Freitag, 15. Oktober 2021

Klaus Lenz - Aufbruch (Amiga, 1976)

Klaus Lenz (born March 22, 1940 in Berlin ) is a German jazz musician , band leader and composer, mainly in the modern jazz style . He lived in the GDR until 1977 and is considered the nestor of the GDR jazz scene. Many well-known performers such as Manfred Krug , Günther Fischer , Reinhard Lakomy , Henning Protzmann ( Karat ) , Günter "Baby" Sommer and Ulrich Gumpert learned the musical craft from him and recorded successful albums with him. Klaus Lenz played with constantly changing line-ups, a testament to his constant search for new musical forms of expression. With every formation he achieved a high standard. In addition to his engagement as a jazz musician, he composed in the pop area, he arranged for well-known orchestras and wrote film and theater music, including for the DEFA films Wedding Night in the Rain (1967), Käuzchenkuhle (1968), Not with me, Madam! (1969), Sleeping Beauty (1970), Hey, You! (1970) and Stülpner legend (1972/1973).

"Aufbruch" which - almost anticipatingly - means "departure" would be that last album East German jazz giant Klaus Lenz could publish in his home country. Due to problems with the authority he left East Germany in 1977 and settled down in the western part of Germany where he would record only two more albums (both with another giant, Zbigniew Namyslowski). 

Around 1980 he completely retired from the music scene to earn his living as conservator. A tragic loss for German jazz if you ask me, the man was just 40 years old then. It was a big surprise when Lenz returned in 2010 for some concerts with his old buddies. A CD of these concerts which is said to be pretty fine has been released.


01. Blow out (4:56)
02. Balkantanz (7:00)
03. Aufbruch (7:50)
04. Hallo Igor (12:25)
05. Ballade für zwei (5:25)

(320 kbps, cover art included)

Donnerstag, 14. Oktober 2021

Gerulf Pannach & Christian Kunert - Sanger Mot Rädslan - Förbjudna sanger fràn Ost-Tyskland - Lieder Gegen Die Angst - verbotene Lieder aus der DDR (Oktober,1979)

Wolf Biermann, who succeeds in fusing his iconoclastic attacks on authoritarianism, bureaucracy, and militarism with infectious enthusiasm and pathos, making effective use of humour, blunt language, and simple imagery, founded the tradition of "Liedermacher", or political song writers and performers, in the GDR, to which Gerulf Pannach and Christian Kunert (members of the Klaus-Renft-Kombo, which performed Rhythm and Blues with critical texts in the early 1970s), Bettina Wegner, and Katharina Thalheim belonged. These singers, whose texts touched on sensitive political issues, had a significant following in the GDR, though they were often subjected to restrictions and more often than not ended up in the West.

This is a live recording of a concert Pannach & Kunert played on May 13,1978, in the old brewery Örebro in Sweden.


Side A:

01 Für uns, die wir noch hoffen
02 Marsch eines Gefangenen auf schwankenden Füßen
03 Lied vom FDJ-Funktionär Eckehard Langnäsa
04 Wie konnt ich
05 Gegen die Angst
06 Gefängnislied
07 Und das ist schade
08 Vom Rot das brennt

Side B:

09 Überholen ohne einzuholen
10 Lied von Antonia
11 Ballade vom Kameramann
12 Soldat auf Urlaub
13 Vom Vertrauensmann, der kein Vertrauen hat
14 Dein Weg bleibt dein Weg
15 Über den Frieden

Gerulf Pannach & Christian Kunert - Lieder gegen die Angst - verbotene Lieder aus der DDR (Oktober,1979)
(320 kbps, cover art included)

Hanns Eisler - Lieder - Irmgard Arnold (Sopran) - Zeitgenossen Ost

The series "zeitgenossen ost" presents 20th-century music whose rank will be retained well into the 21th century. It centres around characteristic works of outstanding compsers and exemplary performances by prominent artist from the former German Democratic Republic.

At the Second All-German Musical Festival in Coburg in the late summer of 1956 Irmgard Arnold gave her first Eisler concert. This amrked the beginning of Eisler´s collaboration with the singer. In numerous rehearsals with the composer she aquired a large repertory of his songs, ballads and solo cantatas written at different times of his life.
In the years that followed she gave numerous eisler song recitals accompanied by Andre Asriel on the piano. Undoubtedly, their concerts were of great importance for making this group of works popular.

The increasing split of Germny into East and West together with the fact that Irmgard Arnold due to her intense work at the Komische Oper could only perform these Eisler recitals very rarely prevented her interpretations from becoming popular in the West. Here it was the actress and chansonette Gisela May, with whom Eisler had also collaborated in the 1950s, who along with Ernst Busch came to be regarded as the congenial interpreter of Eisler´s vocal works in her concert appearance in Western Europe and the United States.
Thus these over 40-year-old recordings of two Arnold-Asriel concerts - November, 21 1956 and October, 14 1957 at the Berliner Staatsoper Unter den Linden -  are reaching us as something of a legacy, an authorized interpretation which, more than many others, met the composer´s original intentions.

