Sonntag, 23. Januar 2022

Los Fabulosos Cadillacs - Yo te Avise!!! (1987)

Los Fabulosos Cadillacs is an Argentine ska band from Buenos Aires. Formed in 1985, they released their first album, Bares y Fondas (Bars and Boardinghouses), in 1986 and have since released fourteen more albums. They are one of the most influential and most-referenced ska bands of the Latin ska world.

The band's sound is a mix of ska, salsa, mambo, reggae, rock, funk and samba. It is also noted for its irreverent and humorous lyrics which often contain political undertones.

Yo Te Avisé! (Spanish for "I told you so") was their second studio album and was released in 1987. Having built on their experience from the first album, the band also benefited from the assistance of Andres Calamaro in production. On this album, Daniel Lozano joined the band as a guest player on the trumpet, eventually becoming a full-time member.

The album was a step forward for the band; it sold more than 250 000 copies, earning the band a platinum certification, catapulting them to a moderate fame that allowed them to expand their tour schedule to countries outside of Argentina. Structurally, the album was an evolutionary shift for the band, with a focus on more elaborate songs and the incorporation of new genres in their sonic vocabulary, including reggae and dub, seen in the songs "Muy, Muy Temprano" and "El Genio del Dub", respectively.

The singles were "Mi Novia se Cayo en un Pozo Ciego", "Yo te Avise", the permanent concert opener "Cadillacs" and "Yo No Me Sentaria en Tu Mesa", which is still played in soccer matches in Argentina.

"El Genio del Dub" ("The Genie of Dub")  5:21
"Botellas Rotas" ("Broken Bottles") 2:35
"Mi Novia Se Cayó En Un Pozo Ciego" ("My Girlfriend Fell In A Cesspool") 3:52
"Una Ciudad Llamada Vacío" ("A City Called Emptiness")  4:07
"Cadillacs" 2:01
"Yo No Me Sentaría En Tu Mesa" ("I Wouldn't Sit At Your Table") 2:58
"Yo Te Avisé" ("I Told You So") 3:07
"Muy, Muy Temprano" ("Very, Very Early")  5:50
"Estoy Harto de Verte Con Otros" ("I'm Tired of Seeing You With Others") 4:53
"Aún los Escuchamos Cantar" ("We Can Still Hear Them Sing")  4:37

(320 kbps, cover art included)

Samstag, 22. Januar 2022

Bob Dylan – Bonnie Beecher's Apartment, December 22 1961

This bootleg was recorded December 22, 1961 at Bonnie Beecher's Apartment in Dinkytown, Minnesota.Dinkytown is a small "student-centric" shopping and entertainment area just off the campus of the University of Minnesota.

Bonnie Beecher's Apartment was called 'The Minnesota Hotel' because it was a revolving door for the 'musicians types'.

"…the most famous of Dylan’s many “home” tapes, the so-called “Minneapolis Hotel Tape.” Recorded by Tony Glover at Bonnie Beecher’s apartment in Minneapolis, whimsically dubbed The Beecher Hotel by Dylan (hence the title of the tape), large portions of this tape appeared on the first Dylan bootleg album, the legendary Great White Wonder."
~Clinton Heylin (Bob Dylan: A Life in Stolen Moments Day by Day 1941-1995)

"The December tape has been in wide circulation for many years. It was actually the first bootleg ever produced. It was released on a 2 LP set in 1969, and went by the title ‘Great White Wonder’ It has been available under various titles a countless number of times in the decades that followed. The quality has generally been very good, and the performance tells the story of a fresh faced boy just out of high school, who had the energy and natural ‘world-traveled weariness’ quality that would forever change the world. It is absolutely required material for even the smallest collection."


A1 Candy Man
A2 Baby Please Don't Go
A3 Hard Times In New York Town
A4 Stealin'
A5 Poor Lazarus
A6 I Ain't Got No Home
B1 It's Hard To Be Blind
B2 Dink's SOng
B3 Man Of Constant Sorrow
B4 Naomi Wise
B5 Wade In The Water
B6 I Was Young When I Left Home
C1 In The Evening
C2 Let Me Follow You Down
C3 Sally Gal
C4 Gospel Plow
C5 Long John
C6 Cocaine
C7 VD Blues
C8 VD Waltz
D1 VD City
D2 VD Gunners Blues
D3 See That My Grave Is Kept Clean
D4 Ramblin' Round
D5 Black Cross

(320 kbps, cover art included)

Freitag, 21. Januar 2022

Belina & Jens Brenke - Wenn die Jidden lachen (1960)

Jens Brenke (* 1935; † June 16, 1988 in Hanover ) was a German cabaret artist. Brenke was the tenant of the Hanoverian bar Jenseits , in which he performed his own literary-musical cabaret programs from 1960 to 1980 using texts by well-known authors that were published on records. He had joint programs with Belina and The Three Travelers . Fritz Graßhoff once called Brenke “probably the best entertainer in Germany”.

Belina (born 1925 near Treblinka , Poland ; died December 12, 2006 in Hamburg ; actually Lea-Nina Rodzynek ) was a Jewish folk singer. She was fluent in six languages ​​and sang her songs, chansons and international folklore in original lyrics in 20 different languages. She was born in a village near Treblinka. Her musical talent, which was encouraged by her parents, showed up early. The folk and sacred songs in the family were the first impulses for her later artistic work. As a young woman, Lea-Nina fled to Germany, where she found work in a factory with forged papers and under a false name. When the swindle was discovered, she was arrested and taken to a concentration camp, from which she was able to escape. She managed to stay hidden until the end of National Socialism. The first station in freedom was Paris. There she tinkered as a singer through the many cellar bars. She was called the Black Angel of Montparnasse .

