Sun Ra - United World In Outer Space (1975)

Decades before his time, political and musical revolutionary, Sun Ra, developed a new plane of cultural existence where black people were all-powerful beings from outer space, sending their intergalactic message through jazz music.

Recorded live in 1975 at Cleveland's legendary jazz club, the Smiling Dog Saloon, when Sun Ra and his Arkestra descended on the city for a week-long residency. You can imagine how the uninitiated's jaw must have dropped when Ra and his 15 musicians marched out onto the stage decked in glittery space costumes, playing percussion instruments and chanting. This high quality live performance is top-shelf Ra playing a kind of spaced out world music with hints of disco. Ra sings, plays the Moog, piano and organ, while everyone else plays alternately some kind of percussion or reed instrument, sings, dances, and claps hands. Check out his other-worldly version of Duke Ellington's 'Sophisticated Lady', featuring John Gilmore on sax, and his extended Moog solo!


Tracklist:

A1 Astro Nation (Of The United World In Outer Space) 11:01
A2 Enlightenment 2:10
A3 Friendly Galaxy 12:49
B1 Theme Of The Stargazers / The Satellites Are Spinning 2:32
B2 Synthesizer Solo 8:34
B3 Sophisticated Lady 14:09


Sun Ra - United World In Outer Space (1975)
(320 kbps, cover art included)

Woody Guthrie & Pete Seeger - American Folk Songs (2002)

The folksinger Arlo Guthrie likes to tell a story about his father, the legendary Woody Guthrie, who died in 1967, at the age of fifty-five. When he was a toddler, Arlo says, Guthrie gave him a Gibson acoustic guitar for his birthday. 

Several years later, when the boy was old enough to hold it, Guthrie sat him down in the back yard of their house—they lived in Howard Beach, Queens—and taught him all the words to “This Land Is Your Land,” a song that most people likely think they know in full. The lyrics had been written in anger, as a response to Irving Berlin’s “God Bless America,” which Woody Guthrie deplored as treacle. 

In addition to the familiar stanzas (“As I went walking that ribbon of highway,” and so on), Guthrie had composed a couple of others, including this:

"One bright sunny morning in the shadow of the steeple
By the Relief Office I saw my people—
As they stood hungry, I stood there wondering if
God Blessed America for me."

“He wanted me to know what he originally wrote, so it wouldn’t be forgotten,” Arlo Guthrie has explained.

This compilation is an impressive possibility to hear Woody Guthrie and Pete Seeger on one album.

Tracklist:
1 –Woody Guthrie House Of The Rising Sun
2 –Woody Guthrie The Dodger Song
3 –Woody Guthrie I Ain't Got No Home
4 –Pete Seeger Dear Mr. President
5 –Josh White & Millard Lampell Billy Boy
6 –Pete Seeger Blow Ye Winds, Heigh Ho
7 –Woody Guthrie Do Re Mi
8 –Pete Seeger Ground Hog
9 –Woody Guthrie Hard, Ain't It Hard
10 –Woody Guthrie I Ride An Old Paint
11 –Pete Seeger Talking Union
12 –Woody Guthrie This Land Is Your Land
13 –Woody Guthrie, Pete Seeger & Josh White Liza Jane
14 –Woody Guthrie Put My Little Shoes Away
15 –Pete Seeger C For Conscription
16 –Woody Guthrie, Pete Seeger & Cisco Houston Cindy
17 –Woody Guthrie, Pete Seeger Round And Round Hitler's Grave
18 –Pete Seeger The Sinking Of The Reuben James
19 –Pete Seeger T For Texas
20 –Woody Guthrie Talkin' Hard Luck Blues

Woody Guthrie & Pete Seeger - American Folk Songs (2002)

(320 kbps, cover art included)

Kurt Weill & Bertolt Brecht - Aufstieg und Fall der Stadt Mahagonny (Lotte Lenya, Wilhelm Brückner-Rüggeberg, 1956)

The opera, "Rise and Fall of the City of Mahagonny" ("Aufstieg und Fall der Stadt Mahagonny"), is a razor-edged critique of capitalism, and considered by many to be the greatest collaboration between music composer Kurt Weill and playwright Bertolt Brecht. This political-satirical opera was first performed in Leipzig on 9 March 1930.

The libretto was mainly written in early 1927 and the music was finished in the spring of 1929, although both text and music were to be partly revised by the authors later. An early by-product, however, was the "Mahagonny-Songspiel", sometimes known as "Das kleine Mahagonny", a concert work for voices and small orchestra commissioned by the Deutsche Kammermusik Festival in Baden-Baden and premiered there on 18 July 1927. The ten numbers, which include the "Alabama Song" and "Benares Song", were duly incorporated into the full opera. The opera had its premiere in Leipzig in March 1930 and played in Berlin in December of the following year. The opera was banned by the Nazis in 1933 and did not have a significant production until the 1960s.

Weill's score uses a number of styles, including rag-time, jazz and formal counterpoint, notably in the "Alabama Song" (covered by multiple artists, notably The Doors and David Bowie). The lyrics for the "Alabama Song" and another song, the "Benares Song" are in English (albeit specifically idiosyncratic English) and are performed in that language even when the opera is performed in its original (German) language.

