Tom Robinson - North By Northwest

"North By Northwest" was Tom's Hamburg album, partly recorded January / February 1982 at Otto Waalkes's Rüssl studios in Germany. It includes an early version of 'Atmospherics: Listen to the Radio' and 'Merrily Up On High' - both cowritten with Peter Gabriel.

Those were the days of machine driven wave rock, and so this recording is very much influenced by that plain simple sound.
The single "Now Martin's Gone", a sad little love song with a fine, catchy tune, should have become a huge hit back then, but it flopped.

"`North By Northwest´ reveals depths to Tom Robinson´s talent I´d never before suspected. Shorn of the neccessity to simply and sloganise forced on him by the expressive limitations of a conventional rock format, his authentic voice speaks loud and clear. He no longer preaches the reassuringly right-on line to the converted, but rather reveals himself as a victim of incurable romanticism, bleakly nostalgic for the past, fearful of the future. This confessional self-detachment perhaps results from the perspective of living in Hamburg, where he recorded the album with the excellent Richard Mazda." - Mat Snow, Melody Maker, July 1982

This release was digitally remastered 1997 with addition of bonus tracks 11-15 (a dance mix of 'Now Martin's Gone', both sides of a rare German 7" single, and both eccentric 'B' sides from the 1983 hit version of 'Atmospherics: Listen To The Radio').


Tracklist:
1 Now Martin's Gone
2 Atmospherics
3 Can't Keep Away (Part 2)
4 Looking For A Bonfire
5 Merrily Up On High
6 Those Days
7 In The Cold
8 The Night Tide
9 Duncannon
10 Love Comes
11 Tango An Der Wand
12 Now Richard's Gone
13 Alptraum Tango Dub
14 Any Favours
15 Out To Lunch

Tom Robinson - North By Northwest
(320 kbps, cover art included)

Josh White - Empty Bed Blues (1962)

"Empty Bed Blues" was Josh White's farewell recording for Elektra, the record label that helped (re)introduce him to the mainstream during the height of the '60s folk revival. To look at the sexy -- and risqué for 1962 -- cover, one would think that half of the tunes, stately renditions of gospel songs, wouldn't be at home on the album. But considering that the ribald, innuendo-laden first side is belied by White's silky voice and mellifluous guitar, he almost makes the juke-joint rave-ups sound like show tunes. 

Given his role as elder statesmen of acoustic blues, you'd be forgiven for thinking that White didn't need to be rediscovered as such, but sadly he did. Although considering this album, "reinvented" might be a better word. From the man who popularized "Strange Fruit" -- perhaps the saddest, most poignant protest song ever -- one wouldn't necessarily expect such explicit sex songs. Whether it's a tune like the title track or "Backwater Blues," White reaches back to the lowdown, alpha-male origins of the blues, but comes off a little too much like a cabaret entertainer. His playing retains the delicate precision that found him oft-imitated, and the backing, mostly by just Bill Lee on upright bass, is always tasteful. 

Still, it's a mellow set, and one partly done with a wink -- considering it was among the last albums that White made before he died. It seems too minstrely of an end for someone who's scope and influence on modern blues can't be overstated.


Tracklist:

A1 Empty Bed Blues 3:16

A2 Mother On That Train 3:42

A3 Bottle Up And Go 2:23

A4 Backwater Blues 4:30

A5 Baby Baby Blues 5:28

B1 Lord Have Mercy 4:00

B2 Home In That Rock  2:36

B3 Paul And Silas 2:26

B4 His Eye Is On The Sparrow 5:22

B5 That Suits Me 2:30

Josh White - Empty Bed Blues (1962)

(320 kbps, cover art included)

David Peel & The Apple Band - John Lennon Forever (1987)

David Peel returned to the orbit of John Lennon for this 1987 memorial album, which opens with his reconception/recomposition of "Imagine" in a heavy electric/punk style and a few guitar and backing vocal vamps that even emulate Yoko Ono's style of singing. 

His vocals throughout this album are as raw and untrained as ever -- that's part of his appeal -- but the accompaniment this time out takes the form of a nicely full electric rock & roll band with a first-rate rhythm section and some satisfyingly hook-laden lead guitar on pieces like "John Lennon Forever." 

The songs are interspersed with interview and commentary tracks, but most of what's here is music, and surprisingly accomplished music at that -- the tone may be a little overly serious (which is not surprising given the subject matter of the album), but overall this was Peel's most professional sounding (dare one say mainstream?) album since the 1970s.

David Peel & The Apple Band - John Lennon Forever (1987)

(320 kbps, front cover included)

Savoy Chart Busters

This is a nice collection of smash hits from the legendary Savoy catalog.

Savoy, the little record company in Newark, New Jersey, was started in 1942. While best known as the incubator of be-bop, along the way, it was also the home of some major rhythm & blues chart hits and stars of the 40s and 50s.
Programmed for your listening pleasure like an old juke box, here are some of Savoy´s most popular treasures.