In 1954 the artist went to Switzerland. There she worked as a beautician and had her voice trained. She has had small television and radio appearances and has toured the province. In 1954 she got an engagement at the Yiddish Theater in Paris, and her first records appeared.

The album "Wenn die Jidden lachen" was recorded at the "Jenseits" in Hannover and features Jewish jokes and songs.

From the linernots:

"The Jewish joke has not only a certain spice to offer but also all the healthy crispness of unleavened bread, all the substance and transparent depth of a satisfying clear soup. As well as a punch-line, it shows intellect and an awareness of tradition. You will laugh once, then after further thought again, this time for deeper reasons; or you may just grin, or greet yet another story with surprised silence. The Jewish joke is rarely satisfied with a mere belly-laugh; it sets the grey matter of the brain working too, not to forget the heart.

Jewish songs have just the same measure of unmistakable individuality. They can be enjoyed for themselves, but rarely are they lacking in deeper implications. As well as a surface sparkle, they have depth; their gaiety is often in a distinctly minor key. Text and melody seem fundamentally related, and having heard the first bars, it is difficult not to listen with complete absorption.

There is little point in believe that when Jewish or some related word occurs, we should sit and twiddle our thumbs in embarassed silence. Why should laughter be out of order? The Jewish songs and jokes featured on this record are of the kind where a good laugh also provokes a little thought: perhaps startling thoughts in some cases, but in all of them, as refreshing and worth-while as the proceedings recorded are smooth and accomplished.

This recording is not intended as a carefully rehearsed demonstration of fraternal feeling; no flags, however praiseworthy, are being waved. This is just a brief visit to the Jenseits Bar in Hannover, jenseits being best translated perhaps as hereafter. Everyone was invited, Jews, gentiles and others! And they all drank, ate, danced... and laughed.

The host was Jens Brenke, the blond, crew-cut owener of the Jenseits. He was joined at the microphone by Belina, the raven-haired singer form Poland. For recording managers and the like there was no need!

The whole evening was conducted with a strange feeling of give and take. The doors had been thrown open, a mixed crowd hat gathered, but anyone who was prepared to pay for his laughter with a modest measure of mental activity must have felt quite at home. This long player retains for posterity what was said and sung when the herafter admitted mortal beings to its circle, a circle which may well have been expaded as a result. And what, we may well ask, is wrong that? Shalom!"


A1 Bei mir biste schön (Performer: Belina, Jens Brenke)
A2 Jiddische Tochter (Performer; Belina)
A3 Ja wie nennt man a bissele Massel (Performer: Jens Brenke)
B1 Die Schwieger (Performer: Jens Brenke)
B2 Havah Nagilah (Organ: W. Keller)
B3 Tumbalalaika (Performer: Belina)

Between the songs, Jens Brenke performed Jewish jokes.

(320 kbps, cover art included)

Donnerstag, 20. Januar 2022

VA - Chants Populaires Yiddish - Popular Yiddish Songs (1996)

Today is the 80th anniversary of the Wannsee Conference. On January 20, 1942, senior Nazi officials met at a Berlin villa to discuss the "final solution" to "the Jewish question." Deportations to ghettos and concentration camps had already begun, but the Wannsee Conference coordinated plans for the systematic murder of European Jews.

The Yiddish language, which probably began to develop around the tenth century A.D. in south Germany, was the main spoken language and language of oral creation of the Ashkenazi Jews of both Western and Eastern Europe, whereas in the latter region it was influenced by Slavic languages. Both the language and the folksongs, like many other elements of Ashkenazi culture, are made up of a combination of components from different cultures, geographical regions, and periods: the vocabulary, syntax, morphology, and prosody of Yiddish combine German and Hebrew components, and in Eastern Europe also elements of Slavic languages, as well as words of other surrounding languages. In a similar manner, the folksongs of the Ashkenazi Jews bare resemblance to Western European folksongs, Slavic songs from different periods, as well as Ashkenazi liturgical chants.

This combination of diverse and far ranging components is one of the prominent features of the Yiddish folksong. Throughout the ages it has been part of both rural and urban folklore and has developed oral traditions alongside an attachment to the written word. Its performance contexts include functional or gender specific performances (wedding songs, playsongs, lullabies, religious para-liturgical songs), as well as performances that are neither functional (lyric and narrative songs) nor gender specific (dance songs).

This compilation of popular Yiddish songs was released on "Musique Du Monde" in 1996.


Rumania Rumania (3:05)
Mazel Tov (3:09)
Far neela nolkh neela (2:45)
Al-d-dai-da (2:27)
Odessa mama (2:36)
Yach tsire bim (2:42)
Oib mir Bessarabia (3:10)
Skrip, klezmer, skrip (3:13)
Tsen kopikes (2:25)
Az men farzucht (2:58)
Dos oibershte fun shtoisel (2:31)
Des helige schneider (3:12)
Passach shine sha (3:30)
Meshuigner moshiakh (5:08)
Khazan a shiker (6:21)
My yiddishe momme (5:42)
Eli Eli (4:10)
Den Rebens Nigun (3:07)
Tanst tanst yidelekh (3:02)
Baym rebens sude (3:18)
(320 kbps, cover art included)

Mittwoch, 19. Januar 2022

Carambolage - Eilzustellung Exprèss (1982, David Volksmund Produktion, vinyl rip)