Hanns Eisler - Lieder - Irmgard Arnold (Sopran)
(192 kbps, small front cover included)

Pannach, Fuchs & Kunert - Für uns, die wir noch hoffen (1977, vinyl rip)

Jürgen Fuchs (19 December 1950 - 9 May 1999) was an East German writer and dissident. He was born in Reichenbach (Vogtland) where he also grew up. After his military service he began to study social psychology at the University of Jena in 1971. In 1973, he joined the Socialist Unity Party of Germany (SED), the ruling party of East Germany in order to study the system from inside. At the same time he started publishing dissident poems and prose. This led to his forceful disenrollment from the university shortly before graduation and his expulsion from the Socialist Unity Party of Germany in 1975.

Fuchs married his wife Lieselotte in 1974. His daughter Lili was born in 1975 in Jena. In the summer of 1975 the family moved to Berlin where Fuchs became a social worker in a church charity, one of the few work options for a political dissident. Following his protest against the deprivation of East German citizenship of Wolf Biermann, he was arrested November 19, 1976. Fuchs spent 9 months in prison of the East German secret service "Stasi" in Berlin-Hohenschönhausen (but he was not sentenced until 1982). Following internation protests, Fuchs was released from prison and deported to West Berlin together with his family in August 1977.

After his arrival in West Berlin, he published protocols of his detention and he continued to be a target for the Stasi. In the early 1980s, Fuchs became involved in the peace movement. After the opening of the Berlin wall in 1989 and German unification in 1990, Fuchs was an activist in the clarification of the Stasi crimes.

He died of plasmacytoma, a rare kind of leukemia in 1999 in Berlin. His disease might have been caused by deliberate radioactive contamination by the Stasi during his imprisonment.

Born on June 24th, 1948 Gerulf Pannach became a highly influential German singer-songwriter and lyricist. In the early 1970's he worked together with the Klaus Renft Combo. Since 1972 he would work as a freelancer. In 1974 he began working together with Christian Kunert, a band member of Klaus Renft Combo too. After they were stage banned they performed occasional unofficially together with the dissident and poet Juergen Fuchs.

Viewing the expatriation of Wolf Biermann as an encroachment on their artistic freedom, twelve GDR writers expressed their solidarity with Biermann in an open letter on November 17, 1976. Among them were Stephan Hermlin, Stefan Heym, and Christa Wolf. Over the next few days, they were joined by over a hundred other artists, including writer Jürgen Fuchs and musicians Gerulf Pannach and Christian Kunert. Pannach and Kunert were members of the “Renft-Combo,” a group that had been banned since September 22, 1975, for writing texts critical of the regime. Fuchs was arrested on November 19, 1976; Pannach and Kunert were arrested on November 21, 1976. The three men were deported to West Berlin nine months later.

This album was released in 1977 by CBS in West Germany. It´s a recording of an unofficial concert with a small circle of friends in Leipzig, October 17, 1976. The Stasi observed the concert, the technical conditions for the recording were more than bad.Tracklist:

1. Überholen ohne einzuholen - Pannach
2. Das Erwachen (Prosa) - Jürgen Fuchs
3. Ballade vom schlechten Schlaf - Pannach
4. Eintragung 14. Februar (Prosa) - Fuchs
5. Zitat I - Fuchs
6. Eintragung 1. Juli I-III (Prosa) - Fuchs
7. Vom Vertrauensmann, der kein Vertrauen hat - Pannach
8. Eintragung 1. Juli, IV - Fuchs
9. Zitat II - Fuchs
10. Glaubensfragen - Kunert
11. Der Frühsport - Fuchs
12. Frage - Fuchs
13. Der Friseur - Fuchs
14. Friedenslied - Pannach
15. Du stehst an der Strasse - Fuchs
16. Vom Rot, das brennt - Pannach
17. Die jenischen Berge - Fuchs
18. Westberlin-Steglitz, Zitat - Fuchs
19. Gegen die Angst - Pannach
20. Der Stuhl - Fuchs
21. Für uns, die wir noch hoffen - Pannach

This photo shows (from left to right) Christian Kunert, Gerulf Pannach, Wolf Biermann, and Jürgen Fuchs in West Berlin in August 1977. Photo by Johanna Guschlbauer.

Pannach, Fuchs & Kunert - Für uns, die wir noch hoffen (1977, vinyl rip)
(ca. 244 kbps, cover included)

Hanns Eisler / Bertolt Brecht - Collaboration

This Tomato release from 1981 features collaborations between Hanns Eisler and Bertolt Brecht sung by Sylvia Anders, a german actress and musical comedy star, daughter of the famous tenor Peter Anders, who is at the forefront of the current trend toward revival of the traditional german cabaret.

Sylvia Anders acting and colloquial delivery of the words are so strong that it´s easy to overlook her accomplished classical musicianship and vocal technique in “Failure in Loving” and the melodically very difficult “Hollywood Elegies”. She sings in English; clearly it´s not a language she uses every day, but it brings these songs to a broader audience. Her accent and authentic german cabaret style help place Eisler´s work in its historical context.

The accompaniments, originally for piano or chamber ensemble, are played sometimes on piano, sometimes on a synthesizer, and sometimes by the guitar, vibraphone, bass and keyboard of the Stephen Roane Quartet, in jazz arrangements by Justus Noll (a german theatre composer) and by Heiner Stadler, the producer of the record and an accomplished jazz composer in his own right.
It my be surprising to hear something as straight-forward as the “Solidarity Song” accompanied by one of the most elaborate jazz arrangements of all, but on the other hand Eisler – who knew that music menat for pracitcal use must often be rearranged to suit new situations – might have found that the fresh musical ambience gives his familiar melodies a new edge.