Here´s the recording with Lotte Lenya, Heinz Sauerbaum, Gisela Litz and the orchestra of the Norddeutsche Rundfunk, conducted by Wilhelm Brückner-Rüggeberg and recorded in 1956 in Hamburg.
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Kurt Weill & Bertolt Brecht - Aufstieg und Fall der Stadt Mahagonny CD 1
Kurt Weill & Bertolt Brecht - Aufstieg und Fall der Stadt Mahagonny CD 2
(192 kbps, front cover included)

Konstantin Wecker - Live in München (1981)

Konstantin Wecker is a household name in Germany. He is probably the country's best-kept secret to the rest of the world. For over 25 years Wecker's music has made an impact, both socially and artistically, as part of the Liedermacher genre. Liedermacher (literally, "song-maker") was born out of the 1968 student uprisings in Germany and is comparable to Nueva Canciòn of Latin America, the Chanson of France and Québec, and in some ways even the protest songs of American folk music. It is a genre with a broad range of interpretation, including all musical styles, but with one underlying similarity -- lyrics which are strong, and convey a message, usually a political one.

In Wecker's case, his art blends a powerful vocal style, with an original blend of classical, jazz, and rock. His piano is the trademark of his sound, as are his words, which are intense, carefully crafted poems which have always reflected the social and political issues important to Wecker, and reflective of the times in which he lives.

Konstantin Wecker came into the world on June the first, 1947 in Munich. He was raised and nurtured towards music in part thanks to his father, Alexander, a strong opera enthusiast. In his youth Wecker dabbled on guitar, violin, and eventually found his way to the piano, which has since become his main instrument. His interest in music, as well as the works of great intellectuals such as Nietsche and Goethe, led him to pursue piano, voice, and philosophy at the University of Munich.

He left university after four years of study in 1970, without taking a degree. Wecker continued to pursue his music while working at odd jobs -- everything from selling insurance to working in pornographic films! In 1972, his first album Die Sadopoetischen Gesange des Konstantin Amadeus Wecker (The Sadopoetical Songs of Konstantin Amadeus Wecker) was released. Someone suggested to him to add to his name "Amadeus," to make it sound more "musical." Sadopoetischen is only one of the words Wecker often creates to uniquely convey an idea which before had been untouched.

His following work continued to establish Wecker as a versatile musician, popular in intellectual circles and amongst students. 1977's Genug ist nicht genug (Enough is not enough) is one of his best-known albums, containing the song "Willy", a poem expressing many of Wecker's feelings at the time about society and justice. "Willy" was reincarnated several years ago on 1993's Uferlos (Boundless), as "Die Ballade von Antonio Amadeu Kiowa," again simply instrumentated only with piano, and presented as an elongated recitation, updated to reflect violent acts in Germany at that time towards immigrants and non-Whites. The song's namesake was a young Angolan refugee who was beaten to death by a group of skinheads.


Tracklist:

1-1 Oamoi Von Vorn Ofanga 6:54
1-2 Fragwürdig 1:46
1-3 Endlich Wieder Unten 3:51
1-4 Und Doch Läßt Etwas Kirschen Blühen Im April 1:23
1-5 Warum Sie Geht 3:09
1-6 Wenn Man Darüber Rausschauen Könnte 1:39
1-7 Genug Ist Nicht Genug 4:52
1-8 Nächtens 5:58
1-9 Fragwürdig 3:20
1-10 Wenn Der Sommer Nicht Mehr Weit Ist 4:31
1-11 Text Zum Thema Sucht 5:17
1-12 Der Schutzengel 4:30
1-13 Der Dumme Bub 3:34
1-14 Statistisch Erwiesen 2:01
1-15 Vater, Laß Mi Raus 3:45
1-16 Tod Eines Familienvaters 2:40
1-17 Manchmal Weine Ich Sehr 3:43
1-18 Es Sind Nicht Immer Die Lauten Stark 2:26
1-19 Wer Nicht Genießt Ist Ungenießbar 3:03

2-1 Fragwürdig 1:56
2-2 Liebesflug 3:15
2-3 Schafft Huren, Diebe, Ketzer Her 3:35
2-4 Vaterland 4:27
2-5 Weckerleuchten 3:50
2-6 Lang Mi Ned O 6:04
2-7 In Diesen Nächten 6:27
2-8 Zwischenräume 4:25
2-9 Bleib Nicht Liegen 3:47
2-10 Frieren 6:12
2-11 Lauscher Hinterm Baum 3:59
2-12 Der Alte Kaiser 5:24
2-13 Susi, Oh Susi 5:38
2-14 Du Bist So Häßlich 4:26
2-15 Heut Schaun Die Madln Wia Äpfel Aus 3:45
2-16 Liebes Leben 0:52
2-17 Zirkus 2:14
2-18 Verabschiedung 0:34


Konstantin Wecker - Live in München (1981)

(320 kbps, cover art included)

Lotte Lenya sings Berlin Theatre Songs by Kurt Weill (1955)

"Lotte Lenya sings Berlin Theatre Songs by Kurt Weill" is a LP recorded by Lotte Lenya in Germany in 1955, five years after the death of husband and composer, Kurt Weill.

Lotte Lenya is definitly the one to perform these songs. I think this goes far beyond the fact that many of these works were written specifically to be performed by Lenya in Berlin between 1927 and 1933.

 Lotte Lenya recorded "Lotte Lenya singt Kurt Weill" in Hamburg on July 5 - 7, 1955, for Philips (B 07 039); released in the U.S. by Columbia (ML 5056) in November 1955 as "Lotte Lenya Sings Berlin Theater Songs of Kurt Weill".

This album was released on the classical Columbia Masterworks label and you couldn't ask for a better introduction to the enduring songs of Kurt Weill (and Bertolt Brecht). Lotte Lenya was, in a word, inimitable. That voice, so frail yet so unshakable, gave us the definitive interpretations of Kurt Weill's music. "Lotte Lenya sings Berlin Theatre Songs by Kurt Weill" was recorded as her career saw a revival thanks to a new English-language production of Brecht/Weill's "Threepenny Opera" by Marc Blitzstein at the  Theatre de Lys (co-starring Bea Arthur, Ed Asner and Jerry Stiller). She recorded in Berlin, returning for the first time in twenty years. That environment was likely crucial to the record that resulted.