Carambolage never set out to be a "girl band" but they were one of the first German new wave bands whose members were all female. The punk alliance comprising Britta Neander, Elfie-Esther Steitz and Angie Olbrich emerged organically from the environs of Ton Steine Scherben, friends united by a common interest in musical experimentation. Britta's passion for the drums ignited in 1974 in Fresenhagen, North Frisia, where she played percussion for Ton Steine Scherben. R.P.S. Lanrue's little sister Elfie-Esther was an obvious candidate. Angie, a child from the streets who joined the commune in 1972, completed the line-up. Carambolage surfed on their very own "North Frisian Wave" -- an epithet dreamed up for their distinctive sound. Shortly before her death in 2004, Britta was interviewed by music journalist Tine Plesch and described how the "girls gang" gave them the freedom to experiment and come up with "these really funny, filthy lyrics". There is a childish, subversive charm to the songs, emboldened by the realization that "we could fool around as much as we wanted." Their sound was not the only aspect of the group which resulted from experimental tinkering. Keen to have their own space, away from a male-dominated environment, they used cardboard and carpets to build their own practice room inside an old grain silo.

On their sophomore album "Eilzustellung-Exprès" ("express delivery"), Carambolage's ranks were bolstered by the arrival of Janett Lemmen, who had deputized for the pregnant Angie on a recent tour. The record was produced in Fresenhagen by R.P.S. Lanrue and released on the Scherben label David Volksmund Produktion. Like a whirlwind girl gang on the road, the album revs up with dynamic guitar riffs, indulging their "turned on to the max" sexual desires, before the mood shifts to the deeper realms of life on the Eilzustellung-Exprès: melancholy musings on dismaying love affairs, a song about contradictory feelings experienced in childbirth, culminating in a declaration of love for Angie's new daughter Lisa. The baby was always on board when Carambolage went on tour. The idea of her father Kai Sichtermann (Scherben bass player) taking her on tour would have been too much even for the left-leaning alternative Ton Steine Scherben. Making a mockery of male privilege, Carambolage delivered an album orbiting punk and pop in a classic line-up: Britta on drums, Elfie's snotty vocals and effects-drenched guitar and keyboards, Angie on bass. The trio is augmented by Janett's screeching saxophone on the instrumental track "Maschine" and a squeaky baby sample (Lisa?).

Both Carambolage albums will be reissued this year on the great Tapete label. 

01 Vollgeturnt
02 Eingeschneit
03 Widerlich
04 Was mir widerfuhr
05 Gehirnwäsche
06 Warum
07 Maschine
08 Die Zeit
09 Psychoeintopf
10 Was ist das
11 Take Me
12 Lisa
13 I Remember You

Carambolage - Eilzustellung Exprèss (1982, David Volksmund Produktion, vinyl rip)
(320 kbps, cover art included)

Dienstag, 18. Januar 2022

Walter Mossmann - Flugblattlieder (Trikont, 1975)

Walter Mossmann was a German singer / songwiter and political activist. He was a veteran of the 1960s Burg Waldeck Festivals.

Under the influence of the student movement, he had become a supporter of the anti-authoritarian wing of the Socialist German Students Association. In the 1970s, after a long artistic break, he performed in the anti-nuclear movement as a singer of Flugblattlieder and supporter of a socialism of "the Third Way". As a vehement opponent of the DKP, he articulated a widespread feeling in the folk and Liedermacher scene that the Party (DKP) was dogmatic, conservative and incompatible with the "New Left" with which many of us identified.

He represented the typo of intellectual political singer who, from a decidedly anti-capitalist position, used songs to politically enlighten his audience. He held an undogmatic left-wing viewpoint and found himself in constant battles with other left-wing groups in the anti-nuclear movement, who, like the K-Gruppen or the DKP, tried to use the protests for their own ends. 

He called his songs Flugblattlieder to emphasize their everyday use value (Gebrauchswert) as opposed to being a performance art form for public consumption. 

The album "Flugblattlieder" was recorded at Tonstudio Zuckerfabrik, Stuttgart. "Westendsong" is a translation of a song written by Phil Ochs. 

In 1974  an alliance of anti-nuclear action groups from South Baden (Germany) and Alsace (France) organized the occupation of the planned construction site for the AKW Whyl.  Mossmann´s song "In Mueders Stübele" was his contribution to the site occupation - the song became a kind of anthem for the Whyl anti-nuclear movement. It was originally a traditional German folk song known to large sections of the population in this part of Germany and France. Mossmann kept the melody, structure and first verse of the song, but his new text gave it an anti-capitalist slant relating to the situation in Whyl. The new message was that there was a war, this time not between the French and Germans, but between the farmers and the rich men of the nuclear industry. By using an everyday, naive language, Mossmann connected with the everyday experiences of his audience in such a way that his analysis of the conflict and the concequences appeared plausible. 

In the "Offenburger Erklärung" of 1976 the Baden-Württemberg regional government agreed on a moratorium with the nuclear opponents and finally renounced their plans to build the Whyl atomic plant in 1977 after a negative court decision. At the same time plans for a nuclear plant in Kaiseraugust in Switzerland and a chemical plant in Marckolsheim in France were cancelled. 