Hanns Eisler / Bertolt Brecht Collaboration (new link)
(192 kbps, ca. 60 MB)

Pannach & Kunert - Fluche, Seele, fluche (1981)

Christian "Kuno" Kunert was part of the East German rock legend "Klaus Renft Combo" (or just "RENFT"), the songwriter and rock lyricist Gerulf Pannach was a companion of the band. Their rebellious attitude and "decadent" lifestyle was another thorn in the side of the East German officials. "Renft" was banned from stage for lifetime and declared "non-existent" in September 1975.

As Klaus Jentzsch, founder of the "Klaus Renft Combo", has left the GDR to West-Berlin with his Greek wife in 1976, Christian Kunert and Gerulf Pannach started a folk-duo called "Pannach & Kunert". After a few illegal peformances they were arrested and imprisoned together with writer Jürgen Fuchs for nine months until they were ransomed by the West German Government. They were forced to leave the GDR against their will. "Pannach & Kunert" enjoyed some moderate success in West Berlin.

"Fluche, Seele, fluche" is a wonderful album and a fine example for those critical german artists getting caught between the fronts of the cold war and suffering under their German-German exile:

„Ob im Osten oder Westen
wo man ist, ist´s nie am besten
suche, Seele suche
fluche, Seele, fluche.“

(Gerulf Pannach, inspired by "Weiter immer weiter", written by Erich Mühsam)

Pannach & Kunert - Fluche Seele Fluche (1981)
(256 kbps, cover art included)

Hans-A-Plast - Ausradiert (1983)

Hans-A-Plast was one of the most successful early German punk bands, one of the first featuring a female singer.

After playing on several early festivals in Hamburg and Berlin, the self-released debut "Hans-a-plast" appeared 1979 and was very successful. It sold so well that the major labels, who had dropped punk after the first unsuccessful German "punk" albums in 1977/78, got interested again. Members of Hans-a-plast founded the "No Fun" label in 1980, were they also released the follow-up "Hans-a-plast 2".
After constant touring, their third and last album "Ausradiert" was released in 1983, again critically acclaimed, but this time without much success - at that time, the pop side of NDW had already won.

Hans-A-Plast - Ausradiert (1983)
(192 kbps, cover art incuded)

Pannach & Kunert - Gib mir `ne Hand voll Glück - Live 1977 - 1993

Bild anzeigen
"Gib mir 'ne Hand voll Glück" is a collection of live recordings and rare songs by Gerulf Pannach and Christian Kunert, recorded between 1977 and 1993. This album was released in 2000 on the Buschfunk label.

Gerulf Panach was born in 1948 in Arnsdorf near Dresden and began by studying law. After discontinuing his studies, he took part in the songwriting movement and was in various music groups. As the keyboardist in the GDR’s extremely popular music group "Klaus Renft Combo," he wrote many lyrics that expressed criticism of the SED from the early 1970s. In 1975, the group was banned from performing, which was personally endorsed by the State and Party chief of East Germany, Erich Honecker.

Along with the “Renft” musicians Christian Kunert and Thomas Schoppe and writer Jürgen Fuchs, Pannach continued to write songs in secret. In an attempt to intimidate the protest movement against Wolf Biermann's expatriation, the Ministry for State Security (Stasi) arrested them in November 1976. After eight months of detention in the prison at Berlin-Hohenschönhausen, they were deported to West Germany.

There, Pannach and Kunert played as a duo and recorded five albums. After the fall of the Berlin Wall in November 1989, Pannach performed as the newly-formed Renft group. As a lyricist, he also collaborated with the Puhdys and Veronica Fischer. Pannach died of kidney cancer in Berlin in 1998. Due to his premature death, suspicions were raised that the Stasi had exposed prominent dissidents in the GDR, intentionally or unintentionally, to radioactive rays.


1. Cool sein
2. Sonne wie ein Clown
3. Berlin, dein Winter ist kein Spaß
4. Bockwurst Broadway
5. Dann verfluch nicht den Wind
6. Rum mit Tee
7. Du Sabine
8. Easy Rider (Pretty Woman guck nich so)
9. Einmal
10. Ich bin der Wind
11. Lucie von der Waterkant
12. Berlin-Song
13. Komm
14. Wenn du (k)einen Freund hast
15. Fluche Seele Fluche
16. Dududub (Der Ost-Berliner)
17. Sturm- und Windwalzer
18. Sonntag um drei
19. Trommellied
20. Wir sind nicht mehr wir selber
21. Zwischen Liebe und Zorn
22. Dein Weg bleibt dein Weg
23. The day they took the wall away
24. Für uns, die wir noch hoffen
25. Bäng, Bäng

Pannach & Kunert - Gib mir `ne Hand voll Glück - Live 1977 - 1993
(256 kbps, cover art included)

Material - Seven Souls (1989)

Bill Laswell's Material project has epitomized the concept of "fusion music" for well over two decades now. Material is a melting pot of styles, sounds, and substance-a confluence of rock, gut bucket funk, avant jazz, electronic interfacing, steel-wheel manipulation, and experimentally minded underpinnings. Material quietly makes the necessary musical statement every few years, galvanizing the air about it, then moving on.

