Samstag, 25. Mai 2024

Schmetterlinge - Mit dem Kopf durch die Wende (1986)

"Die Schmetterlinge" ("The Butterflies" in English) were an Austrian political folk-band. They started as a folk ensemble but later evolved into a complex theatrical progressive band, with "Sparifankal" and "Floh De Cologne" touches, moving onto progressive rock-opera.

One of the band members, Willi Resetarits (also knows as Dr. Kurt Ostbahn), passed away on 24 April 2022, aged 73.

"Mit dem Kopf durch die Wende" was their last album, released in 1986 on the Extraplatte label.


A1 Wir Sind Noch Am Leben 2:26
A2 Dschungelmelodie 3:13
A3 Wieder Sind Wir Die Terroristen 4:19
A4 Ich Wollt 3:37
A5 Propaganda Propaganda 3:10
A6 Andere San Schlechter Dran 4:31
B1 Der Herrgott Ist Ein Rock 'n' Roller 4:33
B2 Männer Weinen Täglich 3:41
B3 Schau, Frau 2:45
B4 Computer-Willi 4:11
B5 35 Stunden Sind Zuviel 2:29
B6 Vieles Schmeckt Nach Mehr 2:45

(320 kbps, cover art included)

Mittwoch, 22. Mai 2024

Neonbabies - Neonbabies (1981)

Neonbabies was a German new wave band of the early 1980s. They were from Berlin and were part of the Neue Deutsche Welle (NDW) music scene.

The band came together in Berlin at the beginning of 1979. Its founding members included the sisters Inga Humpe (born 1956), called "DiLemma", and Annette Humpe (born 1950), called "Anita Spinetti".

At the beginning of 1980, Annette Humpe founded the band Ideal and was replaced by the singer Petra Mikolajczuk ("Miko"). 
The selft-titeld debut album "Neonbabies", released in 1981, was the only Neonbabies album to feature Annette Humpe, who left to form Ideal. The best song by far is the original version of "Blaue Augen", which was a hit for Ideal in a much smoother version.


A1 Profi 3:49
A2 Krönung 3:10
A3 Spaß muß sein 2:00
A4J umping Jack Flash 1:35
A5 Big Spender 2:20
A6 Blaue Augen 3:10
A7 Extro 1:50

B1 Depressiv 0:55
B2 Ich will dich nicht2 :00
B3 Hawaii 4:25
B4 Tango 11/80 2:45
B5 Willst du mich nicht 5:00
B6 Außer sich 3:10
B7 Debut 1:40

(224 kbps, cover art included)

Montag, 20. Mai 2024

Buffy Sainte-Marie – She Used To Wanna Be A Ballerina (1971)

"She Used to Wanna Be a Ballerina", Buffy Sainte-Marie's seventh album, is a varied collection of new originals by the singer/songwriter, along with covers of songs by her friends. It's an ambitious work, recorded at five different studios in New York, Los Angeles, and London, and co-produced by Sainte-Marie with Jack Nitzsche, who brings in some elaborate arrangements at times, as well as musicians including sometime-bandmates in Crazy Horse, Neil Young, Danny Whitten, Ralph Molina, and Billy Talbot. 

They are heard, for instance, in Sainte-Marie's feeling version of fellow Canadian Young's "Helpless," a song he cut previously with Crosby, Stills, Nash & Young, although it is a personal reminiscence of a Canadian childhood, and thus a song with which Sainte-Marie can identify closely. The album also boasts an excellent Gerry Goffin/Carole King song, "Smack Water Jack," which Sainte-Marie performs alone to her own piano accompaniment. (The song also appears on King's LP Tapestry, released simultaneously with She Used to Wanna Be a Ballerina.) 

Another notable track is a previously unheard and typically poetic and emotional Leonard Cohen song, "Bells," and Sainte-Marie presents her version of a song Cohen, too, has covered, "Song of the French Partisan" (aka "The Partisan"). That is far from the only politically oriented tune on the disc, though. Sainte-Marie also presents "Moratorium," a reflection on troops serving, misguidedly, in her opinion, in Vietnam, which includes an expletive followed by "Bring the brothers home." A similar sentiment informs "Soldier Blue," Sainte-Marie's theme song for the recently released film concerning mistreatment of American Indians, another constant in her work. 

The album also contains love songs like "Now You've Been Gone for a Long Time," performed with equal effectiveness. "She Used to Wanna Be a Ballerina" finds Sainte-Marie holding onto many of the themes and the folk styles with which she began, but, with the assistance of Nitzsche and others, expanding into mainstream pop and rock successfully.


01. Rollin' Mill Man (Gerry Goffin, Russ Titelman) - 2:14
02. Smack Water Jack (Gerry Goffin, Carole King) - 3:16
03. Sweet September Morning (Buffy Sainte-Marie) - 2:48
04. She Used To Wanna Be A Ballerina (Buffy Sainte-Marie) - 2:13
05. Bells (Leonard Cohen) - 4:33
06. Helpless (Neil Young) - 3:07
07. Moratorium (Buffy Sainte-Marie) - 4:14
08. The Surfer (Buffy Sainte-Marie, Ariel Gonzales, Carlos Pardeiro) - 2:34
09. Song Of The French Partisan (Anna Marly, Hy Zaret) - 3:10
10. Soldier Blue (Buffy Sainte-Marie) - 3:16
11. Now You've Been Gone For A Long Time (Buffy Sainte-Marie) - 2:50

(320 kbps, cover art included)

Samstag, 18. Mai 2024

Nichts - Radio (7´`, 1981)

"Nichts" (English: "nothing") is a German rock band from Düsseldorf that saw success with the Neue Deutsche Welle post-punk movement. Originally active from 1981 to 1983, it re-formed in 2009.

The band formed in 1981 with Tobias Brink on drums, Michael Clauss on guitar, Andrea Mothes on vocals and Chris Scarbeck on bass. Brink and Clauss had previously played together in local punk band KFC.