A1 Der KKW Nein Rag
A2 Mueders Stübele
A3 Bruckelied
A4 Ballade von der salzigen Monika ...
A5 Lied von der Gedankenfreiheit
A6 Lied vom grünen Gras

B1 Lied vom Betriebsfrieden
B2 Ballade vom Hexenhammer
B3 Sieben Fragen
B4 Westendsong

(320 kbps, cover art included)

Montag, 17. Januar 2022

Gal Costa - Legal (1970)

On "Legal", the follow-up to her extremely bombastic self-titled release, Gal Costa retains only some of the fire and experimentation, instead opting to return to more accessible and subdued arrangements. This was likely a wise decision on Costa's part, even though the reckless abandon she displayed on "Gal Costa" was astonishing, for her to recklessly continue flailing down that path would've certainly led to her burning out or completely alienating the public she was trying to inform. 

Furthermore, "Legal" is a much more diverse record than her previous records, displaying influences from American blues-rock, R&B, and soul with winding, organ-driven rock closer to the sound Milton Nascimento would later latch onto and nurture with his "Clube da Esquina" albums. This diversity is welcome and served as a setup for Costa to further explore complex arrangements on her later records.

Costa's lovely voice flourishes on the jazzy churning of "Língua Do P," the emotional groove of "Mini-Misterio" as well as the gorgeous version of Caetano Veloso's "London, London" -- certainly included as a reminder to the Brazilian public of her comrades (Veloso and Gilberto Gil) who were still exiled for upending politics through their radical music. The only questionable track on the album is "Love, Try, and Die," which has a fun, bouncy Dixieland style but is ruined by the unnecessary and terrible Louis Armstrong impersonation contributed by one of the backing vocalists. In spite of this small blunder, "Legal" appears near the beginning of Costa's most consistent period and should be sought out by those interested in the revolutionary late-'60s/early-'70s period of Brazilian rock.


A1 Eu Sou Terrivel 2:30
A2 Lingua Do P 3:40
A3 Love, Try And Die 2:23
A4 Mini-Misterio 4:16
A5 Acaua 2:49
B1 Hotel Das Estrelas 4:22
B2 Deixa Sangrar 2:53
B3 The Archaic Lonely Star Blues 3:03
B4 London, London 4:00
B5 Falsa Baiana 2:11

Gal Costa - Legal (1970)
(320 kbps, cover art included)

Sonntag, 16. Januar 2022

Maria Farantouri - Lieder der Welt (1979)

A well-known Greek vocalist and political activist, Maria Farantouri is considered one of the foremost interpreters of Greek music, especially the work of composer Mikis Theodorakis. A contralto singer with a deep, resonant voice, Farantouri is sometimes referred to as the Joan Baez of Greece, and over the years has moved from traditional and folk styles to more jazz, classical, and avant-garde works.

Born in Athens in 1947, Farantouri first began singing in her youth as a member of the progressive choir of the Society of Greek Music, which worked to support new music based on Greek traditions. By her teens she caught the ear of Theodorakis, who invited her to join his ensemble. This led to a time of great creative and social awakening for Farantouri, who along with Theodorakis' culturally and politically left-leaning work, helped popularize the writing of many important Greek poets.

From 1967 to 1974, Farantouri was forced into exile after a right-wing military junta staged a coup in Greece. During this time, she and Theodorakis made several protest recordings in Europe and expanded their work to included the writing of Bertolt Brecht and Spanish composer Carlos Puebla, as well as many Greek composers including Eleni Karaindrou and Mikalis Bourboulis. 

Also during this period she released the anti-fascist recording "Mauthausen Cycle," a work by Theodorakis featuring the writing of poet Iakovos Kambanellis. Often referred to as a hymn to human rights, the cycle would become one of Farantouri's signature recordings. After returning to Greece in 1974, Farantouri resumed her successful recording career and began to expand her sound in a variety of directions, including jazz.


A1 Bella Ciao 2:41
A2 Andra Mou Pai 3:23
A3 La Peregrinacion 2:18
A4 Sometimes I Feel Like A Motherless Child 4:34
A5 El Paso Del Ebro 3:10
B1 Gracias A La Vida 3:22
B2 La Plegaria A Un Labrador 3:16
B3 Commandante Che Guevara 3:59
B4 Joe Hill 2:29
B5 Te Recuerdo, Amanda 2:25
B6 Bella Ciao (Instrumental) 2:14

(320 kbps, cover art included)

Samstag, 15. Januar 2022

Die Jeilen Träumer - Die Jeilen Träumer (1982, Trikont)

The political rock clown band "Ulrich Hundt und Schroeder" was found in 1975 and renamed shortly afterwards as "Schroeder Roadshow". They offered biting ironic and political texts as well as an eclectic musical style. The band attacked more or less everything, including themselves.

With their anarchistic slogans and subversiv statements, their great live shows and their sarcastic humor Schröder Roadshow were a very important part of the german polit rock subculture. Schroeder Roadshow was – besides Ton Steine Scherben – the german political rock band in the seventies and eighties of the last century.

In 1979 Gerd Köster became a member of the anarcho-rock-theater band. A year later, Frank Hocker joined Schroeder Roadshow. In the early eighties the band was one of the busiest live acts in Germany with up to 250 concerts a year. They released seven anarchistic polit-rock-albums with different line-ups and played at the WDR "Rockpalast" and BR "Rock aus dem Alabama". 

During a "Schroeder Roadshow" break in 1982, Gerd Köster and Frank Hocker founded the rock quartet "Die Jeilen Traumer".

"You'll never break me!" sings Gerd Köster - and you believe his credo. For the band, rock music is "still the best remedy for cold showers".