SEVEN SOULS was originally released in 1987 and turned a few heads even then. Material's provocative late-'80s missive seems to resonate even more brutally today. William Burroughs' spoken text, his trademark vocal gravel croaking over a funk of molasses-thick bass, chirping electronics, abstract white noise, stinging guitars, and massed ethnic percussion, serves to offer up a rationale of post-modern sense in an increasingly convoluted world. Musically, Material has never sounded tighter, leaner, or meaner. Soul killer, stereo killer, mind-smelter-if the road to the Western lands leads to music this good, pay the man his toll, and get on to it.


Ineffect 7:34
Seven Souls 5:42
Soul Killer 4:32
The Western Lands 6:54
Deliver 5:48
Equation 5:06
The End Of Words 5:06

Material - Seven Souls (1989)
(320 kbps, cover art included)

Pannach & Kunert - Pretty Woman guck nicht so (1991)

The folk/blues duo Pannach und Kunert was formed by the two former Klaus Renft Combo members Christian Kunert and Gerulf Pannach.

Born on June 24th, 1948 Gerulf Pannach became a highly influential German singer-songwriter and lyricist. In the early 1970's he worked together with the Klaus Renft Combo. Since 1972 he would work as a freelancer. In 1974 he began working together with Christian Kunert, a band member of Klaus Renft Combo too.

After they were stage banned they performed occasional unofficially together with the dissident and poet Juergen Fuchs. In november 1976 they were arrested in the Stasi-remand prison Berlin-Hohenschoenhausen. In 1977 Gerulf and friends were banished from former GDR to Berlin (West). In the aftermath he worked there together with Wolf Biermann, worked as lyricist for other musicians and performed together with Christian Kunert. He died on May 3rd, 1998.

"Prette Woman guck nicht so" was recorded live at Flöz (Berlin) on March 24, 1991.

1.Gut gut gut
2.Sonntag um drei
4.Miese Story
6.Whisky Blues
7.Easy Rider
8.Cool sein
9.Sonny Terry und Brownie McGhee
10.Platz der Luftbrücke
15.Herrlich ist die Welt
16.Bäng, bäng

Pannach & Kunert - Pretty Woman guck nicht so (1991)
(320 kbps, cover art included)

Dienstag, 12. Oktober 2021

Richie Havens - My Own Way (1967 / 2012)

In 1967, producer Alan Douglas heard some tapes of solo performances by Richie Havens. In Douglas' own words, as taken from a note on the back cover of this reissue, "We decided that a solo recording was just too difficult to compete in the exploding record market...So we went back to the studio and overdubbed musical backgrounds onto Richie's solo sessions." The results yielded two albums on his own Douglas label, "Electric Havens", and "Richie Havens Record", issued at a time when the singer was reaching much bigger audiences with Verve albums conceived with full-band arrangements from the start. "My Own Way" is a 14-song CD compilation of material from those Douglas LPs, and is flawed in several crucial respects. True, Havens' performances -- largely of traditional or traditional-oriented folk and blues material, though there are more contemporary items like Ray Charles' "Drown in My Own Tears" and Fred Neil's "The Bag I'm In" -- are OK, and characteristic of the style with which Richie came to prominence. However, the overdubs are sometimes notably out of sync with the original contents, smacking of a hurried rush to exploit the folk-rock sound. Even the liner notes concede Douglas' additions were done "to the great displeasure of purists everywhere," and though they're not nearly as controversial or well-known as the posthumous overdubs he laid on some Jimi Hendrix tapes, they can likewise be criticized for insensitivity.

Even if one takes the attitude that the Douglas productions are nonetheless of historical interest, this CD blows an opportunity to gather all of the material in one place, by including only 14 of the 18 tracks from the original LPs. "I'm a Stranger Here" (from Electric Havens) and "I'm Gonna Make You Glad," "It Hurts Me," and "I'm on My Way" (from Richie Havens Record) are all missing, even though there was ample room for their inclusion on the CD, which runs 51 minutes. As another annoyance, there are no songwriting credits. If you do need to find these tracks for their historical interest, it's still preferable to hear them in their entirety than in this slightly abridged and unsatisfactorily packaged version. -


1 C.C. Rider 3:20
2 Oxford Town 3:19
3 Norah's Dove 3:37
4 9000 Miles From Home 3:44
5 Shadow Town 3:55
6 3:10 To Yuma 3:18
7 The Bag I'm In 3:46
8 Drown In My Own Tears 4:20
9 Down In The Valley 4:03
10 Chain Gang 2:49
11 Babe, I'm Leaving 4:36
12 Daddy Roll 'Em 2:40
13 Boots & Spanish Leather 5:38
14 My Own Way 2:11

Richie Havens - My Own Way
(320 kbps, cover art included)

Montag, 11. Oktober 2021

Ernst Busch - Kennst Du das Land, wo die Kanonen blühen (Erich Kästner)

Erich Kästner (1899-1974) is still one of the best known and most popular authors in the German-speaking world, but he is not very well known elsewhere. Even in German Europe, Kästner is primarily known as the author of highly amusing works for children, although his body of work includes a great variety of more serious material, including dramas, essays, screenplays, novels, and poetry.