You will find R & B, blues and jazz blockbusters from Little Esther, Joe Turner, Charlie Parker, Big Maybelle, Billy Eckstine and many others.

Savoy Chart Busters
(320 kbps, front cover included)

Neil Young Meets Buffalo Springfield And The Squires (Unreleased Demos 1963 – 1966)

Back in 1989 when this  album came out this was a treasure trove of rare material.

Tracks 1-7 are Neil Young's 1965 Elektra Audition, Tracks 8-11 are needle drops of Buffalo Springfield rare acetates and tracks 12 & 13 are needle drops of The Squires 1963 single. Little if any noise reduction has been used so you hear every click and pop on the needle drops which is a good or bad thing depending on your perspective on noise reduction.

Post Buffalo Springfield box set and Archives Volume I this CD became slightly less essential however, the Neil Young obsessive will still need to pick this up. It appears to be the only silver pressed source of the Elektra audition that is complete. That means we get 'I Ain't Got The Blues' which was inexplicably left off the Archives and we get the complete 'The Ballad Of Peggy Grover' (titled 'Don't Pity Me Babe' on this release) which was edited quite dramatically on the Archives (this version is over 2 minutes longer in duration). This song was eventually re-written and became 'Don't Cry No Tears' on Zuma. 'Extra Extra' is also mistitled 'When It Falls, It Falls Over You'. The alternate mix of 'Do I Have To Come Right Out And Say It' would also appear to be unique to this release.

Sound quality is very good throughout the only problems being the limitations of some of the source material used.           

Tracklist:

01 Sugar Mountain* -
02 Nowadays Clancy Can't Even Sing* -
03 Run Around Babe*
04 Don't Pity Me*
05 I Ain't Got The Blues*
06 The Rent is Always Due*
07 When It Falls*
08 Down To The Wire#
09 Do I Have To Come Right Out And Say It?#
10 There Goes My Babe@
11 One More Sign@
12 Sultan%
13 Aurora%

Source:
* Elektra Studios, New York 1965
# Buffalo Springfield: studio outtakes 1966-67
@ studio demos 1967
% The Squires: official 7" single 1963

Neil Young Meets Buffalo Springfield And The Squires (Unreleased Demos 1963 – 1966)
(192 kbps, cover art included)

Gary Clail On-U Sound System ‎– Human Nature (CD Single)

"Human Nature" is a 1991 song performed by English singer and record producer Gary Clail. It is produced by Adrian Sherwood and features Lana Pellay on backing vocals. The song is included on the album 'Emotional Hooligan'. The song received remixes by Oakenfold and Osborne.

It was originally intended to use a sample of a speech by Billy Graham on the track, however his representatives refused permission, so the song used portions of the speech re-recorded by Clail. However some promo 12" singles featuring the Billy Graham sample were pressed and distributed.


Tracklist:
1. "Human Nature" (On The Mix Edit) 3:40
2. "Human Nature" (On The Mix) 6:18
3. "Rumours" 4:40

Gary Clail On-U Sound System ‎– Human Nature

(320 kbps, cover art included)

John Cale - Ready For War (Bootleg)

While John Cale is one of the most famous and, in his own way, influential underground rock musicians, he is also one of the hardest to pin down stylistically. Much has been made of his schooling in classical and avant-garde music, yet much of what he's recorded has been decidedly song-oriented, dovetailing close to the mainstream at times. Terming him a forefather of punk and new wave isn't exactly accurate, either. Those investigating his work for the first time under that premise may be surprised at how consciously accessible much of his output is, at times approaching (but not quite attaining) a fairly "normal" rock sound. There is always a tension between the experimental and the accessible in Cale's solo recordings, meaning that he usually finds himself (not unwillingly) caught between the cracks: too weird for commercial success, and yet not really weird or daring enough to place him among the top ranks of rock's innovators.               

"Ready For War" is a great collection of live tracks, rarities, outtakes, and B-sides, released in Germany in 1993.  Fear Is A Man's Best Friend gives us detailed information about the sources:

• She Never Took No For An Answer from the Sid & Nancy soundtrack released in 1986.
• Heartbreak Hotel taken from June 1, 1974.
• Mercenaries and Rosegarden Funeral Of Sores from the single released in 1980.
• Jack The Ripper from the deleted single planned for 1978.
• Empty Bottles taken from Jennifer Warne's Jennifer, released in 1972.
• Feast of Stephen from the 1971 Mike Heron album, Smiling Men With Bad Reputations
• Sylvia Said, released in 1974 as the B-side of the The Man Who Couldn't Afford To Orgy.
• Hallelujah taken from the Leonard Cohen tribute album I'm Your Fan released in 1991.
• Queen Victoria taken from the More Fans ep released in 1991.
• Last Day On Earth extract taken from the Last Day On Earth album.
• Go West recorded with Chris Spedding.
• Grandfather's House taken from the One Word EP.
• First Evening and Hunger with Hector Zazou.
• L'Heritage Du Dragon from the Paris S'Eveille EP, released in 1991.
• Villa Albani instrumental version.