Tracklist:

Die Dreigroschenoper [The Threepenny Opera]:
1. Moritat [Mack the Knife]
2. Barbara-Song
3. Seeräuber-Jenny [Pirate Jenny]

Aufstieg und Fall der Stadt Mahagonny [The Rise and Fall of the City of Mahagonny]:
4. Havanna-Lied
5. Alabama-Song
6. Wie man sich bettet [As You Make Your Bed]

Happy End:
7. Bilbao-Song
8. Surabaya Johnny
9. Matrosen-Tango [The Sailors' Tango]

Das Berliner Requiem [Berlin Requiem]:
10. Vom ertrunkenen Mädchen [Ballad of the Drowned Girl]

Der Silbersee [The Silverlake]:
11. Lied der Fennimore [I am a Poor Relative]
12. Cäsars Tod [Ballad of Caesar]

Lotte Lenya sings Berlin Theatre Songs by Kurt Weill (1955)
(320 kbps, cover art included)

Joshua White - Southern Exposure - An Album of Jim Crow Blues (1941)

"The blues, contrary to popular conception, are not always concerned with love, razors, dice, and death," Richard Wright wrote in 1941, in the liner notes to a new album of 78 rpm records. "Southern Exposure contains the blues, the wailing blues, the moaning blues, the laughing-crying blues, the sad-happy blues. But it contains also the fighting blues . . ."

Southern Exposure was the third album by Josh White, a young singer who was then staking out a unique position in American music: he was the only musician ever to make a name for himself singing political blues. Oddly, he made no claim to uniqueness; like Wright, he argued that the blues was by its nature a protest music, and decades of writers on the subject would concur. They always pointed, though, to veiled verses like "You don’t know my mind/ When you see me laughing, I’m laughing just to keep from crying." What Josh was singing was something quite different: a repertoire of blues about current events, written from a strong left-wing perspective. Some of the other blues artists who became caught up in the folk revival recorded similar pieces (Big Bill Broonzy’s "Black, Brown and White" and Leadbelly’s "Bourgeois Blues" are the most successful examples), but only Josh made it the centerpiece of his work.

In 1941, Josh White was 27 and had already lived out two previous musical careers. He had spent his childhood traveling around the South as "lead boy" for blind blues and gospel singers, making his first recordings at age 14 with the streetcorner evangelist Blind Joe Taggart. Then, in the early 1930s, he had settled in Harlem and became a solo artist, his records influencing a generation of players in the southeastern states (both Blind Boy Fuller and John Jackson covered his songs and guitar arrangements). These early recordings were pretty standard blues and gospel fare, though his guitar work was already outstanding and he was the only artist to have simultaneous success in the sacred and secular markets, recording gospel under his own name and blues as "Pinewood Tom." Only one of his 1930s records hinted at his future direction: in 1936 he put out "No More Ball and Chain" backed with "Silicosis Is Killin’ Me," two songs by a populist country songwriter, Bob Miller. Miller was a link between what was then called "hillbilly" music and the progressive New York scene, working with the Appalachian ballad singer and union organizer Aunt Molly Jackson and later the Almanac Singers, but his collaboration with Josh was brief. They might have done more work together, but, shortly after making the record, Josh cut his right hand so severely that he was unable to play for the next four years.

It was with the Almanacs that he first recorded for Keynote Records, an outgrowth of New Masses magazine, and in 1941 the label released his most influential album of the period, Southern Exposure: An Album of Jim Crow Blues. This time, the songs were all original compositions, collaborations between Josh and the Harlem Renaissance poet Waring Cuney. It was the first full-fledged Civil Rights record album, and there would never be another with so much popularity or impact. The title song gives an idea; written to the tune of "Careless Love," it was the lament of a Southern sharecropper:

Well, I work all the week in the blazin’ sun, (3x)

Can’t buy my shoes, Lord, when my payday comes.

I ain’t treated no better than a mountian goat, (3x)

Boss takes my crop and the poll takes my vote.

The rest of the material, most of it in a straightforward 12-bar blues framework, included "Jim Crow Train," Bad Housing Blues," and "Defense Factory Blues." The latter was typical, a hard-hitting attack on wartime factory segregation with lines like, "I’ll tell you one thing, that bossman ain’t my friend/ If he was, he’d give me some democracy to defend." Harlem’s main newspaper, the Amsterdam News, devoted two articles to the album’s release, rating it as a work that "no record library should be without" and emphasizing the painful familiarity of the subject matter: "All of you know the guy who ëwent to the defense factory trying to find some work to do . . .’; and over there on 133d St. and Park Ave., and down in Mississippi and out in Minnesota, we all have a brother or a sister or a cousin who can wail: ëwoke up this mornin’ rain water in my bed. . . . There ain’t no reason I should live this way. . . I’ve lost my job, can’t even get on the WPA.’"

(Thanks to Elijah Wald, Living Blues magazine, for the information.)

Joshua White - Southern Exposure - An Album Of Jim Crow Blues (1941)

(224 kbps, front cover included)

Woody Guthrie - Struggle (1941)

This album was originally released by Moses Asch, founder of the Folkways label, on Asch Records in 1941 as "Struggle: Documentary No. 1".

It was re-released by him in 1976 to commemorate the bicentennial of the American Revolution with a special series of liner notes by Asch explaining the importance of Woody Guthrie's history of the working class through song.