1) Jeiler Traum
2) Coca Cola im Blut
3) Schlaff
4) Nigger der Stadt
5) Bleib heut Nacht bei mir
6) Gib niemals auf

1) Die Kids wollen Hits
2) Geh weg
3) Mama Kind
4) Der Größte
5) Arschlecker Blues
6) Frech wie Dreck
7) Nie kapott

Die Jeilen Träumer - Die Jeilen Träumer (1982, Trikont)
(320 kbps, cover art included)

Freitag, 14. Januar 2022

Los Lobos - Vientos del pueblo (Spain, 1972)

Los Lobos was a Spanish folk band founded in 1971 by Manuel Roiz, Antonio Gómez and sisters Almudena Langa and Leonor Langa

In 1972, a group of university students from Madrid founded the group Los Lobos, which debuted on the CBS label with an album entitled "Vientos del pueblo". The great popular success of the album came from the homonymous poem by the great Miguel Hernández, which received numerous critics' awards and sold tens of thousands of copies as a single. 

But the censorship was still giving its last death rattles then in Spain and the song was banned for months on Radio Nacional de España and on Spanish Television.


A1 Vientos Del Pueblo
A2 Papa Montero
A3 Tristes Guerras
A4 La Muralla
A5 Mi Corza

B1 Coco Cacao
B2 Si Mi Voz Muriera En Tierra
B3 Ausencia
B4 Amigo
B5 Tres Morillas

(192 kbps, cover art included)

Slapp Happy‎ – Acnalbasac Noom (1973)

The history of this album is a bit complicated. Originally titled "Casablanca Moon", it was recorded for Polydor in 1973, but scrapped when the group signed with Virgin; their first Virgin release was an entirely re-recorded version of the same material, although it was entitled "Slapp Happy" when released.

To compound the confusion, the Virgin version was retitled "Casablanca Moon" when it was reissued on CD in 1993 (on a single-disc release that also included their 1974 Virgin album "Desperate Straights").

"Acnalbasac Noom" is the original, 1973 recording of the "Casablanca Moon" material, and not a mere archival curiosity; it's quite worthy on its own merits. The group's songwriting had improved since their debut, and Krause's German chanteuse-influenced vocals found catchier, more rock-oriented settings. The lyrics are witty and oddball without being pretentious. Tracks like "Mr. Rainbow" recall Yoko Ono's early-'70s song-oriented material, with an important difference: Krause's vocals are much better than Ono's, while just as distinctive. "The Secret," with its almost girl-group-worthy catchiness, and "Charlie 'n Charlie," with its nifty surfish guitar riff, even sound like potential commercial singles. The four bonus tracks include the delightful 1982 single "Everybody's Slimmin'," with its immortal opening line, "Listen my children and you will hear/You can shed weight and still drink beer."  


1 Casablanca Moon
2 Me And Paravati
3 Mr Rainbow
4 Michelangelo
5 The Drum
6 A Little Something
7 The Secret
8 Dawn
9 Half-Way There
10 Charlie 'N Charlie
11 Slow Moon's Rose
12 Everybody's Slimmin'
13 Blue Eyed William
14 Karen
15 Messages

Slapp Happy‎ – Acnalbasac Noom (1973)     
(320 kbps, cover art included)

Paul Robeson - Ol´ Man River (1990)

Paul Leroy Robeson was born on April 9, 1898 in Princeton, New Jersey. He was the youngest son of five children born to Presbyterian minister Reverend William Drew Robeson (1845-1918) and former schoolteacher Maria Louisa Bustill Robeson (1853-1904). He was the grandson of slaves and the son of a minister who escaped slavery and became one of Rutgers University's most famous and accomplished alumni.

In 1915, Robeson was awarded a four-year academic scholarship to Rutgers University. He was inducted into the Phi Beta Kappa Society and Rutgers' Cap & Skull Honor Society. He was valedictorian of his graduating class in 1919. Rutgers awarded Robeson honorary Master of Arts degree in 1932 and an honorary Doctorate of Humane Letters on his 75th birthday in 1973.

In addition to his academic achievements, Robeson had an outstanding athletic career as the first Black football player at the University winning 15 varsity letters in baseball, football, basketball, and track and field. He was named to the All American Football Team twice in spite of open racism and violence expressed by his teammates. In 1995, he was inducted posthumously into the College Football Hall of Fame.

In 1923, Robeson earned a law degree from the Columbia Law School. There, he met his wife Eslanda Cordoza Goode, the first black woman to head a pathology laboratory. Robeson took a job with a law firm after graduation, but left the firm and the practice of law when a white secretary refused to take dictation from him. He decided to use his artistic talents in theater and music to promote African and African-American history and culture.

What followed was a brilliant career as an actor and concert singer which spanned nearly four decades. Robeson made his concert debut in 1925 with a highly successful program of Black music. He went on to such stage successes in Show Boat, Porgy and Bess and Othello, which was hailed by some critics as the play's greatest interpretation. He starred in 13 films between the 1920s and the early 1940s, but decided to stop making movies until there were better opportunities for blacks.

Paul Robeson used his deep baritone voice to promote black spirituals, to share the cultures with other countries, and to support the social movements of his time. He sang for peace and justice in 25 languages throughout the United States, Africa, Asia Europe, and the Soviet Union.

Robeson became known as a citizen of the world, as comfortable with the people of Moscow and Nairobi as with the people of Harlem. Wherever he traveled, Robeson championed the cause of the common person. Among his friends, he counted future African Leader Jomo Kenyatta, India's Nehru, anarchist Emma Goldman and writers James Joyce and Ernest Hemingway.

