" (which the Monkees later covered as "Riu Chiu"); ripped through exuberant versions of Bill Monroe's "Run Molly Run," Guthrie's "This Land Is Your Land," and the Staples Singers' "You Don't Knock" - an amazing gospel track that really rocks - and introduced the song "It Was a Very Good Year."

With all due respect to Frank Sinatra, anyone who thinks they know the latter song and hasn't heard Bob Shane's version here is fooling themselves; the song is done in a more intimate, less overtly dramatic style and arrangement that gives it just as much impact in its quiet way as Sinatra's more lushly arranged version. For all of those gems, the most enjoyable track here is "Razors in the Air," a delightfully played and sung piece of pure fun that gives Dave Guard, in particular, an opportunity to show off his prodigious banjo skills before leaving the lineup of the group he founded. Also featured here is "Lemon Tree," a Will Holt song that they do a little too inelegantly and which became a hit a year later in the hands of Peter, Paul & Mary.         

Tracklist:
A1You're Gonna Miss Me
A2Pastures Of Plenty
A3Coast Of California
A4It Was A Very Good Year
A5Guardo El Lobo
A6Razors In The Air
B1Billy Goat Hill
B2This Land Is Your Land
B3Run Molly, Run
B4Senora
B5Lemon Tree
B6You Don't Knock
 plus 3 bonus tracks

The Kingston Trio - Goin´ Places (1961)
(ca. 220 kbps, cover art included)   

Montag, 31. Dezember 2018

Happy New Year!



Mittwoch, 19. Dezember 2018

Leonard Dillon - One Step Forward (1992)

Reggae legend Leonard Dillon was born in Port Antonio, Jamaica on December 9, 1942. After relocating to Kingston in 1963, he was befriended by Peter Tosh, who in turn introduced him to the legendary producer Coxsone Dodd; with Tosh and his fellow Wailers singing harmony, Dodd cut four of Dillon's songs -- among them the hit "Ice Water" -- released in 1965 under the name Jack Sparrow.

Soon after he formed the Ethiopans with Stephen Taylor and Aston Morris, one of the seminal groups of the Rock Steady era and a major force in Jamaican music until Taylor's death in 1975. Reeling from the tragedy, Dillon retreated to Port Antonio for two years, finally resurfacing to reform the Ethiopans for a session with producer Niney the Observer later released as "Slave Call". He later recorded as a solo act as well, yielding the 1999 retrospective "On the Road Again".


Tracklist:

1 The Name Of The Game (Is Survival) 3:26
2 (Cool It) Amigo 3:02
3 On The Road Again 3:42
4 One Step Forward (And Two Steps Back) 3:19
5 Love You, Little Lover 3:10
6 In Day, Mi Dey 2:29
7 Feed The Fire (Fan The Flame) 3:18
8 Woman Of Babylon 3:10
9 Done I' Done 3:45
10 You Are My First Love 3:29
11 You Got The Dough 2:58
12 Train To Skaville 2:52
13 Dead Prophesy 3:29
14 No Bad Woman 2:43
15 The Whip 3:01
16 I'm Ready 3:00


Leonard Dillon - One Step Forward (1992)
(320 kbps, cover art included)

Samstag, 8. Dezember 2018

Ape, Beck & Brinkmann - Regenbogenland (1982)

Ape, Beck & Brikmann were founded in 1979 by Fred Ape, Klaus Beck and Peter Brinkmann together with the sound engineer Klaus-Werner Wollnowski. The group quickly became one of the flagships of the German alternative folk rock scene. Their political lyrics were mainly written by Fred Ape.

With over 100,000 sold copies, their song "Rauchzeichen" (1979), based on the "Prophecy of the Cree", became a secret hit in the growing alternative scene. Nowadays, it is one of the best knows songs focusing on ecological problems, and is published in germen school books. 

All the activities of the 1980s West German left wing and alternative scene were accompanied by the music of  bands like Ton Steine Scherben, Cochise and - of course - Ape, Beck & Brinkmann: The demonstrations against nuclear power plants, against the "Startbahn West" in Frankfurt, against the "Volkszählung" ("census") in 1983 and for women´s emancipation.
 
Now, nearly 40 years later, these songs may sound utopian and naive. But why should we not hope that war and hunger will be abolished at some point? And not so much has changed since these days and there is still a lot to do to show solidarity and enjoy life. We are not alone.

The Album "Regenbogenland" was released in 1982 on the Folk Freak Label.