Born in Dresden in 1899, Erich Kästner attended school there from 1906 until 1917. That year he began military service and after 1918 completed secondary school at Dresden's König Georg-Gymnasium. He began his university studies in Leipzig (German, history, philosophy, history of the theater) and had already begun publishing some newspaper pieces by 1920. In 1922 he began working at the Neue Leipziger Zeitung (newspaper). By 1927 Kästner was a theater critic in Berlin, where he lived and worked until after World War II.

Kästner's first big writing breakthrough came with the publication of Emil und die Detektive in 1928. This children's adventure tale, set in Berlin, has been a timeless, perennial favorite - filmed over the years no less than five times in various productions in English and German. Part of its appeal comes from Kästner's tendency to give the children in his stories strong character and virtues. Although this may at times create a certain lack of realism, Kästner always treats his child characters like adults, even as they remain childlike.

Although Kästner gave several reasons and even wrote an essay on the subject, no one is really sure why he remained in Germany following the Nazi rise to power. Naturally, he was criticized for this, in particular for his work at UFA on the Nazi-sponsored "Münchhausen" film. (He probably accepted that job because his income was severely limited by Nazi restrictions, but the circumstances have never been entirely clear.) Nevertheless, no one would claim that Kästner had any Nazi sympathies. On May 10, 1933 the author had the unique experience of watching his own books burned by the Nazis in Berlin. All of the other authors whose books went up in flames that night had already left Germany far behind. Later Kästner would be twice arrested and held by the Gestapo (in 1934 and 1937). It is uncertain whether he had any Jewish background or not.

In any event, under the Third Reich Kästner was forced to publish outside of Germany - until he was later restricted from publishing anywhere at all. During this period several of his works appeared under Switzerland's Atrium-Verlag imprint. These included his poems in "Doktor Erich Kästners lyrische Hausapotheke" (1936), several children's books and three novels: Drei Männer im Schnee (1934), Die verschwundene Miniatur (1935), and Georg und die Zwischenfälle (1938), later entitled Der kleine Grenzverkehr.

His output after the war rarely matched the force of his earlier work, and although he did publish some works that reflected his wartime experiences - "Die Schule der Diktatoren" (1956) and the journal "Notabene 45" (1961) among them, he never did publish the "big novel" that he had promised as part of his justification for remaining in Nazi Germany. But all was not well with the author. In the early 1960s he spent time in a Swiss sanatorium, although he continued to write and serve as the honorary president of the German authors group known as PEN.

The EP "Kennst Du das Land, wo die Kanonen blühen" was released in 1968 together with a book in the Eulenspiegel Verlag, featuring interpretations by the wonderful Ernst Busch.


A1: Kennst du das Land, wo die Kanonen blühen? (Adolf Fritz Guhl, Klavier)
A2: Die Tretmühle (Instrumentalgruppe, Leitung: Adolf Fritz Guhl)
A3: Fantasie von übermorgen (Instrumentalgruppe, Leitung: Adolf Fritz Guhl)
B1: Dem Revolutionär Jesus zum Geburtstag (Adolf Fritz Guhl, Orgel)
B2: Stimmen aus dem Massengrab (Instrumentalgruppe, Leitung: Adolf Fritz Guhl)
B3: Die andere Möglichkeit (Peter Gotthardt, Klavier)

"Kennst Du das Land, wo die Kanonen blühn
Kennst Du das Land, wo die Kanonen blühn?
Du kennst es nicht? Du wirst es kennenlernen!
Dort stehn die Prokuristen stolz und kühn
in den Büros, als wären es Kasernen.
Dort wachsen unterm Schlips Gefreitenknöpfe.
Und unsichtbare Helme trägt man dort.
Gesichter hat man dort, doch keine Köpfe.
Und wer zu Bett geht, pflanzt sich auch schon fort!
Wenn dort ein Vorgesetzter etwas will
- und es ist sein Beruf etwas zu wollen -
steht der Verstand erst stramm und zweitens still.
Die Augen rechts! Und mit dem Rückgrat rollen!
Die Kinder kommen dort mit kleinen Sporen
und mit gezognem Scheitel auf die Welt.
Dort wird man nicht als Zivilist geboren.
Dort wird befördert, wer die Schnauze hält.
Kennst Du das Land? Es könnte glücklich sein.
Es könnte glücklich sein und glücklich machen?
Dort gibt es Äcker, Kohle, Stahl und Stein
und Fleiß und Kraft und andre schöne Sachen.
Selbst Geist und Güte gibt´s dort dann und wann!
Und wahres Heldentum. Doch nicht bei vielen.
Dort steckt ein Kind in jedem zweiten Mann.
Das will mit Bleisoldaten spielen.
Dort reift die Freiheit nicht. Dort bleibt sie grün.
Was man auch baut - es werden stets Kasernen.
Kennst Du das Land, wo die Kanonen blühn?
Du kennst es nicht? Du wirst es kennenlernen!"
Erich Kaestner (1899-1974)

Ernst Busch - Kennst Du das Land, wo die Kanonen blühen (Erich Kästner)
(320 kbps, cover art included)

Gina Pietsch, Jürgen Kupke, Hannes Zerbe - Brecht - Alles wandelt sich

Alles wandelt sich

Alles wandelt sich. Neu beginnen
Kannst du mit dem letzten Atemzug.
Aber was geschehen ist, ist geschehen. Und das Wasser
Das du in den Wein gössest, kannst du
Nicht mehr herausschütten.
Was geschehen ist, ist geschehen. Das Wasser
Das du in den Wein gössest, kannst du
Nicht mehr herausschütten, aber Alles
wandelt sich. Neu beginnen Kannst du
mit dem letzten Atemzug.