Both Guthrie's songs and the liner notes are stuff of supreme cultural importance. In the notes, Asch lays out a theory that the American Revolution has not yet been completed and there is a need for a "continuing struggle for human rights and equality."

As a collection of songs, this is surely one of the best Guthrie collections, especially once it's known how important it was to him personally. In many ways, it seems as if this album was the fulfillment of a very personal vision, which starts with the songs but is only realized in their collectivity.

Included here are such excellent songs as the unsettling "Hang Knot," the elliptic "Union Burying Ground," and the finely spun "Pretty Boy Floyd." These songs define Guthrie at his best, never didactic in tone but supreme in import. The album also features the Cisco Houston (Guthrie's sometime tramping companion) number "Get Along Little Doggies," as well as his vocal accompaniment on several tracks. Sonny Terry guests on "Lost John," lending his harmonica to Guthrie's tale of a chain gang escapee. Both as a historical artifact and as an amazing Guthrie album, this is required listening.

Woody Guthrie - Struggle (1941)

(320 kbps, cover art included)

Lightnin´ Hopkins - Goin´ Away (1963)

Sam “Lightnin’” Hopkins was a true poet who invented most of his lyrics on the spot and never seemed to run out of new ideas. He was a blues giant of post-war blues whose style was rooted in pre-war Texas traditions. While he cranked up his amp to fierce proportions when performing for his friends at Houston juke joints, producers who recorded him for the so-called folk-blues market usually insisted that he use an acoustic guitar for more “authentic” results.

Either way, Lightnin’ seldom made a bad record, and this June 4, 1963, session on which he played acoustic was among his finest, thanks much to the sensitive support of bassist Leonard Gaskin and drummer Herbie Lovelle, who did a remarkable job of following his irregular bar patterns and abrupt song endings.  They managed to follow his ramshackle, instinctual sense of rhythm quite dexterously, giving Hopkins' skeletal guitar playing some muscle. Still, the spotlight remains Hopkins, who is in fine form here. There are no real classics here, but everything is solid, particularly "Stranger Here" and "You Better Stop Her," making it worth investigation by serious fans of Hopkins' classic material.   

Tracklist:

A1 Wake Up Old Lady 4:24
A2 Don't Embarrass Me, Baby 3:20
A3 Stranger Here 5:49
A4 Little Sister's Boogie 3:30
B1 Goin' Away 5:45
B2 You Better Stop Her 4:39
B3 Business You're Doin' 3:18
B4 I'm Wit' It 3:58

Lightnin´ Hopkins - Goin´ Away (1963)

(320 kbps, cover art included)

Eulenspygel - Eulenspygel 2

"Eulenspygel 2" is a killer 70's underground recording. Released in 1971 and called "2" because the same band had already released an album under the name Royal Servants. 

When they decided to write the lyrics in German instead of English they thought they better change their band name to a German one as well. Some critics say that the album cover is one of the most tasteless ones .They actually pulled it off of the market after selling about 7,000 copies and put it back out minus the dead chick. 

The lyrics are very left wing and anti-war but also very "out there" at times. An excellent album!


Tracklist:

1. Till	3:45
2. Son My (My Lay)	11:14
3. Konsumgewäsche	4:03
4. Staub Auf Deinem Haar	7:58
5. Die Wunde Bleibt	1:58
6. Das Lied Vom Ende	(10:15)
- Erstens
- Alt
- Jung Sein
- Hastig Und Kaputt
- Das Ende Vom Lied

Eulenspygel - Eulenspygel 2
(ca. 192 kbps, cover art included)

The Revolutionaries - 1976 - Revival Dub Roots "Now"

Starting with the Skatalites, Jamaican recordings largely revolved around a select floating pool of the island's best musicians; top producers began calling on the Revolutionaries in the mid-'70s.

But the group's importance extends far beyond providing the music to many roots classics; Revolutionaries backing tracks dominated Jamaican music when dub, the foundation of the mix culture, became a widespread reggae phenomenon. The rise of the Revolutionaries also marked the arrival of Robbie Shakespeare and Sly Dunbar as the next great bass and drums team in Jamaican music.

With Carleton Barrett and Aston "Family Man" Barrett on the road with Bob Marley & the Wailers, Sly & Robbie were the rhythm section of choice when reggae emerged as an international force.               

Tracklist:

Side 1:
1. Luger 9m/m Auto
2. Browning 9m/m Auto
3. Mauser 9m/m Auto
4. No.44 Magnum
5. No 41 Magnum

Side 2:
1. 357 Magnum
2. Arms MK III Carbine
3. AR - 180 - 223 CAL
4. AR - 47 Auto
5.Valmet M - 62


The Revolutionaries - 1976 - Revival Dub Roots "Now"
(320 kbsp, cover art included)

B. B. Seaton - Gun Court Dub

"Gun Court Dub" is the first of a series of three wonderful "Gun Court"-dub albums produced by B. B. Seaton

The great producer was backed on this albums by The Revolutionaries, The Conscious Minds and by Skin, Flesh & Bones.

Tracklist:

A1	Gun Court
A2	Babylon Out Former
A3	No Escape
A4	Dread Rehabilitation
A5	Sweet Callie
A6	Sam Sharp Rebellion
B1	Folly Dolly
B2	Forward To Mount Zion
B3	Beat Down Sentence
B4	Dub Of Justice
B5	House Of Jah Dread
B6	Tribute To Selassie

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B. B. Seaton - Gun Court Dub (1975)
(ca. 192 kbps, cover art included)

Force Of Music - Liberated Dub (1979)

South London sound system owner Lloyd Coxsone ably assisted in raising the Royals’ profile in the U.K., eagerly spinning dub plates of the group's "Ten Years After" album. The attention helped Royals' frontman/producer Roy Cousins land a deal with United Artists, whose Ballistic imprint eventually picked up both that vocal set and "Israel Be Wise", as well as "Freedom Fighters Dub" (a set Cousins dedicated to Coxsone in gratitude) and "Liberated Dub".