Tracklist:
                           

1	She Never Took No For An Answer	3:14
2	Heartbreak Hotel	5:11
3	Mercenaries (Ready For War)	4:36
4	Rosegarden Funeral Of Sores	5:44
5	Jack The Ripper	3:10
6	Empty Bottles	3:09
7	Feast Of Stephen	4:41
8	Silvia Said	4:20
9	Nanna	1:59
10	Hallelujah	4:13
11	The Queen And Me	3:19
12	Last Day On Earth (Extract)	3:24
13	Go West	3:38
14	Grandfather's House	3:08
15	First Evening	6:29
16	L'Heritage Du Dragon	3:08
17	Hunger	4:37
18	Villa Albani (Intrumental)	5:34

John Cale - Ready For War (Bootleg)
(192 kbps, cover art included)

Alan Vega - Collision Drive (1981)

"Collision Drive" continues the trend started on the first Alan Vega album of incorporating Vega's love of '50s rock and R&B. "Ghost Rider," which sounded cold, sleek, and mechanical on Suicide's first album, now becomes an upbeat rockabilly rave-up. Vega covers Gene Vincent's "Be-Bop-A-Lula" and plays it mostly straight (although he does throw in his trademark howls and yelps, along with some synthesizers). 

The two versions of "Magdalena" aren't really different enough to justify their presence, although the song itself is likable. The track that stands out the most, however, is the 13-minute "Viet Vet," an extended poetic rant in the pattern of Suicide's "Frankie Teardrop." It will either seem like a brilliant piece of performance art, or it will sound unbearably self-indulgent, depending on a listener's tolerance for Vega's excesses. For the most part, though, rollicking tracks like "Raver" and "Rebel Rocker" are enjoyable and exciting enough to offset any of the less successful experiments. "Collision Drive" may be uneven, but at its best, it will definitely provide more than enough smart art pop to chew on.


Tracklist:

A1 Magdalena 82 3:02

A2 Be Bop A Lula 2:23

A3 Outlaw 3:30

A4 Raver 2:45

A5 Ghost Rider 4:30

A6 I Believe 5:23

B1 Magdalena 83 2:55

B2 Rebel 2:46

B3 Viet Vet 12:46

Alan Vega - Collision Drive (1981)

(320 kbps, cover art included)

Ute Lemper - Sings Kurt Weill, Vol. 2

Volume 2 showcases Lemper's ability to sing with equal facility and understanding in German (Songs from "Happy End"), French (Songs from `"Marie Galante"), and English (Songs from "Lady in the Dark").

"Ute Lemper Sings Kurt Weill Vol. 2" has two of Weill's most famous German songs outside of "Die Dreigroschenoper",  "Bilbao-Song" and "Surabaya-Johnny".

This album was recorded at CTS Studios, Wemberley (10/21/1991-10/21/1992) and at Hansa Studios, Berlin, Germany (10/21/1991-10/21/1992).

Tracks Vol. II:

Songs from Happy End (Weill; Lane)

*01. Bilbao Song
*02. Surabaya Johnny
*03. Was Die Herren Matrosen Sagen
*04. Der Song Von Mandelay
*05. Das Lied Vom Branntweinhandler

Songs from Marie galante (Weill; Déval; Fernay)
*06. Youkali Tango
*07. Les Filles De Bordeaux
*08. Le Train Du Ciel
*09. Le Grand Lustucru
*10. Le Roi D'acquitaine
*11. J'attends Un Navire

Songs from Lady in the Dark /Weill; Hart; Gershwin)
*12. One Life To Live
*13. A Saga Of Jenny
*14. My Ship

Ute Lemper - Sings Kurt Weill, Vol. 2 
(192 kbps, cover included)

Mercedes Sosa - A Que Florezca Mi Pueblo (1975)

In 1970 Mercedes Sosa took part in Leopoldo Torre Nilsson’s film "El Santo de la Espada", and released two very important records in her career: "El grito de la tierra" and "Navidad con Mercedes Sosa". During this period she recorded, among others, "Canción con todos” and "Cuando tenga la tierra" by Ariel Petrocelli and Daniel Toro, and the beautiful "La Navidad de Juanito Laguna" by "Cuchi" Leguizamón and Manuel J. Castilla.

Two records were released in 1971: "La voz de Mercedes Sosa" and "Homenaje a Violeta Parra", an album which compiled almost a dozen songs by the great protagonist of the Chilean “Canto Popular” (Popular Song). That year Mercedes also took part in Güemes - la tierra en armas, a film directed by Leopoldo Torre Nilsson. In a brief but significant role, she played the Upper Peru heroine Juana Azurduy.