During the McCarthy Era of the 1950s, every attempt was made to silence and discredit Paul Robeson because of his political views and dedication to civil rights. In 1958, he embarked on a successful three-year tour of Europe and Australia. Unfortunately, illness ended his professional career in 1961. He lived the remainder of his years as a private citizen in his sister's home in Philadelphia. He died on January 23, 1976 at the age of 77.

For his steadfast commitment to his social conscience, Paul Robeson - activist, scholar, artist, athlete - was shunted from the center of America's cultural stage to its wings. For a generation, his memory was obscured and his achievements forgotten, but the centennial of his 1989 birth has sparked new debate about his place in our history.


01 - Ol' Man River
02 - My Old Kentucky
03 - Lazy Bones
04 - My Lindy Lu
05 - Poor Old Joe
06 - Old Folks At Home (Swanee River)
07 - Just Keepin' On
08 - Little Pal
09 - Water Boy
10 - Shenandoah
11 - Swing Low, Sweet Chariot
12 - Joshua Fit The Battle Of Jericho
13 - Wagon Wheels
14 - Got The South In My Soul
15 - St Louis Blues
16 - Rockin' Chair
17 - River Stay 'Way From My Door
18 - Canoe Song
19 - Congo Lullaby
20 - Love Song
(192 kbps, cover art included)

The Brothers Four - Roamin´ (1961)

The Brothers Four bear a distinction as one of the longest surviving groups of the late-'50s/early-'60s folk revival and perhaps the longest running "accidental" music act in history - 43 years and counting as of 2001, without any break and with two original members still in the fold. If few recognize that distinction, then it's because the Brothers Four were also part of a largely forgotten chapter in the history of folk music in America.                

Most accounts of the post-WWII folk music boom focus on the political and issue-oriented branch of the music, embodied by Woody Guthrie and Bob Dylan, at the expense of the softer, more entertainment-oriented branch, embodied by the likes of the Kingston Trio, the Chad Mitchell Trio, and The Brothers Four. Those acts and the music they made - though it sold well and, indeed, for many years defined what most Americans visualized when the phrase "folk music" was mentioned - are scarcely mentioned in most histories; The Brothers Four aren't even listed in the Guinness Who's Who of Folk Music.

One major misconception about The Brothers Four is that they were an attempt to emulate the Kingston Trio. Actually, Bob Flick (upright bass, baritone, bass), John Paine (guitar, baritone), Mike Kirkland (guitar, banjo, tenor), and Dick Foley (guitar, baritone) had met as undergraduates at the University of Washington in 1956 and began singing together in 1957, more than a year before the Kingston Trio made their first record. Folk music was booming at most liberal arts colleges in those days, and every campus seemed to have its share of trios and quartets, mostly drawn from the ranks of their fraternities. Flick, Paine, Kirkland, and Foley were all members of Phi Gamma Delta and aspired to careers in medicine, engineering, and diplomacy - as amateur performers, however, they were good on their instruments and delighted campus audiences with their ability to harmonize on traditional tunes, novelty songs, and romantic ballads.

They turned professional completely by accident, as a result of a practical joke. A member of a rival fraternity arranged for a woman to telephone the group members, identifying herself as the secretary to the manager of a local Seattle venue, the Colony Club, and invite the quartet down to audition. When they got there, they discovered that there was no invitation or any audition scheduled, but since they were there anyway, the club manager asked them to do a couple of songs and ended up hiring them. The engagement lasted through most of 1958, and while they were often paid off only in beer, the experience was invaluable in that it allowed the group - christened after their impromptu audition as The Brothers Four - to pull its sound together as they never would have if they'd remained confined to occasional performances on campus.


Low Bridge 2:26
Hey, Hey, My Honey 2:29
The Lilies Grow High 2:57
The Ballad Of Sam Hall 2:41
Variation On An Old English Theme 1:45
Abilene 2:22
Frogg 2:41
Pastures Of Plenty 2:26
Times 1:55
Betty And Dupree 2:44
Island Woman 2:46
This Land Is Your Land 2:34

The Brothers Four - Roamin´ (1961)
(256 kbps, cover art included)

Donnerstag, 13. Januar 2022

The Kingston Trio - College Concert (1962)

"College Concert" is the twelfth album by the American folk music group the Kingston Trio, released in 1962. It was the group's third live release and the first live release with new member John Stewart. "College Concert" peaked at number three on the Billboard charts.

One of the best-selling LPs ever recorded by the Kingston Trio, "College Concert" is also the album by the trio that holds up best in the decades since -- recorded on December 6 and 7, 1961, at UCLA, it contains several of their best-known songs, including "M.T.A.," in versions that are more spirited than their studio originals. 

There's also an unintentionally telling part of the trio's rap leading into "Chilly Winds," when someone says, "for those of you who think we steal songs..." -- in fact, while on the tour ahead of the recording of this album, the trio heard Peter, Paul & Mary do a version of a Pete Seeger song called "Where Have All the Flowers Gone," which was parlayed by the Kingston Trio into a huge hit single. 

The presence of a live version of "Where Have All the Flowers Gone" on the album, which was released just as the studio version on the single was peaking, didn't hurt sales, but the overall quality of the performance, from the exquisitely arranged "500 Miles" to the rousing version of "Young Roddy M'Corley," was the album's most alluring overall feature. The only flaw that prevents this from getting an even higher rating is the thin-to-non-existent bass in the recording, which detracts from some of the impact of the music.