They released their first LP "Made in Eile" ("Made in a hurry") in 1981 on independent record label Schallmauer Records. The sleeve listed the band members as "Micky Matschkopf", "Fritz Fotze", "Prunella Pustekuchen" and "Paul Popperkind", with Clauss and Brink using their pseudonyms whilst with KFC. The album track "Radio" became their first single.

Their second album "Tango 2000" was released in 1982 and saw some commercial success. It included the singles "Tango 2000" and "Ein deutsches Lied" ("A German Song").

In autumn 1982 Michael Clauss and bassist Chris Scarbeck left the band. For the third LP "Aus dem Jenseits" ("From the other side"), released in 1983, they brought in two new musicians. The band split up in 1983.

Michael Clauss reformed Nichts with a new line-up to play concerts in Germany and Austria in 2009 and 2010. In 2011 they released an album entitled "Zeichen auf Sturm" (Signs of a storm).

Here´s their single "Radio" from 1981.

A. Radio
B. Hallo Kartoffelsalat

(320 kbps, cover art include)

Nico - Camera Obscuara (1985)

One of the most fascinating figures of rock's fringes, Nico hobnobbed, worked, and was romantically linked with an incredible assortment of the most legendary entertainers of the '60s.

The most noticeable thing about "Camera Obscura", only Nico's sixth solo album in almost 20 years, is how relaxed she seems. Maybe it was a result of the security that now enveloped her, following her rediscovery and total reinvention in the arms of the British post-punk/goth scene - people say that artists do their best work while they're living on the edge, and Nico's canon was living proof of that. But it was all behind her now and, if "Camera Obscura" does not sound positively comfortable, it's at least less despairing than its predecessors. Not that she had changed her stance too much - listening to Nico remains a cathartic, solitary experience. But the claustrophobia that was so essential to each of her albums as far as "Drama of Exile" has given way to vistas that, aided by John Cale's wide-open production, render "Camera Obscura" an easy listen by comparison.

Indeed, the reliance on the studio is so pronounced that there are moments when the album's closest antecedent lies in Cale's own past albums, with Nico's voice buried so deeply inside the mix that it's almost unnoticeable. Both the (studio improvised?) title cut and the lengthy "Fearfully in Danger" are absolutely Cale territory and, if Nico is allowed to shine at all, it's on "My Funny Valentine," executed precisely as one would hope she'd do it - all sad and dark, with just a faint smile playing around her lips - and "Das Lied vom einsamen Mädchen", a strident Teutonic ballad that, were its source better known, would doubtless be as universally effective as her rendition of "Deutschlandlied" proved a decade before. The title, incidentally, translates as "the song of the lonely girls," a subject about which Nico certainly knew a thing or two.

"Camera Obscura" is not classic Nico, but it's by no means disposable. Indeed, accepting that Cale's overwhelming presence should at least earn him a co-billing in the credits, there really is no one else who could have made a record like this.

(320 kbps, cover art included)

Freitag, 17. Mai 2024

Chico Buarque – Fado Tropical (EP, 1974)

Singer, songwriter, poet, novelist, and playwright Chico Buarque is one of Brazil's living cultural icons. 

In addition to dozens of recordings, some 1,500 of his songs have been recorded by hundreds of artists internationally. In his plaintive, genteel singing voice, his approach to samba, bossa, and MPB is signified by iconoclastic, often politically pointed lyrics and ever-evolving harmonic structures.

The EP "Fado Tropical" was released in 1974.


A1 Fado Tropical 4:11
A2 Cobra De Vidro 1:31
B1 Não Existe Pecado Ao Sul Do Equador / Boi Voador Não Pode 3:58
B2 Vence Na Vida Quem Diz Sim 1:58

(320 kbps, cover art included)

Dienstag, 14. Mai 2024

Itzhak Perlman - Tradition - Itzhak Perlman Plays Popular Jewish Melodies

"Tradition", originally released in 1987 and reissued in 2003 as part of EMI's Perlman Edition, reveals Itzhak Perlman's deep affection for the popular music of his childhood in Israel. This retrospective album of songs from the Yiddish musical theater, many of which were made popular in the mid-twentieth century by such singers as Joseph Rosenblatt, Mordechai Hershman, and Jan Peerce, is filled with the melancholy and yearning they expressed in their recordings.

Perlman's performances are clearly informed by memories of these vocalists, and his frequent use of the G string certainly evokes a plaintive, cantorial tenor. The majority of the program is devoted to slow, emotional songs in minor keys, and with rare exception, the tone is nostalgic and subdued, unlike Perlman's later Klezmer album, "In the Fiddler's House". The sorrowful melody of "Oif'n Pripetchik brennt a feier'l" will be most familiar to listeners from its use in the film Schindler's List, though this arrangement is more elaborate and artful. Dov Seltzer's polished orchestrations subtly suggest the lush style of the 1940s, yet borrow little from that era's studio sound. The Israel Philharmonic Orchestra, under Seltzer's direction, presents a dark but resonant background for Perlman's passionate solos, and bright energy in the disc's few exuberant passages.


A Yiddishe Mamme 6:47
As Der Rebbe Elimelech Is Gevoyrn Asoi Freylach 5:51
Reyzele 4:09
Oif'n Pripetchik Brennt A Feier'l 4:05
Doyna 3:39
Rozhinkes Mit Mandelen 5:37
Oif'n Weyg Steyt A Boim 5:26
A Dudele 4:51
Vi Ahin Soll Ich Geyn? 4:51

Itzhak Perlman - Tradition - Itzhak Perlman Plays Popular Jewish Melodies
(320 kbps, cover art included)

Robert Wyatt - Nothing Can Stop Us (1982)

An enduring figure who came to prominence in the early days of the English art rock scene, Robert Wyatt has produced a significant body of work, both as the original drummer for art rockers Soft Machine and as a radical political singer/songwriter.