In 1972 "Hasta la victoria" was released; it was a record featuring songs loaded with social and political content. Those were times in which a few composers and also singers like Mercedes Sosa were involved in and committed to militant activity, through which they wanted to help make the world a fairer and more equitable place. That year she was also the voice of "Cantata Sudamericana", with Ariel Ramírez’s music and Félix Luna’s lyrics.

"Traigo un pueblo en mi voz" was released in 1973, a year of upheaval caused by the return to democracy, and prologue to a difficult and violent period in Argentine history. Mercedes continued along the same lines as her previous work and recorded some songs with which she presented the Latin American reality.

Also in 1973 and 1974 she released two singles together with Horacio Guarany.

In 1975 "A que florezca mi pueblo" was released.

Tracklist          

A1		A Que Floresca Mi Pueblo
A2		Cuanto Trabajo
A3		Ay Este Azul
A4		Zamba De Lozano
A5		Regreso A La Tonada
A6		Chacarera De Un Triste
B1		Cuando Estoy Triste
B2		Algarrobo Algarrobal
B3		Marron
B4		Juanito Se Salva De La Inundación
B5		Subo / Bello Jilguero
B6		Se Equivocó La Paloma

Mercedes Sosa - A Que Florezca Mi Pueblo (1975)
(192 kbps, front cover included)

Gojim - In a schtodt woss schtarbt - Jiddische Lyrik aus dem Wien der 1920er-Jahre

When 20 years ago the German/Austrian music group “Gojim” (Hebrew: goyim: non-jews) gave its first concerts with Yiddish songs there were only few groups performing this type of music – especially those with a more critical position on folk music tradition.

With "In a schtodt woss schtarbt - Yiddish poetry from the 1920ies in Vienna " Gojim present their “Jiddisches Wien Programm” far from the shtetl-romanticism and Klezmer tradition.

Today, even in Vienna, it is still unknown, that for a short period this city used to be one of the most important centers of Yiddish culture worldwide: during the 1920ies in Vienna existed four Yiddish theatres, eight Yiddish silent movies were produced, the first important grammar book on Yiddish language was published in Vienna, … and a circle of Jewish poets yet used the Yiddish language.

“In a schtodt woss schtarbt” invites you to take an unsusual musical walk through Vienna: it shows Vienna during the first Republik seen through the eyes of Yiddish poets, a city with dreams and fears for the future, love of life and morbidity – described by expressionistic poetry. These poems reflect also a highly modern poetic view of immigrants to this city and unfolds surprising parallels to present times.

The gojim have added their own compositions to texts by Melech Chmelnitzki, Mosche Lejb Halpern, Ber Horowitz, Rochl Korn, Mendel Nejgreschl, Dovid Kenigsberg, Melech Rawitsch, Ber Schnaper and Mosche Silburg. The aim is to underline that Yiddish music tradition wasn’t just ment for entertainment but rather must be seen as a living dialogue to current realities of time.

Tracklist:

1. Balade I (words: Ber Horowitz; music: C. Koczan, arr; F. Ruttner) 1:00
2. Memento mori (words: Mosche Lejb Halpern; music: K. Schüler-Springorum) 4:39
3. Nont senen mir ale wunder (words: Dovid Kenigsberg; music: M. Gollini)
4. In Schlojme Hamelechss pardess (words: Ber Horowitz; music: C. Koczan, arr; B. Ziegler) 1:33
5. Un kumt di sun ... (words: S. J. Imber; music: trad., F. Ruttner) 3:21
6. Legende (words: Dovid Kenigsberg; music: c. Koczan; arr. F. Ruttner) 2:34
7. Hunger (words: Ber Schnaper; music: M. Gollini; arr. M. Gollini, K. Schüler-Springorum) 2:58
8. Gewissen (words: Melech Rawitsch; music: F. Ruttner) 5:24
9. Lewune-nacht (words: Ber Horowitz; music: M. Gollini) 2:21
10. Di neschome is a kale (words: Dovid Kenigsberg; music: K. Schüler-Springorum) 1:32
11. Mitog-midkejt (words: Ber Horowitz; music: C. Koczan; arr: F. Ruttner) 3:40
12. Der erschter maj (words: Melech Chmelnitzki; music: trad., F. Ruttner) 2:34
13. Winer ownt (words: Mendel Nejgreschl; music: C. Koczan; arr. F. Ruttner) 2:38
14. Bam altwarger (words: Mendel Nejgreschl; music: C. Koczan; arr. B. Ziegler) 2:04
15. In'm schandhojs (words: Mendel Nejgreschl; music: M. Cizek; arr. F. Ruttner) 5:36
16. Di schtodt (words: Melech Chmelnitzki; music: M. Gollini)
17. "Ouvertüre" (instr.) (music: trad., K. Schüler-Sringorum) 3:34
18. Balade II (words: Ber Horowitz; music: C. Koczan; arr. F. Ruttner) 0:57