Little Light 2:17
Coplas Revisited 2:43
Chilly Winds 2:30
Oh, Miss Mary 2:57
Laredo? 1:13
O Ken Karanga 2:09
Roddy McCorley 2:52
M. T. A. 2:35
500 Miles 2:57
The Shape Of Things 3:45
Where Have All The Flowers Gone 3:15
Goin' Away For To Leave You 2:25

(320 kbps, cover art included)

Mittwoch, 12. Januar 2022

Soledad Bravo ‎– Soledad Bravo Canta (1968)

Soledad Bravo (born January 1, 1943) is a Venezuelan singer. Born in Logroño, La Rioja, Spain her father was a Spanish republican, moving to Venezuela with his family when his daughter was still at an early age. 

At 24, Soledad began studying architecture and philosophy at the Universidad Central de Venezuela, where she also began performing. One year later, in 1968, she released her debut titled "Soledad Bravo Canta" ("Soledad Bravo Sings"), which made her a star in Venezuela and other parts of South America.

In the years that followed, she cooperated with Atahualpa Yupanqui, Gilberto Gil and others, having lived and performed in Europe and the Americas. Her repertoire is a vivid mixture of fiery, vivid Caribbean and Latin rhythms, Sephardic elegies and heartwarming ballads.

Considered to be one of the best voices in Latin America, one of her most popular and best known songs is "Hasta Siempre", a cover of a Cuban hymn by Carlos Puebla to Ernesto "Che" Guevara.

01 - Zorongo (Popular)
02 - Las tres hojas (Popular)
03 - Canción de Belisa (F. G. Lorca)
04 - El café de chinitas (Popular)
05 - Las Morillas de Jaén (Popular Siglo XV)
06 - La Tarará (Popular)
07 - Anda Jaleo (Popular)

01- Despierte la novia (F. G. Lorca)
02 - Los Peregrinitos (Popular)
03 - Zapatera (F. G. Lorca)
04 - La Dulce mi enemiga (Popular Siglo XV)
05 - Me dijiste que a las diez (Popular)
06 - A raíz do toxo verde (Popular)
07 - Petenera (Popular)

Soledad Bravo ‎– Soledad Bravo Canta (1968)
(224 kbps, cover art included)

Dienstag, 11. Januar 2022

Bob Dylan - Robert Zimmerman Plays Bob Dylan - One Year In NYC

Bob Dylan's influence on popular music is incalculable. As a songwriter, he pioneered several different schools of pop songwriting, from confessional singer/songwriter to winding, hallucinatory, stream-of-consciousness narratives. As a vocalist, he broke down the notion that a singer must have a conventionally good voice in order to perform, thereby redefining the vocalist's role in popular music. As a musician, he sparked several genres of pop music, including electrified folk-rock and country-rock. And that just touches on the tip of his achievements. Dylan's force was evident during his height of popularity in the '60s — the Beatles' shift toward introspective songwriting in the mid-'60s never would have happened without him — but his influence echoed throughout several subsequent generations, as many of his songs became popular standards and his best albums became undisputed classics of the rock & roll canon. Dylan's influence throughout folk music was equally powerful, and he marks a pivotal turning point in its 20th century evolution, signifying when the genre moved away from traditional songs and toward personal songwriting.

As the title, Robert Zimmerman Plays Bob Dylan, implies, these recordings show the young man we all now know as Dylan finding his way in NYC after bumming a ride from Madison in the early months of 1961. Featuring songs that were left off of his first two Columbia LPs, Bob Dylan and The Freewheelin' Bob Dylan, as well as other assorted demos and unreleased recordings, this essential LP of early recordings perfectly captures his growth from traditional folk music interpreter into what he would become: America's greatest living songwriter.


Side A:
1. He Was A Friend Of Mine
2. Man On The Street
3. Hard Times In New York Town
4. House Carpenter
5. Rambling, Gambling Willie
6. Talkin' Hava Negeilah Blues

Side B:
1. Talkin' Bear Mountain Picnic Massacre Blues
2. Let Me Die In My Footsteps
3. Quit Your Low Down Ways
4. Worried Blues
5. No More Auction Block
6. Kingsport Town

Bob Dylan - Robert Zimmerman Plays Bob Dylan - One Year In NYC
(320 kbps, cover art included)

Montag, 10. Januar 2022

Sister Carol - Jah Disciple (1989)

Carol Theresa East (born 15 January 1959, Kingston, Jamaica), known by her stage name of Sister Carol, is a Jamaican-born American reggae recording artist and actress. She has used many other stage names, including Black Cinderella (also the name of her record label) and Mother Culture. After winning competitions in New York and Jamaica, she toured with The Meditations. Her first album, "Liberation for Africa," was released in 1983, as a limited edition on the Jamaican SG label. The 1984 album "Black Cinderella" established her. She formed her own record label, also called Black Cinderella. 

Sister Carol's album, "Jah Disciple", finally appeared in 1989, kicking off a streak of consistent recording activity that lasted through the '90s. 

Sister Carol emphasized truth and rights over sex and love on this session issued by Ras in 1989. She had harsh words for outer space exploration, internal African problems and rude boys who disrupt social affairs, while recalling an earlier, more enjoyable time on "Remember When" and calling for respect and dignity from an ignorant male on "A No Me Name Peggy." 

Her toasts were slower and paced differently than the rapid-fire dancehall mode; the arrangements and backing combined electronic and acoustic instrumentation, and there was more than a trace of vintage reggae in her style and sound.