Gina Pietsch, born Juli 22, 1946, is a german singer and actress. She was a member of the "Oktoberclub" and was later part of the group "Jahrgang 49". She studied German and music at the Karl Marx University in Leipzig . At the Hochschule für Musik "Hanns Eisler" in Berlin she sudied chanson in the class of Gisela May. At the Hochschule für Schauspielkunst "Ernst Busch" i Berlin she studied acting, besides others with Ekkehard Schall as her teacher.

Gina Pietsch took part in numerous radio and television productions. In 1973 she released togethr with Gerry Wolff the album "He hör mal zu - Lieder des anderen Amerika" ("Hey listen to me - songs of the other America") ​​on the Amiga label. In the following years she played at  many theatres. Literary and musical recitals based on texts by Brecht, Goethe, Heine, Bachmann and Brown and evenings on Helene Weigel, Mikis Theodorakis and Rosa Luxemburg are part of her repertoire.  Since 1992, G. Pietsch is lecturer in singing and interpretation at the "Hochschule für Schaupiekunst Ernst Busch" in Berlin. Since 2009 she is involved politically in the Vereiniung der Verfolgten des Naziregimes -Bund der Antifaschistinnen und Antifaschiten ("Association of Victims of the Nazi Regime - Federation of anti-fascists").
Here is a 1991 recording of Brecht texts accompanied by Hannes Zebe (piano, keyboard) and Jürgen Kupke (clarinet).

(256 kbps, cover art included)

Kurt Weill - Down In The Valley (1950)

Down in the Valley is a folk-opera in one act by composer Kurt Weill and librettist Arnold Sundgaard, initially composed and conceived for the radio in 1945 then rewritten and produced in 1948. It uses famous American tunes to carry the story (including "Down in the Valley", "The Lonesome Dove", and "Hop Up, My Ladies") and connected by original choral music.

This short opera, originally running only about 20 minutes, was conceived as the first of a series of radio operas by Olin Downes, the music critic of The New York Times, and a businessman named Charles McArthur. The radio idea eventually fell through for lack of a sponsor, although Maurice Abravanel conducted an audition recording that was never broadcast. Hans Heinsheimer, the director of publications at Schirmer, approached Weill with a request for a school opera like "Der Jasager" for production by the opera department of Indiana University School of Music. Weill expanded and simplified Down in the Valley to a 40-minute version, and the revised version had its world premiere at that university in Bloomington, Indiana in 1948, directed by Hans Busch (son of Fritz Busch) and conducted by Ernst Hoffmann. Alan Jay Lerner's wife, Marion Bell, played Jennie. The piece was soon broadcast on NBC radio. In 1950, it was broadcast on NBC television. It was subsequently produced in July 1952 in Provincetown, New York at the Provincetown Playhouse, directed by Tony Randall.
In 1960, the piece was played in German at the Staatstheater in Hannover, directed by Hartmut Goebel and conducted by Walter Born, with "Die sieben Todsünden". In 1984, PBS Television broadcast the piece, directed by Frank Cvitanovich and conducted by Carl Davis. It was filmed in England by the Moving Picture Company. In September 1995, it was presented in Kansas City at the Lyric Opera, directed by Francis Cullinan and conducted by Russell Patterson. The work has also been performed numerous times by amateur forces. It has received a number of recordings.

The opera begins in a jail the night before an execution and is told in flashback form.
Brack Weaver, a teenager, falls in love with a girl, Jennie, after an Appalachian prayer meeting. But her father wants her to go to a dance with his shyster creditor, Thomas Bouché, who the father thinks will bail him out of his money troubles. Jennie disobeys and goes to the dance with Brack.
At the dance, the villain gets drunk and threatens the hero with a knife. The two fight, the villain dies (by his own weapon), and Brack is condemned to be hanged. On the night before his execution, he escapes to spend his last hours with Jennie, before turning himself in to meet his fate.

This recording with Marion Bell (soprano), William McGraw (baritone), Kenneth Smith (bass-baritone), Ray Jacquemot (bass-baritone), Richard Barrows (vocals), Robert Holland (tenor), Roy Johnston (bass), Jeanne Privette (soprano), Carole O'Hara (contralto), Ralph Teferteller (vocals)
RCA Victor Chorus, RCA Victor Orchestra, and Peter Herman Adler (conductor) was released on a 10" on RCA in 1950.

Kurt Weill - Down In The Valley (1950)
(256 kbps, front cover included)

Ernst Busch - Six Songs For Democracy - Discos De Las Brigadas Internacionales (New York, Keynote Recordings, 1940)

The legendary album "Six Songs For Democracy" was originally issued by Keynote in 1940. It was a reissue of six songs recorded by Ernst Busch in 1937/38 in Barcelona during the spanish civil war. In 1937 Ernst Busch joined the International Brigades to fight against Fascism in Spain. His wartime songs were then recorded and broadcasted by Radio Barcelona and Radio Madrid.