Gojim - In a schtoddt woss schtarbt
(256 kbps, cover art included)

Bob Dylan - Folk Rogue 1964 - 1965

This CD is one to grab for several reasons. First of all, Newport shows are essential both to any serious Dylan collection, as well as to any music historian. This set compares the sublime acoustic folk '64 show to the infamous 'Electric' '65 show that forever changed the face of folk, rock, and folk-rock music. The entire CD is soundboard recordings, and this is the best sounding Newport recordings ever. The filler material is of fascinating historical importance as well. The two missing songs from the newly discovered Hollywood Bowl show (with Levon Helm and Robbie Robertson) are also included. Finally, the aesthetics are nice, the venue information is complete, and the period photos are vibrant.

--Craig Pinkerton, bobsboots.com

In the span of exactly 365 days, from his July 26, 1964, appearance at the famed Newport Folk Festival to his return on July 25, 1965, Bob Dylan rocketed from folk luminary to lightning rod. After first abandoning the protest themes of his classic early anthems to focus on more poetic, personal subjects, Dylan next forsook the rigid traditions of roots music to go electric, drawing on the spirit of rock & roll to forge a revolutionary and controversial sound all his own. The must-have bootleg release "Folk Rogue 1964-1965" contains both Newport sets in their entirety, and the contrast is extraordinary: while the 1964 audience treats sublime, introspective songs like "It Ain't Me, Babe" and "All I Really Want to Do" with reverence and awe, the 1965 crowd seems poised on the brink of anarchy, and regardless of whether the catalyst was the elemental ferocity of the music, the inadequate sound system, or the brevity of the three-song set, the tension is palpable, and it elevates Dylan and his band to remarkable heights. Adding a pair of songs from Dylan's September 3, 1965, show at Los Angeles' Hollywood Bowl for good measure, "Folk Rogue 1964-1965" remains the definitive single-disc presentation of this landmark material. Soundboard-quality fidelity and tasteful packaging complete an essential collection, although Dandelion's two-disc "From Newport to the Ancient Empty Streets in LA" adds the Hollywood Bowl show in its entirety while subtracting "It Ain't Me Babe" from the 1964 Newport appearance, so comparison shopping is recommended.  - allmusic.com


Tracklist:

1. It Ain't Me Babe *
2. All I Really Want To Do
3. To Ramona
4. Mr Tambourine Man
5. Chimes Of Freedom
6. Don't Think Twice **
7. All I Really Wanna Do *(afternoon workshop)
8. Maggie's Farm
9. Like A Rolling Stone
10. Phantom Engineer
11. Tombstone Blues ***
12. It Ain't Me Babe ***
13. We Want Bobby
14. It's All Over Now Baby Blue
15. Mr Tambourine Man

Newport Folk Festival, RI July 25, 1965 Except:
* Newport Folk Festival, RI July 26, 1964
** Newcastle, UK City Hall May 6, 1965
*** Hollywood Bowl, LA, CA September 3, 1965

Bob Dylan - Folk Rogue 1964 - 1965
(192 kbps, cover art included)

Bobby Darin - The Bobby Darin Story (1961)

Released in the early '60s, here's the first part of Darin's career told by the vocalist himself in a 12-song greatest-hits collection that really works. The narration inserts still function well after all these years, making you realize that this was originally a vinyl album, as Darin negotiates from rock & roller to finger-snapping lounge lizard. This album focuses on his early days with ATCO records in the late 50's and early 60's. Not all the cuts are the ones that were released as singles, and it's interesting to hear the unfamiliar cuts of familiar songs. :~ Cub Koda

Tracks:
01. Splish Splash
02. Early In The Morning
03. Queen Of The Hop
04. Plain Jane
05. Dream Lover
06. Mack The Knife
07. Beyond The Sea
08. Clementine
09. Bill Bailey
10. Artificial Flowers
11. Somebody To Love
12. Lazy River


This is an early compilation album transferred intact to CD. Between numbers, Bobby Darin comments on the impact and import of each song (including a charmingly anachronistic, "If you don't turn this over, I'm liable to run into the label," followed by a resounding crash).
The Bobby Darin Story includes his early hits, "Splish Splash" and "Queen of the Hop" as well as the iconic "Mack The Knife." Everything about this CD screams "musty old record album in the basement" including the label which advises us that this recording is in stereo. Wowee.
Unremastered and rather reedy recordings of most of the songs made me wish I had the original LP, with the cracks, hisses and pops they so rightfully deserve. No Information Age smoothness here. This album, er, CD is a real chestnut, full of artifacts from a vanished time.
The tumult of the Sixties is reflected in the widely varying musical styles on this recording. Bobby Darin spent much of his career finding his own unique voice, veering between bubblegum At The Hop pop and derivative Tin Pan Alley toss-offs until he passed magnificently "Beyond The Sea."
Darin's tragically brief life and stellar career are well remembered on this curio shop recording. And Bobby's commentary makes it all come to life.:~ Amazon Customer Comment

Bobby Darin - The Bobby Darin Story (1961)
(ca. 192 kbps, cover art included)

Ute Lemper - Sings Kurt Weill (1988)

Ute Lemper is a multifaceted singer/actress closely associated with the Berlin cabaret style of songs and the music of Kurt Weill.