The latter set was Israel's counterpart, and what it lacked in imagination for track titles (did someone leave a map of Kingston and its environs on the mixing desk?), was more than made up for the music within. Israel was produced by Cousins himself, with the riddims laid down at Channel One studio by the Revolutionaries and the Roots Radics, and mixed down by Ernest Hoo Kim. Even the brightest and most upbeat riddims swiftly take on a more militant stripe in Hoo Kim's hands, as "Marvely" and "Bell Rock" notably illustrate, while particularly pretty ones are stripped of most of their melodies to let the martial beats burst through, as on "Waterhouse" and "Bell Rock." Riddims that were smothered in roots to begin with, as "Israel Be Wise" itself and "If You Want Good" were, are now doused in deep dub, transforming them into the incendiary "Moonlight City" and "Cockburn Pen" respectively. The vocal album was superb, invariably Hoo Kim's counterpart was even more sensational. Another stunning dub set from a master of rockers at his most militant.                

"Life Hard! And The Music Harder!"
Tracklist:

A1	Moonlight City
A2	Baktu
A3	Waterhouse
A4	Marverly
A5	Riverton City
B1	Cockburn Pen
B2	Bell Rock
B3	Whitewing Walk
B4	Tower Hill
B5	Central Village

Force Of Music - Liberated Dub (1979)
(192 kbps, cover art included)

The Soul Stirrers - Encore! (1962)

Indisputably among the premier gospel groups of the modern era, the Soul Stirrers pioneered the contemporary quartet sound. Pushing the music away from the traditional repertoire of jubilees and spirituals towards the visceral, deeply emotional hard gospel style so popular among postwar listeners, the group's innovative arrangements -- they were the first quartet to add a second lead -- and sexually charged presence irrevocably blurred the lines between religious and secular music while becoming a seminal influence on the development of rock & roll and soul, most notably by virtue of their connection to the legendary Sam Cooke. The Soul Stirrers' origins date back to 1926, where in the town of Trinity, TX, baritone Senior Roy Crain formed a quartet with a number of other teens with whom he attended church. After one of the group's early appearances, a member of the audience approached Crain to tell him how their performance had "stirred his soul," and from this chance compliment the Soul Stirrers were officially born.


Tracklist:

A1 His Love 2:21
A2 No Need To Worry 2:38
A3 Since I Met The Savior 3:00
A4 Praying Ground 2:24
A5 Amazing Grace 3:20
B1 Free At Last 2:58
B2 Something Here Inside 2:34
B3 Time Brings About A Change 2:30
B4 Joy In My Soul 2:43
B5 Where Jesus Is 2:26


The Soul Stirrers - Encore! (1962
(320 kbps, cover art includwd)

Alles Lalula Vol. 2 - Songs & Poeme von der Beat-Generation bis heute

So here´s the second and final part of this four cd set spanning compilation presenting poems, songs and litaruture beyond the mainstream.

This set featurs recordings from the beat generation to the present days - Allen Ginsberg, John Cage, Ernst Jandl, Meredith Monk, Cecil Tylor, Peter Rühmkorf, Brion Gysin, Amiri Bar, Einstürzende Neubauten and many more...

Tracklist:

1-1 –Alan Ginsberg* Put Down Yr Cigarette Rag 5:26 1-2 –Robert Filliou Imitating The Sound Of Birds 0:55 1-3 –Ron Padgett Zzzzz 0:24 1-4 –John Cage The 6th Patriach Of Zen Buddhism 2:05 1-5 –Ernst Jandl Von Einen Sprachen 0:50 1-6 –Ernst Jandl Von Leuchten 0:35 1-7 –Ernst Jandl Wanderung 0:20 1-8 –Bob Holman Rap It Up 2:58 1-9 –François Dufrêne Crirythme Exprès 2:00 1-10 –Vitaly Komar / Alexander Melamid Russian Language Lesson 3:21 1-11 –Peter Weibel / Paul Braunsteiner Nimm Deine Schrecken Mit Dir 2:21 1-12 –Michel Giroud Coyote Song 2:30 1-13 –Dyali Karam Tentation (Ausschnitt) 1:14 1-14 –Sahli Sans Titre 1:22 1-15 –Chris Burden The Atomic Alphabet 0:31 1-16 –Andrej Monastyrskij Aus: Punktierte Komposition 2:30 1-17 –Matthias Koeppel Nebul 0:30 1-18 –Matthias Koeppel Maor 0:28 1-19 –Hartmut Geerken Patriotische Gedichte 2:20 1-20 –Augusto De Campos Cidade, City, Cité 0:30 1-21 –Christian Ide Hintze Wosisog 1:46 1-22 –Meredith Monk Shadow Song 1:57 1-23 –Cecil Taylor Chinampas Track 1 5:04 1-24 –Gerhard Rühm Rede An Österreich 2:44 1-25 –Anna Homler Signals 2:37 1-26 –Anna Homler / David Moss May Na Donska 1:33 1-27 –Greetje Bijma Hot Snakes 1:36 1-28 –David Moss Together Before Jumping 3:39 1-29 –Peter Rühmkorf Mit Den Jahren... Selbst III, 88 9:55 2-1 –Christian Prigent Liste Des Langues Que Je Parle 3:12 2-2 –Jas Duke* Leon Trotsky 1:01 2-3 –Oskar Pastior Testament - Auf Jeden Fall 1:40 2-4 –Peter Wawerzinek Foo Nee Tick / Ree Gelln 1:40 2-5 –Arrigo Lora-Totino Sconcerto D'Olé (Fragment) 5:23 2-6 –Raymond Federman Jazz Solo 0:45 2-7 –Ernst Jandl D'Oide Antisemitin 0:50 2-8 –Ernst Jandl Du Wiasts Scho No 0:30 2-9 –Ernst Jandl Fia Mi 0:20 2-10 –Jaap Blonk Der Minister I 0:55 2-11 –Jaap Blonk Der Minister II 0:49 2-12 –Brion Gysin All Those Years 3:23 2-13 –Amiri Baraka Rhythmblues / Syncretism / Real Song - Interlude / Funklore 4:00 2-14 –Sainkho Namtchylak* Vision 5:14 2-15 –Fernando Aguiar Trocabolário 0:39 2-16 –Valeri Scherstjanoi Glasnost 0:53 2-17 –Robert Lax The Family 3:55 2-18 –Christian Bök Motorized Razors (Fragment From The Cyborg Opera) 0:55 2-19 –Christian Bök Ubu Hubbub 0:38 2-20 –Michael Lentz Ob Nun Als 4:20 2-21 –Valeri Scherstjanoi Gesang Via Ars Scribendi 0:56 2-22 –Carlfriedrich Claus Basale Sprech-Operationsräume / Variation M 3:53 2-23 –Hilde Kappes Schluck-Auf-Arie-In-H-I-J-K-Moll 0:34 2-24 –Isabeella Beumer Fluxion' 98 3:09 2-25 –Flatz Deutschen Die 2:00 2-26 –Einstürzende Neubauten Silence Is Sexy 7:00 2-27 –Nubuo Kubota Quick Facts 2:24 2-28 –Jean-Jacques Lebel Trois Poemes Trouves 0:58 2-29 –Bastian Boettcher Sommersonne 1:35 2-30 –Jurczok 1001 Concrete Jungle 3:04 2-31 –Eran Schaerf Butterflies 0:50 2-32 –Antipop Consortium Silver Heat 3:14 2-33 –Ernst Jandl Spruch Mit Kurzem O 0:05

Alles Lalula Vol. 2 - pt. 1
Alles Lalula Vol. 2 - pt. 2

(256 kbps, cover art included)

Jack Elliott - Jack Takes The Floor (1958)

Jack Takes the Floor is an album by American folk musician Ramblin' Jack Elliott, released in Great Britain in 1958. The original release was a 10-inch LP

This record was released as a 10" LP by Topic in 1958 with a brown/orange textured pattern sleeve with Jack in the foreground. The second issue sleeve, with the same record had the generic vertical stripes with the paper information pasted over the top of the opening cover and into the inside. The third issue had the screen-printed picture which we see here. By the time of the second issue, the whole Topic operation had moved to Nassington Road. Only the first issue came from the Bishops Bridge Road address; both subsequent releases have the Nassington Road address on both sleeve and label.

Ramblin' Jack Elliott delivers folk songs of varied origins in his unique New-York-meets-Texas style. Elliott's approach seamlessly blends hillbilly and blues on almost every track. The influence of Woody Guthrie (who makes a guest appearance on "New York Town") is plain to hear, but so is his own influence on the likes of later artists like Arlo Guthrie, Bob Dylan, and Townes Van Zandt.

The tracks were later reissued on a 12" record by Topic. 

Tracklist:

A1 San Francisco Bay Blues
A2 Ol' Riley
A3 Boll Weevil
A4 Bed Bug Blues
A5 New York Town
A6 Grey Goose
B1 Mule Skinner's Blues
B2 Cocaine
B3 Dink's Song
B4 Black Baby
B5 Salty Dog

Jack Elliott - Jack Takes The Floor (1958)

(320 kbps, cover art included)

Alles Lalula - Songs & Poeme - Originalaufnahmen von Valentin über Schwitters bis zur Beat-Generation

This is the first half of a four cd set spanning compilation presenting poems, songs and litaruture beyond the mainstream. The first set brings original recordings from Karl Valentin to dada artists like Kurt Schwitters and Richard Huelsenbeck to the Beat Generation.

Strongly recommended!

CD 1:
01 Richard Huelsenbeck / Hans Richter - Prolog
02 Wladimir Majakowski - Würden Sie denn
03 Filippo Tommaso Marinetti - La Battaglia di Adrianopoli
04 Karl Valentin - Valentin singt und lacht selbst dazu
05 Karl Valentin & Liesl Karlstadt - Liesl Karlstadt singt chinesisch
06 Kurt Schwitters - Die Sonata in Urlauten
07 Kurt Schwitters - An Anna Blume
08 William Butler Yeats - The Song of the Old Mother
09 Gertrude Stein - If I Told Him: A completed Portrait Of Picasso
10 Camille Bryen - Tete de Coq
11 Alexej Krutschonych Frühling mit Beköstigung?
12 - 14 Raoul Hausmann - bbbb /fmsb / kp´erioum
15 Murice Lemaitre - Lettre Rock
16 Francois Dufrene - Batteries vocales
17 Brion Gysin - I Am That I Am
18 Ezra Pound ´- Mouers contemporaines
19 - 23 H. C Artmann - blauboad 1 &2 / kindafazara / etc.
24 Allen Ginsberg - Footnote to Howl
25 William S. Burroughs / Brion Gysin - Recalling All Active Agents
26 Hans Arp - Aus der "Pyramidenrock"
27 Brion Gysin - Come To Free the Words
28 - 29 Henri Chopin - Indicatif 1 / La fusée Interplanétaire
30 Konrad Bayer - der sechste sinn (Ausschnitt)