This compilation of early-'80s singles includes some of Wyatt's finest work. Aside from "Born Again Cretin" (whose vocals recall the Beach Boys at their most experimental), all of it's non-original material that Wyatt makes his own with his sad, haunting vocals.

You could hardly ask for a more diverse assortment of covers: Chic's "At Last I Am Free" (given an eerie treatment with especially mysterious, spacy keyboards), the a cappella gospel of "Stalin Wasn't Stallin'," political commentary with "Trade Union," the Billie Holiday standard "Strange Fruit," Ivor Cutler's "Grass," and a couple of songs in Spanish.

01. Born Again Cretin
02. At Last I Am Free
03. Caimanera
04. Grass
05. Stalin Wasn´t Stallin´
06. Red Flag
07. Strange Fruit
08. Arauco
09. Trade Union
10. Stalingrad

Robert Wyatt - Nothing Can Stop Us (1982)
(256 kbps, cover art included)

Montag, 6. Mai 2024

Geula Gill Accompanied By Dov Seltzer Group – Yemenite And Other Israel Folk Songs (1958)

The modern State of Israel has absorbed immigrants from many parts of the world, including the Middle East, and the folk music of Israel reflects the varied backgrounds of its people, both in terms of style and repertoire. Many of the tunes on this recording originated in Yemen, Bukhara (in Uzbekistan), and Iran. The Druze people, located in Israel, Syria, and elsewhere in the Middle East, are also represented.

Singer Geula Gill, a native Israeli, is accompanied by guitar, chalil (recorder), and drums. Her singing may also be heard on two other recordings: "Holiday Songs of Israel" and "Israel Dances", both available on Smithsonian Folkways Recordings. Dov Seltzer, a prominent Israeli composer, conductor, and leader of the Tsabar Group, provides the arrangements.


1. Taam Haman -Bukharian
2. Sa-e-noo [Sa'enu]
3. Bien N'har Prat [Beyn Nehar Prat]-Persian
4. Elohim Eshala The Lord I'll Ask
5. Of Noded - Persian
6. Beboocharah-Bukharian
7. Mipiel [MiPi El]
8. Havdalah-Bukharian
9. Hit-Ra-Goot [Hitragut]-Sephardic
10. Shur DoDi - Yemenite
11. Nitzani Shalom [Nitzaney Shalom] - Sephardic
12. Kich-Lot Yeh-Ni [Kichlot Yeyni]
13. Debka-Druse

(192 kbps, cover art included)

Samstag, 4. Mai 2024

Woody Guthrie - BBC "Children's Hour", London, GB, July 7, 1944

From Guy Logsdon's Woody Guthrie Discography, "Hard Travelin' -- The Life and Legacy of Woody Guthrie", Hanover and London, 1999, p. 196:

"7 JULY 1944. Woody was a Merchant Marine, 'washing dishes on a Liberty Ship,' the troop ship Sea Porpoise which carried troops to the Normandy beach in early July 1944. After the troops were sent ashore, the ship hit a mine but made its way back to England; Woody was routed through London toward Glasgow, Scotland, toward the United States.
On a song manuscript dated 'July 13th, 1944', Woody wrote, 'this train is carrying me outside from London now; on up towards Belfast, and Glasgow.'

While in London, he went to the offices of the BBC where he introduced himself as a member of The Martins and the Coys [produced by Alan Lomax for the BBC in late March 1944, broadcast by the BBC on 26 June 1944] and was given the opportunity to sing on the Children's Hour. After an autobiographical statement, he was recorded singing with his guitar accompaniment two railroad songs."

Tracklist (2 tracks in one part):

01: Wabash Cannonball
02: 900 Miles (this is the minor-key melody that Cisco made popular)
Woody Guthrie - BBC "Children´s Hour", London, July 7, 1944
(Low bitrate, but I think a good quality for 1944.)

Freitag, 3. Mai 2024

Peggy Seeger - Early In The Spring - Peggy Seeger Sings 4 Love Songs (EP)

Peggy Seeger (born June 17, 1935, New York City) is an American folksinger. She is also well known in Britain, where she lived for more than 30 years with her husband, songwriter Ewan MacColl.

Seeger's father was Charles Seeger (1886–1979), an important folklorist and musicologist; her mother was Seeger's second wife, Ruth Crawford Seeger, née Ruth Porter Crawford (1901–1953), a modernist composer who was one of the first women to receive a Guggenheim Fellowship. One of her brothers is Mike Seeger and the well-known Pete Seeger is her half-brother.

Peggy Seeger is one of the great voices of contemporary folk. Not only and archivist but also a sublime performer and educator. Four tracks here on this Topic EP - all about love, so I suggest you just fall in love with her music.


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

(192 kbps, cover art included)

5. Festival des politischen Liedes - Rote Lieder (1975, Eterna, vinyl rip)

The list of international and Eastern and Western German singers and musicians that have played over the years at the "Festival des politischen Liedes" is impressive. The broad mixture of different music from different countries along with the caught atmosphere is represented on the Eterna albums documenting these festivals.

Over the years there are songs of the Sands Family from Northern Ireland who have toured the GDR regularly since 1974, having been an important influence for the development of the Eastern folk revival. Among the interantional guests have been the Chilenian bands Inti Illimani and Quilapayún, Kaláka from Hungary, José Alfonso from Portugal.
Then the German singers and bands - from the East people like Gerhard Gundermann, Oktoberclub, Schicht, Wacholder; from the West Hannes Wader, Dieter Süverkrüp, Franz Joself Degenhardt.

The fifth festival was organised between February, 9th and the 15th, 1975 in East Berlin.