"Ute Lemper Sings Kurt Weill, Volumes 1 and 2" released in 1988 and 1993, plus the third album of Weill's two most important song cycles in German, "The Seven Deadly Sins" ("Die sieben Todsunden") and "Mahagonny Songspiel" released in 1990 unequivocally established Ms. Lemper as the leading Kurt Weill interpreter since Lotte Lenya, Weill's wife and the singer for whom many of his vocal pieces were written. These three disks, sample pieces from most major Weill works written in German, including his most famous musical play, "The Threepenny Opera" ("Die Dreigroschenoper").

The first disc has fourteen tracks with three from "Der Silbersee" with lyrics by Kaiser, three from "Die Dreigroschenoper" with lyrics by Bertolt Brecht, two from "Berliner Requiem" with lyrics by Brecht, two from "Mahagonny" with lyrics by Brecht, "Je ne t'aime pas" with French lyrics by Magre, and three from "One Touch of Venus" with English lyrics by S.J. Perelman and Ogden Nash.

The album is done with the backing of the RIAS Berlin Sinfonietta, conducted by John Mauceri who seems to get just the right tone of sleaze out of his ensemble to match the tone of the composition and lyrics by Weill and his various librettists, especially Berthold Brecht.

Lemper is a vocalist in that great European femme fatale tradition of Lenya, Piaf, and Dietrich and certainly to my lights the leading interpreter today of Weill's songs plus works by other European composers for the musical and cabaret (See her album `City of Strangers'). Compared to even some of the greatest contemporary American female vocalists on the stage such as Streisand and Minelli, both Yanks have their strength, but they can't or don't try to achieve the same depth of feeling behind the European `Weltschmertz' you hear from Lemper and her forerunners. The closest may be Minelli's performance as Sally Bowles in `Cabaret', but even there, she can't seem to hide her American innocence.

Of the three albums, the first of the three, "Ute Lemper Sings Kurt Weill" may be the best introduction, as it includes two of Weill's best English songs, "I'm a Stranger Here Myself" and "Speak Low".

Tracks:
*01. Fennimores Lied
*02. Cäsars Tod
*03. Die Moritat von Mackie Messer
*04. Salomon Song
*05. Die ballade Von  der sexuellen Hörigkeit
*06. Zu Potsdam Unter Den Eichen
*07. Nanna's Lied
*08. Lied des Lotterieagenten
*09. Alabama Song
*10. Denn Wie Man Sich Bettet
*11. Je Ne T'aime Pas
*12. I'm a Stranger Here Myself
*13. Westwind
*14. Speak Low

Ute Lemper - Sings Kurt Weill (1988)
(192 kbps, cover inluded)

William S. Burroughs - Dead City Radio (1990)

The elder statesman of literature's Beat Generation - and, by extension, of the American underground culture - few figures outside of the musical sphere exerted a greater influence over rock & roll than novelist William S. Burroughs. A provocative, controversial figure famed for his unique cut-up prose aesthetic, Burroughs lived the rock lifestyle years before the music itself was even created; the ultimate outsider, he existed on the dark fringes of society in a haze of drugs, guns, and violence, remaining a patron saint of hipsterdom until his dying day. Ultimately, Burroughs' hold on the popular culture was extraordinary: few artists failed to credit him as an inspiration, and while bands like Steely Dan and the Soft Machine adopted their names from his turns-of-phrase, younger artists like Kurt Cobain and the Disposable Heroes of Hiphoprisy lined up to offer musical support for his occasional excursions into spoken word performing.

One of the best Burroughs recordings, "Dead City Radio" features the writer reading five previously unreleased pieces, along with selections from several of his books. The acerbic Burroughs wit is at its finest on many of these selections, and he even takes a shot at singing on one track. Musical contributors to this project include Sonic Youth, Donald Fagen, Lenny Pickett, Cheryl Hardwick, Chris Stein, and John Cale.

William S. Burroughs - Dead City Radio (1990)

(320 kbps, front cover included)

Annie Anxiety Bandez ‎– Jackamo (1987/1996)

Ann Robie Bandes (born c. 1961), better known as Little Annie, Annie Anxiety or Annie Anxiety Bandez, is a New York-born singer, songwriter, painter, poet, writer, performing and recording artist, pastor and stage actor.