These 6 songs by prominent German singer and stage actor Ernst Busch, a political refugee from Nazi Germany, who fought with the antifascist International Brigade during the Spanish Civil War were recorded with a chorus of soldiers, purportedly in the men's barracks, with noises of wartime activity in the background. As translated from their Spanish titles, the songs included are "The Four Generals," "Song of the United Front," "Song of the International Brigader," "The Thaelmann Column," "Hans Beimler," and a song from the Nazi concentration camps, "Song of the Peat Bog Soldiers."

The photograph below shows Ernst Busch with comrades from the XI Brigade of anti-fascist forces in Spain during the Spanish Civil War. (As printed in "Ernst Busch: Canciones de las Brigadas Internationales", VEB Deutsche Schallplatten, Berlin: Aurora-Schallplatten, 1963). Note: Busch is the only man in the photo not in uniform.

Ernst Busch - Six Songs For Democracy (192 kbps, front cover included)

Samstag, 9. Oktober 2021

Hans-A-Plast - Sex Sex Sex EP (1981)

Here are our heroes from Hannover, Hans-A-Plast, with their EP "Sex Sex Sex", released in 1981 on the No Fun label, containing the tracks "Sex Sex Sex" and "Barfuss in Scherben / Lemminger Punks".

A: Sex Sex Sex
B: Lemminger Punks

Hans-A-Plast - Sex Sex Sex EP (1981)
(320 kbps, cover art included)

Barry McGuire - Star Folk (1965, 2007)

Barry McGuire (born October 15, 1935) is an American singer-songwriter, primarily known for his 1965 hit "Eve of Destruction".

The compilation "Star Folk" is a totally unexpected find from out of left field in just about every way that it's possible for a compact disc to be, in part because it's not really (or entirely) a Barry McGuire release. If you look closely, it's by "Barry McGuire (and the stars from the New Christy Minstrels)," but it's not a New Christy Minstrels collection, either. For starters, this is a folk revival CD from a reissue label (RPM) that's hardly known for its commitment to the latter musical genre -- in terms of content, this CD might have seemed more likely coming out of Sundazed or Rhino. For another, it is, indeed, folk music -- Barry McGuire as a solo artist is most closely associated with either the folk-rock sounds of "Eve of Destruction" or the religious music of his later career, but this is from earlier than either of those periods. And finally, it isn't entirely a Barry McGuire collection, though he is the dominant and most prominent personality on it. Rather, this 24-song collection is made up of the releases of Horizon Records, a small label owned by West Coast folk music impresario Dave Hubert, who had the foresight to record McGuire, Karen Gunderson, Art Podell, Paul Potash, and Barry Kane -- all future members of the New Christy Minstrels -- in various solo and ensemble settings (sometimes in association with Rod McKuen, leading an impromptu gathering of folkies called the Keytones). The result is amazingly close to what the New Christy Minstrels created, especially on numbers such as "Town and Country," the haunting "So Long, Stay Well," "Midnight Train" (the latter actually done by the Sherwood Singers, featuring Gunderson), and "Gold Wedding Ring." In terms of the listening, it amounts to a lost treasure trove of Christys-style music, originally issued on the Ember label under the generic "Star Folk" name, and in stunning sound. Indeed, one would very much want to hear more of the Sherwood Singers, based on their material represented here, but no fan of the Christys is going to complain about this collection. The McGuire material is very solid and a good rival for his best work with the New Christy Minstrels, and shows off that stunning voice in its youthful glory to magnificent effect, and one can hardly complain about the guitar and banjo accompaniments. The annotation by Peter Doggett does a fair job of sorting out the varying origins of the 24 songs.


1 Greenback Dollar
2 Doo Dah
3 Jelly Coal Man
4 Old Paint
5 Love Song
6 Good Times Is All Done Now
7 The Banjo Song
8 Town And Country
9 So Long, Stay Well
10 Midnight Train
11 Gold Wedding Ring
12 One By One
13 Oh, Miss Mary
14 Another Country
15 You Know My Name
16 The Way You Are
17 The First Time
18 Hush A Bye
19 Fireball Mail
20 Another Man
21 Jump Down, Turn Around
22 Little Boy
23 Far Side Of The Hill
24 Puff The Magic Dragon

(320 kbps, cover art included)

Freitag, 8. Oktober 2021

Hans-A-Plast - Hans-A-Plast (1979)

Let´s go one more step back in the Hans-A-Plast history:
Hans-A-Plast was a punk band from Hannover, Germany, founded in 1978.

Here´s their self-released debut "Hans-a-plast", which appeared 1979 and was very successful. Great lyrics, great female voice!


Rock'N Roll Freitag 1:29
Lederhosentyp 2:02
Für 'Ne Frau 1:57
Monopoli 2:00
Teenage Traum 2:50
Rank Xerox 2:37
Es Brennt 4:03
Starfighter 2:43
Polizeiknüppel 2:53
Man Of Stone 2:22
Amerikaner 4:00
Hau Ab Du Stinkst 2:44
(320 kbps, cover art included)

Freitag, 1. Oktober 2021

VA - HanNOver Fun FUN Fun (1980, No Fun)

In 1979 Hans-A-Plast, one of the many flowers of the Hanoverian punk scene, had recorded their first LP, which sold surprisingly in the same year several thousand units. So much success, of course, called the record industry to the plan, but the band formed along with the fanzine maker Hollow Skai in Hannover, the NO FUN label in 1980.