01 - Settimelli - Todos a la Plaza
02 - Rubén Ortiz-Torres - Zamba del Che
03 - The Laggan - The work of the weavers
04 - Acorn & Smith - Old ways - Hurray for the farmers
05 - Gruppe Lingua - Baikal-Amur-Magistrale
06 - Klaus Schneider & Gerd Kern - Kurzer Bericht über Leo D., Maurer
07 - José Martí - Guantanamera
08 - José Afonso - Grândola, Vila Morena
09 - Nicolás Guillén & Gema - Yo te daré la libertad
10 - Xasteria - Eviva libertad
11 - András & Pablo Neruda - Das Meer braust weiter
12 - Campos & Allende - Las últimas palabras
13 - Kumiko Yokoi - Sensha wa ugokenai
14 - Sören Sidevinds Spillemänd - Skipper Klement
15 - Franz Josef Degenhardt - Kommt an den Tisch unter Pflaumenbäumen

5. Festival des politischen Liedes - Rote Lieder (1975, vinyl rip)
(192 kbps, front cover inlcuded)

Donnerstag, 2. Mai 2024

Mutabaruka & Scientist & Others - Dub Poets Dub (Heartbeat, 1983)

Dub poetry gives direction to the conscience through word and purpose. It is the voice of rebel poets like Mutabaruka and Malachi Smith, prophets with potent messages, who elevate as they educate.

As a dub poet, Mutabaruka (born in Jamaica as Allan Hope) inevitably inspires comparisons to Linton Kwesi Johnson, but where LKJ’s poems are often ironic and his delivery knife sharp, Mutabaruka’s work is more direct, thick with dread. Unlike Dennis Bovell’s gorgeous formal arrangements on Johnson’s LPs, Mutabaruka is more spontaneous. His poems dictate the musical direction — the rhythms jerk the band along. Suffice to say both artists derive from the same traditions of Jamaican poetry and music; if you like one, chances are you’ll like the other.

Mutabaruka has also produced other West Indian poets, with two significant compilations ("Word Soun’ ‘ave Power" and "Woman Talk") to his credit. The first also spawned the excellent "Dub Poets Dub", a companion LP of instrumental tracks.


A1 Fork And Hoe
A2 Death Row
A3 Cussin De President
A4 Illusion
A5 Blood Shout Dub
B1 Hide And Fine
B3 Anti-Klan Dub
B4 Land Control

(320 kbps, cover art included)

José Afonso - Baladas E Canções

Jose Afonso is generally regarded as one of Portugal's most influential folk musicians of the 20th century. His songs of protest and political critiques helped fuel revolutionary movements launched by the people of Portugal in the early '70s, and his music remained sharply critical and politically charged as he actively recorded and performed until just before his death in 1987. In a relatively short amount of time, Afonso was quite productive, leaving behind documents of revolution and righteous struggle such as his 1975 album "República" and many others.

Afonso was born Jose Manuel Cerqueira Afonso dos Santos on February 23, 1929, in Aveiro, Portugal. As a judge, his father was appointed to various posts throughout the Portuguese colonies in the first half of the 20th century. Jose spent his early years in countries such as Angola and Mozambique as well as Portugal, living with his parents off and on and spending many years in the city of Coimbra pursuing his education. He began singing in his teen years, and in 1953, released his first recordings in the form of two 78 singles. During this time, Afonso began studying philosophy at the Associação Académica de Coimbra, graduating in 1955. His passion for philosophy and politics would shape the course of his recording career, and he stayed active making music while working as a public school teacher through the late '50s and into the '60s. Smaller-scale releases like his 1956 EP "Fados de Coimbra" grew into more fully realized works with the release of his first studio LP, "Baladas e Canções", in 1964. His old friend Rui Pato wrote the following for the reissue of this album:

"Zeca was the first "different" companion I had. And it would be dificult to imagine the importance someone "different" has in our adolescense. On a sixties Coimbra, very closed, "Salazarous", of nights of king, poker, troupes, serenades begging for always hard and frustrating loves, on a Coimbra with houses of "pure" girls and Repúblicas filled of politic and sexual conspiracies, a man like Zeca was an hero.

His unbalanced look, his crazy things, the permanent character of the situations to which he gave a falsetto voice, his clown mimics were a success! Of what I already took as usual, like the dustbreathing and boring schools (the male and the female!), the University, where were masters, mostly conservative, full of patternalism and provincian behaviour, all that Zeca joked about with such a poison and funny we cried laughing. His destructive opinions, with a corrosive humour, full of joy, along with his constant distractions, were the usual plate at the Brasileira and Mário's cafe afternoons.

We heard records by Mouloudji, Brassens, Brel, etc. In our meetings there was no more fado. We listened to Rocha, Raínho or Abílio singing jazz of French music. Then came his ballads. His rupture with fado. At that time (I'm talking about the beginning of the sixties) Coimbra fado had rigid structure, in poetry and in musical terms. Zeca, that had turned himself a great name of that kind of fado in the previous decade, started to say bad things about it! "Because it was too saddy, because lyrics had nothing to do with our reality, because the guitar accompaniement was too limitative, because the creativity died, etc...".

He only accepted fado when it was an adaptation of the popular musical and poetic roots (Edmundo de Bettencourt was, thus, his refference) ... To him, the rest was to joke in those long talks that happened around him and on the bohemian and intelectual people that stoped at Ferreira Borges street (the "chanel" as it was then known)... And they had fun, provoking shamelessly the "impaled aligators" of the "right side" of the cafe Brasileira, that looked him with bad eyes. He was the first "subversive" in the good and real sense of the word that I met: a cultural agitator! A viola was searched and he showed his new songs that he insisted to listen and criticize. And then we would go to a República or, at that same place, to the first floor of Brasileira, when game tables closed. To us, fado addicted, those songs, with those melodies, were a delicious madness!