CD 2:
01 Mimmo Rotella - 7 Poèmes Phonétiques
02 LeRoi Jones - Sweet - Black Dada Nihilismus
03 William S. Burroughs - Burroughs called the law
04 Ernst Jandl - auf dem land
05 Napoleon XIV - They're Coming to Take Me Away, Ha-Haaa!
06 Richard Huelsenbeck - Kapitän Kuckjohns Lautgedicht
07 Richard Huelsenbeck - Chorus sanctus
08 Ermst Jandl - falamaleikum
09 Ermst Jandl - talk
10 Ernst Jandl - schtzngrmm
11 John Lennon, Yoko Ono - No Bed for Beatle John
12 Joseph Beuys - Ja Ja Ja Ja Ja, Nee Nee Nee Nee Nee (Ausschnit)
13 Taj Mahal - A Little Soulful Tune
14 Wolfgang Bauer - Tornado
15 Wolfgang Bauer - November
16 Otto Nebel - Generalverrammlung
17 Sten Hanson - Railroad Poem
18 Benno Höllteuffel - xangl
19 Benno Höllteuffel - schbas muas sei ...
20 Benno Höllteuffel - jawarum
21 Benno Höllteuffel - as resal
22 Benno Höllteuffel - de groskobfadn griang nia gnua
23 Benno Höllteuffel - anschdendige nama
24 Benno Höllteuffel - schbruch
25 Erst Jandl - ottos mops
26 Charles Amirkhanian - Each 'LL
27 John Giorno - Suicide Sutra
28 Bernhard Heidsieck - Canal Street 35
29 Don van Vliet - Apes-Ma

Alles Lalula - Songs & Poeme Vol. 1 - cd 1
Alles Lalula - Songs & Poeme Vol. 1 - cd 2
(320 kbps, cover art included)

Theodor W. Adorno - Walter Benjamin - Briefwechsel

81 years ago, on September 26, 1940, at the age of 48, Walter Benjamin committed suicide at Portbou on the French–Spanish border while attempting to escape from invading Nazi forces.

Walter Benjamin and Theodor W. Adorno first became acquainted in Frankfurt in 1923 through Siegfried Kracauer, a contributing editor at the Frankfurter Zeitung since 1921.

Kracauer had taken the young Wiesengrund under his wing, tutoring him on Kant’s "Critique of Pure Reason" on Saturday afternoons. Benjamin was in Frankfurt intermittently after 1922 arranging to do his habilitation, his last-ditch effort to obtain a professorship at a German university after losing out to Karl Mannheim in competition for a seat in Heidelberg. Adorno was still a student reading philosophy, music, psychology and sociology, but he had also begun publishing music criticism in journals.

In 1924 Adorno finished his doctoral dissertation on Husserl with Hans Cornelius, the same professor to whom, the following year, Benjamin’s habilitation thesis was referred by the professor of German, Franz Shultz, when Shultz found it incomprehensible, and with whom Max Horkeimer was working as an assistant. Benjamin was allowed to withdraw his thesis on German Baroque drama to avoid the embarrassment of rejection, and afterwards gave up his academic ambitions for a career as a literary critic. Adorno’s thesis was submitted to Cornelius in 1927, and like Benjamin, he was forced to withdraw it after Cornelius, supported by Horkeimer (who disliked it for its insufficient Marxism), refused to accept it. For the next few years, Adorno pursued a career as a music critic.

The relationship between Adorno and Benjamin was solidified in 1929 in Königsberg, when Benjamin read Adorno, Horkeimer, and Greta Karplus (whom Adorno later married) his proposal for a philosophical history of the 19th century, which would retrospectively be referred to as an intellectual watershed for everyone involved. In 1929, Paul Tillich took over Cornelius’ chair of philosophy, and Adorno, by then greatly under Benjamin’s influence, was able to gain acceptance of his habilitation on “The Construction of the Aesthetic in Kierkegaard” in 1931. In one of the first seminars offered by Adorno, the class spent the semester reading Benjamin’s “failed” habilitation.

After 1933, when Adorno and Benjamin were forced into exile, their relationship became increasingly close, as Adorno provided Benjamin with his only real financial support through the Institute for Social Research, headed by Horkeimer.

The correspondence between Walter Benjamin and Theodor W. Adorno must rank among the most significant to have come down to us from that notable age of barbarism, the twentieth century. Benjamin and Adorno formed a uniquely powerful pair. Benjamin, riddle-like in his personality and given to tactical evasion, and Adorno, full of his own importance, alternately support and compete with each other throughout the correspondence, until its imminent tragic end becomes apparent to both writers. Each had met his match, and happily, in the other. Adorno was the only person who managed to sustain an intimate intellectual relationship with Benjamin for nearly twenty years. No one else, not even Gershom Scholem, coaxed so much out of Benjamin.



Theodor W. Adorno - Walter Benjamin - Briefwechsel
(audiobook, German language)

The Ex – History Is What's Happening (1982)

History is What's Happening is an album by Dutch punk rock band The Ex, released in 1982.

This strong early outing had the most elliptical post-punk experiments of the Ex's discography. Keeping tracks around the minute-and-a-half mark without going for an agitprop squall, "History Is What's Happening" was well suited for fans of PiL or the Durutti Column. The demented disco of "Life Live" and the anti-superficial "H'Wood-W'ton" stood out, serious anxiety filtered down to its basic rock-based elements. With irregular rhythms and the usual unsettled guitar sounds, and also G.W. Sok's patented socialist drawl, the Ex's innate ability to make a statement collide with admirers and enemies was significant.                