Outlandish diva of post-punkdub Annie Anxiety (aka Little Annie) put together a fierce lineup of On-U Sound stars, including Tackhead's Doug Wimbish on bass, remixer Skip McDonald, and African Head Charge percussionist Bonjo I. Kishi Yamamoto provided a bed of keyboards and sequenced rhythm tracks, resulting in an unprecedented modern dub album. 

Considerably more upbeat than her debut while maintaining the sinister edge that defines her spoken word work, the album features the outstanding "As I Lie in Your Arms" and the Marvin Gaye tribute "One Mourning." Other essential cuts are "Chasing the Dragon Down Broadway" and the roots-inspired "Rise," which has been the subject of numerous dub remixes appearing on the limited CD reissue on Echo Beach in the "Serious Classic" series.

Tracklist:

1 As I Lie In Your Arms 5:48

2 Bastinado 4:06

3 Chasing The Dragon Down The Broadway 4:10

4 Jackamo 6:01

5 Jack Yo Mama 3:52

6 One Mourning (For Marvin Gaye) 5:04

7 Rise 5:31

8 Hier Encore (96 Remix) 4:11

9 Rise Dub (96 Remix) 5:03

10 As I Lie In Your Arms (96 Remix) 5:51

11 Down By The Station 4:55

12 Rise Dub (12" Remix) 3:46

Annie Anxiety Bandez ‎– Jackamo (1987/1996)

(320 kbps, cover art included)

VA - The Iron Muse (Topic, 1993)

This 1993 Topic release is an expanded reissue of the label's original 1956 LP. "Iron Muse" was the first of its kind, a collection of folk music derived almost exclusively from the experiences of industrial workers in the north of England.

The folk tradition of rural and historical Great Britain was well known and documented. But to think that the specific hardships and experiences of the country's industrial workers would be chronicled in a similar way — through heartfelt lyrics and playing — was at first a bit odd. It took the work of famous folklorist A.L. Lloyd to change that opinion. The work of miners, weavers, and the like had already become fertile ground for song. But Lloyd went inside blazing steel mills, onto hard iron railways, and into dank boiler rooms in search of the workers' music and their voices.

What he found was Maureen Craik's stark, a cappella rendering of the strike lament "Durham Lockout" and Louis Killen's accented, fiddle-led (and still relevant) "Aw Wish Pay Friday Would Come." The hardscrabble life of a miner was described with unflinching detail in "Blackleg Miners," their frighteningly protracted existence recorded in the brief, powerful "Auchengeich Disaster". Much of the material on "Iron Muse" drew melody from the traditional canon. However, the songs were cast in a darker hue by the soot and bad lighting of the industrial towns. The countryside's music could be pastoral, but also very dark; the city folk seemed to dwell on the latter trait. Strikes, class warfare, worksite disasters, and the unending need (desire) for wages provided lyrical fodder for "Iron Muse", but it was the humanity and emotions behind the daily grind that really drove the songs. The occasional reel (especially "Sandgate Girl's Lament/Elsie Marley") provided a respite as brief and wonderful as a Sunday night backroom dance, helping the album paint a vivid picture of life inside the industrial towns and add a new chapter to the history book of traditional folk music.

VA - The Iron Muse (Topic, 1993) 
(192 kbps, front & back cover inclueded)

The English Beat - I Just Can´t Stop It (1980)

"I Just Can't Stop It" was a late arrival onto the checker- boarded scene, the Specials, Madness and the Selecter had all beat the (English) Beat to the punch, but luckily this wasn't a race. Besides, the band had already primed the pump with a trio of Top 10 singles -- the double A-sided "Tears of a Clown"/"Ranking Full Stop," "Hands Off She's Mine" and "Mirror in the Bathroom," their debut album followed hard on "Mirror"'s heels, picking up the latter two songs and "Full Stop" to boot. 

Two more of the tracks within set followed them onto the chart, later that summer on another double A-sided single -- "Best Friend" coupled with a dub version of "Stand Down Margaret"." So this was a hit filled set. And so popular were such songs as "Rough Rider," "Twist and Crawl," "Can't Get Used to Losing You," and "Whine & Grine," becoming such staples, that fans can be forgiven for assuming they too were released on 45. Intriguingly, "Losing You" came courtesy of Andy Williams, and highlighted the softer styling that would swiftly overtake the Beat. But "Rough" and "Whine" had solid ska credentials, both were Prince Buster hits, while "Jackpot" was one of slew of racing themed rocksteady smashes that drove The Pioneers too fame, The Specials had opened their own account with another -"Longshot Kick the Bucket"." 

And it was this sheer diversity of influences that set The Beat's sound apart from their compatriots. Their own compositions were heavily cultural in theme -- the radical cries to depose the prime minister on "Margaret," the slashing anti-violence of "Two Swords" and even more ominous and feverish "Click Click," through the cultural nihilism of "Mirror" itself. With a few softer love and lovelorn tracks taking some of the edge off. "Stop" was a stunning achievement, its driving, frenetic numbers grounded in punk's fury smashing into the loose-limbed grooves and melodies of rocksteady inspired songs, and banging head on into sweeter pop fueled pieces. The album remained on the British charts for a whopping eight months, eventually peaking at Number Three. Time has not diminished its glory, the songs remain hugely as their continued inclusion in the band's offshoot's repertoire have proved.