Luck and, maybe my playing skills, wanted that he chose me to play with him. And it was that way "Menino de Oiro", the "Vampiros", "Senhor Poeta", "Lago de Breu", "Pombas", "Vila de Olhão", and the songs that are on this record were born. We were there when truly collective creations happened on the first floor of Brasileira cafe. From that moment on it were so many songs, trips and shows to audiences that not always understood what he sang. And the dispair of some crowds, mostly the more unadvised, that waited for a very well cried and shout fado, with guitars and black capes, and to who we "throw" the "vampires", "Ronda dos Paisanos", "Altos Castelos" (High Castles), only with the viola, dressed with dirty trousers and unstraight shirts of bad night sleep, at houeses of a "comrade" that gaves the show for a good dinner and, some few times, a thousand escudos to each. But those shows were the minority, for almost every shows, back in those sixties, were to recreative societies, cultural groups, cinema clubs, well, intelectual organizations that covered all the "change" of that time." (from:


1 Canção Longe
2 Os Bravos
3 Balada Do Aleixo
4 Balada Do Outono
5 Trovas Antigas
6 Na Fonte Está Lianor
7 Minha Mãe
8 Altos Castelos
9 O Pastor De Bensafrim
10 Canto Da Primavera
11 Elegia
12 Ronda Dos Paisanos

José Afonso - Baladas E Canções
(320 kbps, cover art included)

Mittwoch, 1. Mai 2024

VA - Eat The Rich - Featuring The Songs Of Motorhead

Today is the International Workers' Day - EAT THE RICH!

For those who want to read more about the origins of this day:

"In the late nineteenth century, the working class was in constant struggle to gain the 8-hour work day. Working conditions were severe and it was quite common to work 10 to 16 hour days in unsafe conditions. Death and injury were commonplace at many work places and inspired such books as Upton Sinclair's The Jungle and Jack London's The Iron Heel. As early as the 1860's, working people agitated to shorten the workday without a cut in pay, but it wasn't until the late 1880's that organized labor was able to garner enough strength to declare the 8-hour workday. This proclamation was without consent of employers, yet demanded by many of the working class.

At this time, socialism was a new and attractive idea to working people, many of whom were drawn to its ideology of working class control over the production and distribution of all goods and services. Workers had seen first-hand that Capitalism benefited only their bosses, trading workers' lives for profit. Thousands of men, women and children were dying needlessly every year in the workplace, with life expectancy as low as their early twenties in some industries, and little hope but death of rising out of their destitution. Socialism offered another option.

A variety of socialist organizations sprung up throughout the later half of the 19th century, ranging from political parties to choir groups. In fact, many socialists were elected into governmental office by their constituency. But again, many of these socialists were ham-strung by the political process which was so evidently controlled by big business and the bi-partisan political machine. Tens of thousands of socialists broke ranks from their parties, rebuffed the entire political process, which was seen as nothing more than protection for the wealthy, and created anarchist groups throughout the country. Literally thousands of working people embraced the ideals of anarchism, which sought to put an end to all hierarchical structures (including government), emphasized worker controlled industry, and valued direct action over the bureaucratic political process. It is inaccurate to say that labor unions were "taken over" by anarchists and socialists, but rather anarchists and socialist made up the labor unions.

At its national convention in Chicago, held in 1884, the Federation of Organized Trades and Labor Unions (which later became the American Federation of Labor), proclaimed that "eight hours shall constitute a legal day's labor from and after May 1, 1886." The following year, the FOTLU, backed by many Knights of Labor locals, reiterated their proclamation stating that it would be supported by strikes and demonstrations. At first, most radicals and anarchists regarded this demand as too reformist, failing to strike "at the root of the evil." A year before the Haymarket Massacre, Samuel Fielden pointed out in the anarchist newspaper, The Alarm, that "whether a man works eight hours a day or ten hours a day, he is still a slave."

Despite the misgivings of many of the anarchists, an estimated quarter million workers in the Chicago area became directly involved in the crusade to implement the eight hour work day, including the Trades and Labor Assembly, the Socialistic Labor Party and local Knights of Labor. As more and more of the workforce mobilized against the employers, these radicals conceded to fight for the 8-hour day, realizing that "the tide of opinion and determination of most wage-workers was set in this direction." With the involvement of the anarchists, there seemed to be an infusion of greater issues than the 8-hour day. There grew a sense of a greater social revolution beyond the more immediate gains of shortened hours, but a drastic change in the economic structure of capitalism.
In a proclamation printed just before May 1, 1886, one publisher appealed to working people with this plea:
  • Workingmen to Arms!
  • War to the Palace, Peace to the Cottage, and Death to LUXURIOUS IDLENESS.
  • The wage system is the only cause of the World's misery. It is supported by the rich classes, and to destroy it, they must be either made to work or DIE.
  • One pound of DYNAMITE is better than a bushel of BALLOTS!
  • MAKE YOUR DEMAND FOR EIGHT HOURS with weapons in your hands to meet the capitalistic bloodhounds, police, and militia in proper manner.
Not surprisingly the entire city was prepared for mass bloodshed, reminiscent of the railroad strike a decade earlier when police and soldiers gunned down hundreds of striking workers. On May 1, 1886, more than 300,000 workers in 13,000 businesses across the United States walked off their jobs in the first May Day celebration in history. In Chicago, the epicenter for the 8-hour day agitators, 40,000 went out on strike with the anarchists in the forefront of the public's eye. With their fiery speeches and revolutionary ideology of direct action, anarchists and anarchism became respected and embraced by the working people and despised by the capitalists.

The names of many - Albert Parsons, Johann Most, August Spies and Louis Lingg - became household words in Chicago and throughout the country. Parades, bands and tens of thousands of demonstrators in the streets exemplified the workers' strength and unity, yet didn't become violent as the newspapers and authorities predicted.

More and more workers continued to walk off their jobs until the numbers swelled to nearly 100,000, yet peace prevailed. It was not until two days later, May 3, 1886, that violence broke out at the McCormick Reaper Works between police and strikers.

For six months, armed Pinkerton agents and the police harassed and beat locked-out steelworkers as they picketed. Most of these workers belonged to the "anarchist-dominated" Metal Workers' Union. During a speech near the McCormick plant, some two hundred demonstrators joined the steelworkers on the picket line. Beatings with police clubs escalated into rock throwing by the strikers which the police responded to with gunfire. At least two strikers were killed and an unknown number were wounded.