Tracklist:

1. Regenbogenland 4:12
2. Indianersee 3:21
3. Das Haus 3:43
4. Der Schlag 2:07
5. Das letzte Paradies 2:09
6. Endlich ein Liebeslied 4:06
7. Wir sind noch wahre Pioniere 3:33
8. Global 2001 3:25
9. Auf der Flucht erschossen 3:07
10. Wounded Knee 4:10
11. Startbahn 4:26


Ape, Beck & Brinkmann - Regenbogenland (1982)
(192 kbps, cover art included)

Mittwoch, 5. Dezember 2018

The Mamas And The Papas - If You Can Believe Your Eyes And Ears (1966)

In the spring of 1966, "If You Can Believe Your Eyes and Ears" represented a genuinely new sound, as fresh to listeners as the songs on "Meet the Beatles" had seemed two years earlier. Released just as "California Dreaming" was ascending the charts by leaps and bounds, it was the product of months of rehearsal in the Virgin Islands and John Phillips' discovery of what one could do to build a polished recorded sound in the studio - it embraced folk-rock, pop/rock, pop, and soul, and also reflected the kind of care that acts like the Beatles were putting into their records at the time. "Monday, Monday" and "California Dreamin'" are familiar enough to anyone who's ever listened to the radio, and "Go Where You Wanna Go" isn't far behind, in this version or the very similar rendition by the Fifth Dimension. But the rest is mighty compelling even to casual listeners, including the ethereal "Got a Feelin'," the rocking "Straight Shooter" and "Somebody Groovy," the jaunty, torch song-style version of "I Call Your Name," and the prettiest versions of "Do You Wanna Dance" and "Spanish Harlem" that anyone ever recorded.

If the material here has a certain glow that the Mamas & the Papas' subsequent LPs lacked, that may be due in part to the extensive rehearsal and the exhilaration of their first experience in the studio, but also a result of the fact that it was recorded before the members' personal conflicts began interfering with their ability to work together. The work was all spontaneous and unforced here, as opposed to the emotional complications that had to be overcome before their next sessions.

Tracklist:

"Monday, Monday" (John Phillips) – 3:28
"Straight Shooter" (J. Phillips) – 2:58
"Got a Feelin'" (J. Phillips, Denny Doherty) – 2:53
"I Call Your Name" (John Lennon, Paul McCartney) – 2:38
"Do You Wanna Dance" (Bobby Freeman) – 3:00
"Go Where You Wanna Go" (J. Phillips) – 2:29 Side two
"California Dreamin'" (J. Phillips, Michelle Phillips) – 2:42
"Spanish Harlem" (Jerry Leiber, Phil Spector) – 3:22
"Somebody Groovy" (J. Phillips) - 3:16
"Hey Girl" (J. Phillips, M. Phillips) – 2:30
"You Baby" (Steve Barri, P. F. Sloan) – 2:22
"The 'In' Crowd" (Billy Page) – 3:12

The Mamas And The Papas - If You Can Believe Your Eyes And Ears (1966)
(320 kbps, cover art included)

Dienstag, 4. Dezember 2018

Asian Dub Foundation - Naxalite - Culture Move EP (1998)

Asian Dub Foundation formed in 1993 as an outgrowth of the documentary Identical Beat, a film shot at London's Farringdon Community Music House, the site of a series of summer workshops designed to teach Asian children the essentials of music technology. In charge of the workshops were tutor Aniruddha Das and youth worker John Pandit, also a noted DJ; with one of their students, a 15-year-old Bengali rapper named Deedar Zaman, they soon formed a sound system that they called the Asian Dub Foundation. After each adopted an alias -- bassist/tabla player Das became Dr. Das, Pandit became Pandit G, and Zaman became Master D -- they gradually evolved into a working band with the 1994 addition of former Higher Intelligence Agency guitarist Steve Chandra Savale, an innovative performer known for tuning his strings to one note like a sitar, turning up the distortion unit, and playing his instrument with a knife, earning him the nickname "Chandrasonic." Emerging in the midst of considerable anti-Asian violence throughout Britain, the Foundation's early demos landed them a contract with Nation Records, and they recorded their debut EP, Conscious, in 1994.

Channeling influences ranging from punk to ambient music to Bengali folk songs, Asian Dub Foundation quickly gained a strong fan base not only among clubgoers but also among the anti-fascist movement, who applauded the group's vocal stand against racism.

Here´s their EP "Naxalaite - Culture Move" from 1998.


Tracklist:
01. Naxalite (Main Mix)
02. Culture Move (Pusher Sound Mix)
03. Free Satpal Ram (Russell Simmins Remix)
04. Culture Move (Urban Decay Remix)
05. Culture Move (Silver Haze Mix)



Asian Dub Foundation - Naxalite - Culture Move EP (1998)
(320 kbps, cover art included)

Montag, 3. Dezember 2018

Peggy Seeger - Early In Spring (1962)

The half-sister of Pete Seeger and the widow of Ewan MacColl, singer/songwriter Peggy Seeger continued her family's long history of championing and preserving traditional music, most notably emerging as a seminal figure in the British folk song revival of the 1960s. Peggy Seeger is considered by many to be the female folksinger, responsible for the continuous upswing of folk music popularity. It is a fitting title, considering Peggy was living and breathing folk music since before she was born.

She plays banjo and sings on this 1962 Topic Label EP. The four songs are 'courting songs'.

Tracklist:

A1. Madam I Have Come To Court You
A2. When I Was In My Prime
B1. So Early, Early In The Spring
B2. The Chickens They Are Crowing

Peggy Seeger - Early In Spring (1962)
(ca. 170 kbps, cover art included)