Tracklist:

A1 Mirror In The Bathroom 3:08

A2 Hands Off... She's Mine 3:00

A3 Two Swords 2:18

A4 Twist & Crawl 2:34

A5 Tears Of A Clown 2:39

A6 Rough Rider 4:53

A7 Click Click 1:27

B1 Ranking Full Stop 2:46

B2 Big Shot 2:33

B3 Whine & Grine / Stand Down Margaret 3:49

B4 Noise In This World 2:16

B5 Can't Get Used To Losing You 3:05

B6 Best Friend 3:02

B7 Jackpot 4:18

The English Beat - I Just Can´t Stop It (1980)

(320 kbps, cover art included)

Dario Domingues - The End Of The Yahgans Journey (1981)

Dario Domingues, flautist, singer, and percussionist, was born in 1954, in the Patagonia region of Argentina. At the age of eighteen he began learning the traditional wind instruments of the highlands of South America, mastering the kena, a seven holed bamboo flute of ancient origins, played by the Quechuas, Aymaros, Incas and other Indian cultures.

After participating in several groups in Argentina and Mexico, performing traditional Latin American music, he moved to Canada in 1977 where he continued his career and began work as a composer. Although Dario's music was inspired by traditional rhythms and melodies, it showed a progression towards a more contemporary sound spectrum. His live performances and recordings included a large variety of African, Asian and self-made instruments which infused his music with a uniquely personal and original artistic expression. Since 1980 Dario toured Europe annually, giving concerts throughout Gennany, Austria, Switzerland, Holland, Norway, Poland and Italy. He also performed in the U.S.A. and Japan. His first solo LP "The End Of Yaghan's Journey" released in Europe in 1981, won the Gennan Critics Choice Award in 1982 while the second album "Exodus South Of Rio Grande", released in 1983, was nominated " Album of the Year" in the contemporary folk category , together with Keith Jarrett in jazz, and Joe Cocker in rock.

Dario also composed music for several documentary films made in Canada, constantly exploring as he combined South American rhythms and original melodies with a range of exotic acoustic and electronic instruments.

Dario passed away in April 2000 at age 46. He'll be sadly missed

Tracklist:

The Night Of San Juan (Johannisnacht)	4:00
Azul Limay (Blauer Limay)	5:57
Teotihuacan (Straße Des Todes)	4:05
Cuando Llora La Tierra (Wenn Die Erde Weint)	4:47
El Guillatun (Der Guillatun)	3:00
The Source Of All Waters (Die Quelle Aller Wasser)	7:05
Plantida De Aleli (Kleiner Levkojenstrauch)	2:45
Children Of The World Come To Dance (Ihr Kinder Dieser Welt Kommt Und Tanzt)	3:32
Wind Of The Andes (Wind Der Anden)	2:45
The End Of The Yahgan's Journey (Die Reise Der Yangan Ist Zu Ende)	5:30

Dario Domingues - The End Of The Yahgans Journey (1981)
(256 kbps, front cover included)

Joan Baez - En Chile (1981)

This album was recorded in 1981 in Chile.

Joan Baez always was in the first line of solidarity with the Chilean people after the military coup of 1973. She toured Chile, Brazil and Argentina in 1981, but was prevented from performing in any of the three countries on big stages, for fear her criticism of their human-rights practices would reach mass audiences if she were given a podium. While there, she was kept under surveillance and subjected to death threats.

Baez came to Chile at the invitation of the SERPAJ, a Latin American human rights organization. Originally, Joan Baez was to perform at a large public concert to raise funds for the SERPAJ. Her celebrity status and artistic talent would have generated energy and an audience for human rights and dissident memory. Her fusion of folk music and social idealism would no doubt have reactivated memories of the New Song movement and artists banished from the Chilean scene. Denied a temporary work permit, Baez and the SERPAJ had to cancel the big event.

The concert went on anyway - in the form of a concert tour in the world of small clubs (penas) that had undergone rebuilding in Chile since the late 1970s. On university campuses, in church auditoriums, and at labor and neighborhood meeting halls, Baez and Chileans sang music to inspire renewal in hard times.

Tracklist:
01. Gracias a la vida
02. Con tres heridas viene
03. Los hijos de los 80
04. Aire israelí
05. Canción del folklore tunecino
06. Soplando en el viento
07. No llores por mí Argentina
08. The boxer
09. Te recuerdo Amanda
10. Imagina
11. Balada de Sacco y Vanzetti


Joan Baez - En Chile (1981)
(192 kbps, front cover inlcuded)