Full of rage, a public meeting was called by some of the anarchists for the following day in Haymarket Square to discuss the police brutality. Due to bad weather and short notice, only about 3000 of the tens of thousands of people showed up from the day before. This affair included families with children and the mayor of Chicago himself. Later, the mayor would testify that the crowd remained calm and orderly and that speaker August Spies made "no suggestion... for immediate use of force or violence toward any person..."

As the speech wound down, two detectives rushed to the main body of police, reporting that a speaker was using inflammatory language, inciting the police to march on the speakers' wagon. As the police began to disperse the already thinning crowd, a bomb was thrown into the police ranks. No one knows who threw the bomb, but speculations varied from blaming any one of the anarchists, to an agent provocateur working for the police.

Enraged, the police fired into the crowd. The exact number of civilians killed or wounded was never determined, but an estimated seven or eight civilians died, and up to forty were wounded. One officer died immediately and another seven died in the following weeks. Later evidence indicated that only one of the police deaths could be attributed to the bomb and that all the other police fatalities had or could have had been due to their own indiscriminate gun fire. Aside from the bomb thrower, who was never identified, it was the police, not the anarchists, who perpetrated the violence.

Eight anarchists - Albert Parsons, August Spies, Samuel Fielden, Oscar Neebe, Michael Schwab, George Engel, Adolph Fischer and Louis Lingg - were arrested and convicted of murder, though only three were even present at Haymarket and those three were in full view of all when the bombing occurred. The jury in their trial was comprised of business leaders in a gross mockery of justice similar to the Sacco-Vanzetti case thirty years later, or the trials of AIM and Black Panther members in the seventies. The entire world watched as these eight organizers were convicted, not for their actions, of which all of were innocent, but for their political and social beliefs. On November 11, 1887, after many failed appeals, Parsons, Spies, Engel and Fisher were hung to death. Louis Lingg, in his final protest of the state's claim of authority and punishment, took his own life the night before with an explosive device in his mouth.

The remaining organizers, Fielden, Neebe and Schwab, were pardoned six years later by Governor Altgeld, who publicly lambasted the judge on a travesty of justice. Immediately after the Haymarket Massacre, big business and government conducted what some say was the very first "Red Scare" in this country. Spun by mainstream media, anarchism became synonymous with bomb throwing and socialism became un-American. The common image of an anarchist became a bearded, eastern European immigrant with a bomb in one hand and a dagger in the other.

Today we see tens of thousands of activists embracing the ideals of the Haymarket Martyrs and those who established May Day as an International Workers' Day. Ironically, May Day is an official holiday in 66 countries and unofficially celebrated in many more, but rarely is it recognized in this country where it began.

Over one hundred years have passed since that first May Day. In the earlier part of the 20th century, the US government tried to curb the celebration and further wipe it from the public's memory by establishing "Law and Order Day" on May 1. We can draw many parallels between the events of 1886 and today. We still have locked out steelworkers struggling for justice. We still have voices of freedom behind bars as in the cases of Mumia Abu Jamal and Leonard Peltier. We still had the ability to mobilize tens of thousands of people in the streets of a major city to proclaim "THIS IS WHAT DEMOCRACY LOOKS LIKE!" at the WTO and FTAA demonstrations.

Words stronger than any I could write are engraved on the Haymarket Monument:
Truly, history has a lot to teach us about the roots of our radicalism. When we remember that people were shot so we could have the 8-hour day; if we acknowledge that homes with families in them were burned to the ground so we could have Saturday as part of the weekend; when we recall 8-year old victims of industrial accidents who marched in the streets protesting working conditions and child labor only to be beat down by the police and company thugs, we understand that our current condition cannot be taken for granted - people fought for the rights and dignities we enjoy today, and there is still a lot more to fight for. The sacrifices of so many people can not be forgotten or we'll end up fighting for those same gains all over again. This is why we celebrate May Day."



MotörheadEat The Rich3:40
Simon BrintTerrorists1:29
MotörheadBuilt For Speed4:50
Danny EcclestonNosher In The Bar1:00
MotörheadNothing Up My Sleeve3:10
Simon BrintArriba Salsa2:14
MotörheadDoctor Rock3:36
MotörheadOn The Road (Live)4:55
LannahPistol In My Pockets5:37
Simon BrintCar Approach1:00
Danny EcclestonEnd Titles Theme2:14

VA - Eat The Rich - Featuring The Songs Of Motorhead
(256 kbps, cover art included)

Sonntag, 28. April 2024

The Slits - The Peel Sessions

Upgrading an earlier disc that featured the band's first two John Peel sessions only, this ten-track compilation rounds up all of the Slits' BBC recordings, with the most crucial of their three sessions, the previously unreleased October 1981 airing, added in to remind listeners that the group's early reputation as a slipshod blur of punk-oid energy was only the first of the faces they turned to the world. In terms of classic punk energy, sessions dating from September 1977 and May 1978 are unbeatable, the sound of the unsigned, untutored, and -- in the eyes of many people -- unlistenable Slits crashing defiantly through distinctly formative renditions of songs that would not reach fruition for another year, and the completion of their debut album. "Vindictive" alone was not realigned for that disc; of the other six songs, all underwent sufficient reinvention to create starry-eyed converts of even the most disdainful of early witnesses. Famously, at the band's first BBC session, an anguished technician crept out to retune their instruments while the quartet was busy elsewhere. It doesn't affect their performance.

By the time the Slits returned to the BBC in 1981, their original vision had become totally skewed -- along with much of their early optimism. The Return of the Giant Slits, their long-awaited second album, had arrived to absolute incomprehension, and the band's future was already in doubt. The music they were playing, however, was the future. No longer the adrenalined D.I.Y. disaster that had clattered so alluringly across the early sessions, nor the dubbed-out hybrid of Cut, the Slits were now embracing a tribal thud that, while wholly anticipating the later fashion for world music, was so far out on a limb that even Peter Gabriel and Kate Bush had yet to clamber out to join them.