One of the first own actions would have been the recording of the second "No Fun Festival", this show took place on 7 and 8 March 1980 in UJZ Glocksee, Hannover with about 2000 people. However, 11 bands made it to Glocksee-stage .The highlights of these performances were in total for the proposed sampler. Surprisingly was the performance of the 39 Clocks on it not on the tape, so that this project went into the studio and recorded their contribution - borrowed -because of the live atmosphere - the approval of Hans-A-Plast. Hollow Skai rightly observed in the detailed booklet of this CD, that for every taste, at least one new wave band was there - a musical in this latitude unprecedented event in Hannover!Even thirty years after the occurrence of this concert, you can feel the special mood of this music.
This album is a musical document from the early days of the German punk and new wave.


–Splizz - Tripping On Minster Beach (GB) / Private Keep Out 6:02
–Cretins - Dachau-Disco 3:09
–Der Moderne Man - Das Disco-Lied 4:43
–The 39 Clocks - 39 Explosion Heats 3:30
–Hans-A-Plast - Amerikaner 4:04
–Rosa - De Sade War Hart 3:37
–Daily Terror - Andere Zeiten 4:01
–Daily Terror - Schmutzige Küsse 1:38
–Schwanzkann's - Ich Und Mein Schwanz 2:25
–Kaltwetterfront - Disco Boy 3:09
–Phosphor - Wald 2:03
–Rotzkotz - No Name 3:22

VA - HanNOver Fun FUN Fun (1980, No Fun)
(320 kbps, cover art included)

Donnerstag, 30. September 2021

Mississippi John Hurt - Live (Vanguard, 2002)

It's the stories, the warmth of the voice and guitar and the straight-from-the-heart stage patter that made Mississippi John Hurt one of our most enduring bluesmen. This 1965 concert reveals how influential and inspiring he was.

Mississippi John Hurt's vocal and guitar style are always easy on the ears. Unlike a number of Delta stylists with their high-pitched voices and slashing slide guitars, Hurt's approach to country blues is immediately accessible. Recorded (for the most part) at Oberlin College in 1965, "Live" captures Hurt a couple of years after his rediscovery and one year before his death. He kicks off with several spirituals, including "I Shall Not Be Moved" and "Nearer My God to Thee." As Billy Altman points out in the liner notes, religious material was often excluded from studio recordings because no one believed it marketable. The remainder of "Live" consists of folk-blues, from "Salty Dog Blues" to "Coffee Blues" to "Ain't Nobody's Business." Hurt's finger-style guitar reminds one of Elizabeth Cotton and has more in common with the Piedmont players in general than those of his Mississippi home. Perhaps this connection helps explain why Hurt, who is considered primarily a bluesman, covered so many traditional folk songs. Indeed, the inclusion of songs like "C.C. Rider" also connects him to that other great straddler of folk and blues, Leadbelly. The last three tracks -- "Hop Joint," "Trouble, I've Had It All My Days," and "Spike Driver Blues" -- originate from the Newport Folk Festival in 1965 and fit in well with the other material. Fans will thank their Maker that Tom Hoskins traveled to Mississippi in 1963 to find out if Hurt was still among the living. Otherwise, excellent recordings like "Live" would've never been made.

"Country blues just doesn't get much better, or any sweeter, than Hurt's performance here. When this concert recording was issued as a two-record set 35 years ago, it bore the misleading title The Best of Mississippi John Hurt. Misleading because it featured the rediscovered 70-something artist reviving material he'd originally recorded more than 35 years earlier. But age did nothing to diminish the sly sensuality of Hurt's songs or the gentle virtuosity of his guitar. The selection includes traditional spirituals, such as "I Shall Not Be Moved" and "Nearer My God to Thee"; signature standards, such as "Candy Man" and "My Creole Belle"; and surprises, such as the instrumental "Spanish Fandango" and the evergreen "You Are My Sunshine." Hurt's return from obscurity ranks with the more rewarding upshots of the 1960s folk revival, and his legacy (since his death in 1966) has continued to influence contemporary folk and blues musicians. In addition to the original recordings from a 1965 concert at Oberlin College, this reissue contains three previously unreleased tracks recorded at the same year's Newport Folk Festival workshop." --Don McLeese

1 Here Am I, Oh Lord, Send Me
2 I Shall Not Be Moved
3 Nearer My God To Thee
4 Baby What's Wrong With You
5 Ain't Nobody's Business
6 Salty Dog Blues
7 Coffee Blues
8 Avalon, My Home Town
9 Make Me A Pallet On The Floor
10 Since I've Laid This Burden Down
11 Sliding Delta
12 Monday Morning Blues
13 Richland Woman Blues
14 Candy Man
15 Stagolee
16 My Creole Bell
17 C C Rider
18 Spanish Fandango
19 Talking Casey
20 Chicken
21 You Are My Sunshine
22 Hop Joint
23 Trouble, I've Had It All My Days
24 Spike Driver's Blues

(320 kbps, cover art included)