 Tracklist                                                       

A1	Six Of One And Half A Dozen Of The Other	0:57
A2	Barricades	1:03
A3	Life Live	1:38
A4	Machinery	0:45
A5	E.M. Why	1:47
A6	Moving Pictures	1:32
A7	Shoes	1:44
A8	Watch-Dogs	1:49
A9	Dutch Disease	1:21
A10	Blessed Box At The Backseat	1:13
B1	Who Pays	2:44
B2	Strong & Muscled	1:30
B3	Grey	2:22
B4	Equals Only	1:46
B5	H'wood-W'ton	0:56
B6	Sports	1:01
B7	$	0:56
B8	Pep Talk	1:58
B9	Attacked	1:55
B10	148	2:25

 The Ex – History Is What's Happening (1982)
(ca. 256 kbps, cover art included)

VA - Rebel Voices - Songs Of The Industrial Workers Of The World

Flying Fish and Rounder are independent labels which started up in the '70s, specializing in various types of roots music. The former company was apparently started up by Bruce Kaplan, a dissatisfied member of the Rounder collective. One of the disagreements might have been about politics, an element that Rounder seems to avoid despite the strong presence protest songs have in many types of American folk styles. The label even went as far as to remove a controversial political song from a Hazel & Alice album, while Flying Fish, on the other hand, has actually released some product with a strong leftist bent, this compilation of labor songs among them.

The most obvious audience for music such as this are people who are upset about their jobs; based on that perhaps faulty concept, this album should have sold millions. The presence of Utah Phillips looms large. He is a combination activist, organizer, songwriter, singer, and storyteller, and there are few performers who can put across a song such as "The Two Bums" as well as he can. The album also combines its participants into various small groupings and a big ensemble finale, an idea that works just as well in an album sequence as it has on many folk festival stages. There are several numbers originating with Joe Hill, needless to say, but also a grand Malvina Reynolds cover by Faith Petric and a terrific take on the classic "Hallelujah, I'm a Bum" by Bob Bovee. Besides delivering its intended messages, this collection also puts the spotlight on some fairly unknown performers in a context that brings welcome thematic strength and emotional power to their work.

The album is an amazing collection of stories and songs, that gives a good sampling of the history of the working people. The songs call for solidarity among working people, that is as relevant today as it was when the songs were originally written. The music provides a feeling of being connected, and makes you want to sing along. No matter what your interest, but especially if it's the history of the labor movement, this is a wonderful and thought-provoking collection of music.

Tracks:
1. Preamble to the IWW Constitution
2. Organizer - Jeff Cahill
3. Little Red Hen - Faith Petric
4. Which Side Are You On? - Bob Bovee
5. Two Bums - Utah Phillips
6. Banks of Marbles - Fred Holstein
7. Put It on the Ground - Marion Wade
8. Popular Wobbly - Eric Glatz
9. Song of the Rail - Mark Ross
10. Hold the Fort - Bruce Brackney
11. We Have Fed You All a Thousand Years - Bruce Brackney
12. Ain't Done Nothing If You Ain't Been Called a Red - Faith Petric
13. Hallelujah, I'm a Bum - Bob Bovee
14. Boss - Utah Phillips
15. Preacher and the Slave - Jeff Cahill
16. Mysteries of a Hobo's Life - Mark Ross
17. Stung Right - Fred Holstein
18. Jo Hill's Last Will - Kathy Taylor
19. Mr. Block - Utah Phillips
20. Power in the Union

Big up to http://newmoodswings.blogspot.com/ for the original posting.

Rebel Voices - Songs Of The Industrial Workers Of The World
(128 kbps, cover art included)

Lokomotive Kreuzberg - Kollege Klatt (1972)

Lokomotive Kreuzberg was a Berlin polit-rock band founded in early 1972. The group performed in various formations touring extensively through Germany until 1977 at the dissolution of the group when finances became an issue.

The group consisted of founding member Andreas Brauer (vocals, keyboards, violin, flute, guitar, percussion), lyricist Kalle Scherfling (vocals), Volker Hiemann (vocals, guitar) and Uwe Holz (drums, vocals, harmonica, percussion). Later they were joined by Uve Müllrich (Guitars, Bass) and he also played bass in Embryo, and was founder of the Dissidenten. He was replaced from 1973 by Bernhard Potschka, Manfred Praeker and Herwig Mitteregger from 1976. Members later played in the Nina Hagen Band and later founded German rockers Spliff.

The band released a number of albums; "Kollege Klatt" (1972), "James Blond - Den Lohnräubern auf der Spur" (1973), "Fette Jahre" (1975), "Mountain Town" (1977).

Lokomotive Kreuzberg played funky krautrock, with some folk rock, sounding similar to Gong and Mother Gong. The lyrics are left wing with a direct political message. Here´s their debut "Kollege Klatt" from 1972.

Tracklist:

A1	Abfahrt	2:45
A2	Ein Mann geht die Straße lang I	4:56
A3	Was glaubst du was du bist	5:02
A4	Wenn ick nach de Arbeit	5:08
B1	Ich könnt' ein Kommunist wohl sein	5:12
B2	Ein Mann geht die Straße lang II	2:52
B3	Lohnpredigt	5:04
B4	Geldsack	5:26
B5	Solidaritätslied	3:00

Lokomotive Kreuzberg - Kollege Klatt (1972)
(192 kbps, cover art included)