Lengthy throbs through "In the Beginning There Was Rhythm," the so-haunting mantra "Earthbeat," and (the aptly titled) "Difficult Fun" are readily superior to their vinyl counterparts, tasting much the same as the band's period live performances, but imbibed, too, with a questing tenderness that reveals just what a fabulous vocalist Ari Up was; her post-Slits recordings with the New Age Steppers caught many people by surprise, but the Peel rendition of "Earthbeat," in particular, proves there was no need for that.

Sometime during the mid-'90s, John Peel rated the first two Slits broadcasts among his all-time favorite sessions -- one reason why many first-time purchasers chose to overlook the repackaged Peel Sessions altogether. In terms of illustrating all that the Slits were truly capable of, however, the third session is even better than either.


1 Love Und Romance 2:28
2 Vindictive 2:17
3 New Town 3:31
4 Shoplifting 1:31
5 So Tough 2:19
6 Instant Hit 2:32
7 FM 3:32
8 Difficult Fun 5:42
9 In The Beginning 11:03
10 Earthbeat / Wedding Song 8:31

(320 kbps, cover art included)

Zehnkampf – Festival des politischen Liedes 1970–1980

This year there will be no "Festival Musik und Politik", so let´s go back in time...

The Festival of Political Song took place from 1970 to 1990 in East Berlin, held annually in February (except during the Tenth World Festival in the summer of 1973). It was one of the biggest music events in the DDR (GDR) and an "international institution" (Mikis Theodorakis, 1983).
"Zehnkampf – Festival Des Politischen Liedes 1970–1980" ("Decathlon - Festival Of Political Song 1970-1980") is a compilation of live tracks, recorded between 1970 and 1980.

The first page contains primarily Spanish-speaking artists -  Inti-Illimani and Quilapayún are playing two important hymns of the South American socialists (Venceremos and El Pueblo Unido) . Side two starts with an excerpt from Mikis Theodorakis ' "Canto General", based on Pablo Neruda's poems, following are tracks from Gruppe Schicht and Jahrgang ´49 from the GDR.

In contrast, side three and four are dedicated to (West) German, European, African and Vietnamese artists such as is Franz Josef Degenhart , Floh de Cologne, Sands Family, Bots, Miriam Makeba and Singegruppe Hanoi. Finally, the double album closes with the song "Wir sind überall" ("We Are Everywhere") by Oktoberklub - a hymn and a manifesto of the artists and the festival.


Side One
Venceremos - Inti-illimani - 1973
A desalambrar - Daniel Viglietti - 1974
Marinero der Rückkehr - Isabel y Ángel Parra - 1980
Fusil contra fusil - Silvio Rodríguez - 1972
La consigna - Carlos Mejía Godoy - 1979
Canción de la unidad latinoamericana - Manguaré - 1977
Poder popular - Santocas - 1976
El pueblo unido - Quilapayún - 1978

Side Two
Algunas bestias - Rundfunkchor Berlin - 1980
L'apprendista - Macchina Macheronica - 1979
Regine - Gruppe Schicht - 1979
Baikal-Amur-Magistrale - Gruppe Lingua - 1975
Swiecie Nasz (unsere Welt) - Gruooe ANAWA - 1972
Fahnenlied - Jahrgang '49 - 1976

Side Three
Ich kenne ein Land - Floh de Cologne - 1979
Ballade von Hans Dickhoff - Dieter Süverkrüp - 1972
Kenen joukoissa seisot - Agit-Prop - 1972
Mexico '68 - Francesca Soleville - 1971
Der lange Weg - Bots - 1977
Kommt an den Tisch unter Pflaumenbäumen - Franz Jozef Degerhardt - 1977
The Winds are Singing Freedom The Sands Family - 1974

Side Four
Grândola, villa morena - José Afonso - 1975
Ich grüsse die Revolutionäre - Gruppe der PLO - 1977
Afrika - Miriam Makeba - 1977
Revolutionäres Heimatland oder Tod - Gruppe Rev. Lied - 1979
The strangest dream - Perry Friedman - 1980
Vietnam Ho Chi Minh - Singegruppe Hanoi - 1977
Mein Erde blühe - Larissa Kandalowa - 1980
Wir sind überall - Oktoberklub - 1973

Zehnkampf – Festival des politischen Liedes 1970–1980, LP 1
Zehnkampf – Festival des politischen Liedes 1970–1980, LP 2
(160 kbps, cover art included)

Samstag, 27. April 2024

VA - Yikhes - Early Klezmer Recordings 1911-1939 (Trikont)

"Yikhes. Frühe Klezmer-Aufnahmen von 1907-1939 aus der Sammlung von Prof. Martin Schwartz", was published in German in 1991 and was awarded the German Record Critics' Prize in 1992. The album has been made from old 78 rpm records, most of which were recorded acoustically (before the invention of dynamic microphones).

The first of three volumes in Trikont's klezmer series puts to shame the ones issued by Yazoo and Music & Arts. These early recordings of Naftule Brandwein, Dave Tarras, Josef Solinski, Leon Ahl, Abe Schwartz, Joseph Moskowitz, and many others on this 18-track retrospective reveal the deep and ancient roots of the Lineage Stammbaum. Culled from the personal collection of klezmer historian Dr. Martin Schwartz, the music presented here traces the movement of Jewish music around Eastern Europe from 1911 to the Shoah, Stalinism, and dispersion of Jews to other parts of the world where political forces and cultural assimilation all but destroyed this great music until the 1970s when it was recorded again. 