Ram The Party 3:56
A No Me Name Peggy 3:39
Jah Disciple 3:32
Potential 3:18
Get It Straight Africans 3:26
Lost In A Space 3:54
Intelligence 3:07
A No Me Mommy & Daddy 3:44
Wicked Collie 3:23
Remember When 3:42

(192 kbps, cover art included)

Samstag, 8. Januar 2022

Chumbawamba - Slap (1990)

Formed in a squat in Leeds, England, in 1984, the anarchist pop group Chumbawamba were a most unlikely mainstream success story. After more than a decade in relative obscurity, much of it spent attacking the very notion of stardom, the band signed to a major label in 1997 and quickly scored a major international hit with the riotous single "Tubthumping." The single would prove to the band's commercial peak, even though Chumbawamba continued issuing politically aware albums (many of them featuring an increased emphasis on folk music) during the 2000s.
Their anarcho-communist political leanings led them to have an irreverent attitude toward authority, and to espouse a variety of political and social causes including animal rights and pacifism (early in their career) and later regarding class struggle, Marxism, feminism, gay liberation, pop culture, and anti-fascism.

Unabashedly political, Slap! refers to the Bader-Meinhof Gang, Bernadette Devlin and the Irish troubles, Tiananmen Square and the 1956 Hungarian uprising (which receives the studiously ironic "That's How Grateful We Are," about the destruction of a statue of Stalin). The politics are salted into an entertaining mix of beats and hooks that make the whole album easy to digest. Entertaining music designed to make the listener think -- not a bad deal.


Tiananmen Square
Chase PC's Flee Attack By Own Dog
Rubens Has Been Shot!
Rappoport's Testament: I Never Gave Up
That's How Grateful We Are

(192 kbps, cover art included)

Freitag, 7. Januar 2022

Bob Dylan - Freewheelin´ Outtakes - The Columbia Sessions, NYC, 1962

Dylan's lyrics have incorporated a variety of political, social, philosophical, and literary influences. They defied existing pop music conventions and appealed hugely to the then burgeoning counterculture. Initially inspired by the performance style of Little Richard, and the songwriting of Woody Guthrie, Robert Johnson, and Hank Williams, Dylan has both amplified and personalized musical genres. His recording career, spanning fifty years, has explored many of the traditions in American song—from folk, blues, and country to gospel, rock and roll, and rockabilly to English, Scottish, and Irish folk music, embracing even jazz and swing. Dylan performs with guitar, keyboards, and harmonica. Backed by a changing line-up of musicians, he has toured steadily since the late 1980s on what has been dubbed the Never Ending Tour. His accomplishments as a recording artist and performer have been central to his career, but his greatest contribution is generally considered his songwriting.

Unlike his debut - which took only two days in the studio to record - "The Freewheelin' Bob Dylan" finally emerged in May 1963 after some 8 sessions at Columbia Records Studio A, over the course of nearly a year. The time and effort paid off in spades, as he emerged from the studio a fully-formed bona fide songwriter with a legitimate hit on his hands. Obviously, the final album left much material on the cutting room floor and Mr. Suit is pleased to bring some of that rarely heard material back to light. A mix of originals that never made it onto any LP, alternate takes, and cover songs, "Freewheelin' Outtakes: The Columbia Sessions, NYC, 1962" captures America's most important living songwriter at a pivotal moment in his career when he emerged from the Greenwich Village folk scene to become the voice of his generation.


Side A:
1. Going To New Orleans
2. Sally Gal
3. Corrina, Corrina
4. The Death Of Emmett Till
5. (I Heard That) Lonesome Whistle
6. Rocks And Gravel
7. Baby Please Don't Go
8. Milk Cow's Calf Blues
9. Mixed Up Confusion

Side B:
1. Witchita (Going To Louisiana)
2. Baby I'm In The Mood For You
3. That's Allright Mama
4. That's Allright Mama (Alternate Take)
5. Ballad Of Hollis Brown
6. Whatcha Gonna Do
7. Hero Blues
8. I Shall Be Free

Bob Dylan - Freewheelin´ Outtakes - The Columbia Sessions, NYC, 1962
(320 kbps, cover art included)

Donnerstag, 6. Januar 2022

Bob Andy ‎– Bob Andy's Song Book

Bob Andy's Song Book is a 1970 album of songs by Jamaican reggae singer and songwriter Bob Andy, recorded between 1966 and 1968. 

Andy had first found fame as the lead vocalist of The Paragons, but his peak as a solo artist came in the late '60s when he recorded a string of singles for Clement "Coxsone" Dodd's Studio One label. In 1970, these singles were compiled on the "Song Book" album. 

Many of the songs on the album have since been covered by a range of artists, including Taj Mahal, who covered "Desperate Lover" on his 1974 Mo' Roots album. Vocal harmony on three tracks on the album are performed by Bunny Wailer and Peter Tosh of The Wailers, and backing comes from Studio One band the Soul Vendors, whose members included Jackie Mittoo and Roland Alphonso. The album was re-issued on CD in 1997, with extended versions of "Desperate Lover" and "Feeling Soul". In the Rough Guides book "Reggae: 100 Essential CDs", the album is described as "a masterpiece that belongs in anyone's CD collection - and not just of reggae music", and it has also been described as "one of the era's classic albums".

A1 My Time
A2 Desperate Lover
A3 Life Could Be A Symphony
A4 Too Experience
A5 I've Got To Go Back Home
A6 I Would Be A Fool
B1 Going Home
B2 Stay In My Lonely Arms
B3 Let Them Say
B4 Unchained
B5 Feeling Soul
B6 Crime Don't Pay

Bob Andy ‎– Bob Andy's Song Book
(320 kbps, cover art included)