What took place before this time is part only of cultural memory; what happened between 1939 and the '70s is horrific. The Klezmorim were musicians. Klez, translated, means musician. Mer means song, and this we have klezmer music as the musician's song. The recordings here bare out why the definition is important; these are rigorous instrumental workouts, full of improvisation and tempo and mode changes, they are dizzying. What is also so notable about the first volume is how the reputations of Naftule Brandwein and Dave Tarras prove, even in these early pieces, not to be the stuff of myth but even more substantial than the accounts would have us believe. One listen to "Rumenishe Doina" by Brandwein, with it's stop and go rhythm and searing clarinet solo, is enough, but then Tarras' "A Rumenisher Nighn" is a ride through the mountains of Romania on a fast horse as his clarinet triple times the violins keeping rhythm. 

All the tracks here are notable, the previous two standouts, along with Josef Solinski's "Romanian Fantasy, Pt. 4," where the plucked violins begin to create a rhythm and another a melody, seemingly out of the air. Minimal parsed phrases between the two violins gradually elongate into a modal rondo where they drone against each other in now long, mournful lines before evolving into the fancy-free gypsy fantasy it becomes and reaches dizzying heights of improvisational fury. 

Make no mistake, some of these recordings are a bit dodgy due to their age, but most of them are well preserved. The musicianship and selection of the material, however, are first-rate by any standard, assembling this the best collection of early klezmer in the world.


1 Naftule Brandwein - Rumänische doina
2 Yenkovitz & Goldberg - Yoshke furt avek
3 Naftule Brandwein - Vi tsvey iz Naftule der driter
4 Josef Solinski - Rumänische Fantasien
5 Naftule Brandwein - Naftule shpilt far dem rebn
6 Max Leibowitz - Yiddish Hora - a heymish freylekhs
7 State Ensemble of Jewish Folk Musicians - Jüdischer Tanz
8 Belf's Rumanian Orchestra - Yikhes
9 Naftule Brandwein - Heyser bulgar
10 Dave Tarras - A rumenisher nign
11 Leon Ahl - Doina
12 Joseph Moskowitz - Buhusher khusid
13 Mishka Ziganoff - Galitsyaner khusid
14 Abe Schwartz - Nationale Hora - Teil I
15 Harry Raderman’s & Beckerman’s Orchestra - An europeyishe kolomeyke
16 Naftule Brandwein - Der ziser bulgar
17 Belf's Rumanian Orchestra - Simkhas toyre
18 Naftule Brandwein - Naftule, shpil es nokh amol

VA - Yikhes - Early Klezmer Recordings 1911-1939 (Trikont)
(320 kbps, cover art included)

Track 18 - New York, April 1925

Aparcoa - Chile (1975, Amiga, vinyl rip)

Aparcoa was a Chilean folk band founded in 1966.
Members were Julio Alegría, Felipe Canales, Miguel Córdova, Jaime Miqueles, Leonardo Parma, Rodrigo Zorrilla, Hugo Pirovic, Marcelo Fortín, Juan Carvajal, Juan Palomo.

The album "Chile" with political songs was released in 1975 on Amiga records.


01 - Chile
02 - Grandola, Vila Morena
03 - Los Jilgueros
04 - Alla Lejos Y Hace Tiempo
05 - El Banderon Americano
06 - Cuecas
07 - Los Machetes
08 - Mis Llamitas
09 - Plegaria Del Labrador
10 - Guitarra Enlunarada
11 - Las Ultimas Palabras

Aparcoa - Chile (Amiga, 1975)
(32o kbps, cover art included)

Donnerstag, 25. April 2024

Pete Seeger - Headlines and Footnotes: A Collection Of Topical Songs

For nearly 60 years Pete Seeger, with his banjo and 12-string guitar, has made music which inspires people to improve their lives and world. Selections on this anthology, culled from the hundreds Seeger recorded for Folkways Records between 1955 and 1999, include concert and studio recordings about prominent events and themes of the twentieth century: the Spanish Civil War, union organizing, and the civil rights and antiwar movements.

Like the prior compilation "If I Had a Hammer", this focuses a little loosely on topical songs, concentrating on (but not limited to) ones that deal with specific events. At a glance this might seem like a less essential anthology, since If I Had a Hammer contained major songs identified with Seeger like "If I Had a Hammer," "Turn, Turn, Turn," "We Shall Overcome," and "Where Have All the Flowers Gone." It's actually on the same musical and lyrical level, however, and again has versions of some of the most famous tunes written or popularized by Seeger: "Waist Deep in the Big Muddy," "Wimoweh," "Guantanamera," "Wasn't that a Time," Malvina Reynolds' "Little Boxes," "I Come and Stand at Every Door," and "The Bells of Rhymney" (the last two of which were covered by the Byrds in the mid-'60s). About half of these are taken from Folkways Recordings, but about half are previously unreleased live versions or studio outtakes, so from a collector's point of view this disc is pretty interesting as well. Of course with a Seeger recording, the educational and inspirational values are about as important as the musical ones, and the lesser-known songs usually also have something to make one think, whether it's a narrative of the Titanic disaster or the anti-racist "Listen Mr. Bilbo." Almost all performances were recorded in the '50s and '60s; three songs recorded between 1994 and 1999 find Seeger's voice fading and shaky, though his heart's intact.


1 Peg and Awl
2 The Titanic
3 Sinking of the Reuben James
4 Listen Mr. Bilbo
5 Hold the Line
6 Passing Through
7 Coal Creek March/Payday at Coal Creek/Roll Down the Line
8 I Come and Stand at Every Door
9 Times A-Getting Hard
10 Little Boxes
11 From Way Up Here
12 The Battle of Maxton Field
13 My Get Up and Go
14 The Bells of Rhymney
15 Waist Deep in the Big Muddy
16 Guantanamera
17 There Once Was a Woman Who Swallowed a Lie
18 Wasn't That a Time
19 Viva la Quince Brigada
20 Wimoweh
21 English Is Cuh-Ray-Zee
22 Odds on Favorite
23 A Little of This and That

Pete Seeger - Headlines and Footnotes: A Collection Of Topical Songs
(320 kbps, cover art included)