Montag, 31. Dezember 2018

Cochise - Heimliche Hits

The german band Cochise from Dortmund played folk music with mostly political lyrics inspired by left wing perspective.

Cochise were founded in 1979 and became one of the musical voices of the alternative movement in Germany.

They developed an unique lyrical and musical language connecting the political contents of the 70s and 80s with powerfull, delightfull music and the rebellious attitude of a whole generation.

The name Cochise (name of an Apache chief) expressed their main idea of bringing together the fight of social movements against the repressive government authority with the thoughts and demands of the growing ecological and peace movement.

Because of their radical statments the members of Cochise were more than one time victims of police violence and political justice. Most of the german media ignored the band - nevertheless they reached a phenomenal success. They played more than 1000 gigs in nine years, sold more than 120.000 albums without any media promotion and established a still current myth...

Cochise - Heimliche Hits (192 kpbs, front cover included)

Happy New Year!



Samstag, 22. Dezember 2018

Mike Bloomfield - Initial Shock - Live Between 1977 And 1979


Michael Bloomfield was one of America's first great white blues guitarists, earning his reputation on the strength of his work in the Paul Butterfield Blues Band. His expressive, fluid solo lines and prodigious technique graced many other projects - most notably Bob Dylan's earliest electric forays - and he also pursued a solo career, with variable results. Uncomfortable with the reverential treatment afforded a guitar hero, Bloomfield tended to shy away from the spotlight after spending just a few years in it; he maintained a lower-visibility career during the '70s due to his distaste for fame and his worsening drug problems, which claimed his life in 1981.     
      
Michael Bernard Bloomfield was born July 28, 1943, into a well-off Jewish family on Chicago's North Side. A shy, awkward loner as a child, he became interested in music through the Southern radio stations he was able to pick up at night, which gave him a regular source for rockabilly, R&B, and blues. He received his first guitar at his bar mitzvah and he and his friends began sneaking out to hear electric blues on the South Side's fertile club scene (with the help of their families' maids). The young Bloomfield sometimes jumped on-stage to jam with the musicians and the novelty of such a spectacle soon made him a prominent scenester. Dismayed with the turn his education was taking, his parents sent him to a private boarding school on the East Coast in 1958 and he eventually graduated from a Chicago school for troubled youth. By this time, he'd embraced the beatnik subculture, frequenting hangout spots near the University of Chicago. He got a job managing a folk club and frequently booked veteran acoustic bluesmen; in the meantime, he was also playing guitar as a session man and around the Chicago club scene with several different bands.

In 1964, Bloomfield was discovered through his session work by the legendary John Hammond, who signed him to CBS; however, several recordings from 1964 went unreleased as the label wasn't sure how to market a white American blues guitarist. In early 1965, Bloomfield joined several associates in the Paul Butterfield Blues Band, a racially integrated outfit with a storming, rock-tinged take on Chicago's urban electric blues sound. The group's self-titled debut for Elektra, released later that year, made them a sensation in the blues community and helped introduce white audiences to a less watered-down version of the blues. Individually, Bloomfield's lead guitar work was acclaimed as a perfectly logical bridge between Chicago blues and contemporary rock. Later, in 1965, Bloomfield was recruited for Bob Dylan's new electrified backing band; he was a prominent presence on the groundbreaking classic "Highway 61 Revisited" and he was also part of Dylan's epochal plugged-in performance at the 1965 Newport Folk Festival. In the meantime, Bloomfield was developing an interest in Eastern music, particularly the Indian raga form, and his preoccupation exerted a major influence on the next Butterfield album, 1966's "East-West". Driven by Bloomfield's jaw-dropping extended solos on his instrumental title cut, "East-West" merged blues, jazz, world music, and psychedelic rock in an unprecedented fashion. The Butterfield band became a favorite live act on the emerging San Francisco music scene and in 1967, Bloomfield quit the group to permanently relocate there and pursue new projects

Bloomfield quickly formed a new band called the "Electric Flag" with longtime Chicago cohort Nick Gravenites on vocals. "The Electric Flag" was supposed to build on the innovations of "East-West" and accordingly featured an expanded lineup complete with a horn section, which allowed the group to add soul music to their laundry list of influences. The Electric Flag debuted at the 1967 Monterey Pop Festival and issued a proper debut album, "A Long Time Comin'", in 1968. Critics complimented the group's distinctive, intriguing sound, but found the record itself somewhat uneven. Unfortunately, the band was already disintegrating; rivalries between members and shortsighted management - not to mention heroin abuse - all took their toll. Bloomfield himself left the band he'd formed before their album was even released. He next hooked up with organist Al Kooper, whom he'd played with in the Dylan band, and cut "Super Session", a jam-oriented record that spotlighted his own guitar skills on one half and those of Stephen Stills on the other. Issued in 1968, it received excellent reviews and moreover became the best-selling album of Bloomfield's career. "Super Session"'s success led to a sequel, "The Live Adventures of Mike Bloomfield and Al Kooper", which was recorded over three shows at the Fillmore West in 1968 and released the following year; it featured Bloomfield's on-record singing debut.
              
Bloomfield, however, was wary of his commercial success and growing disenchanted with fame. He was also tired of touring and after recording the second album with Kooper, he effectively retired for a while, at least from high-profile activities. He did, however, continue to work as a session guitarist and producer, and also began writing and playing on movie soundtracks (including some pornographic films by the Mitchell Brothers). He played locally and occasionally toured with Bloomfield and Friends, which included Nick Gravenites and ex-Butterfield mate Mark Naftalin. Additionally, he returned to the studio in 1973 for a session with John Hammond and New Orleans pianist Dr. John; the result, "Triumvirate", was released on Columbia, but didn't make much of a splash. Neither did Bloomfield's 1974 reunion with Electric Flag and neither did KGB, a short-lived supergroup with Barry Goldberg, Rik Grech (Traffic), and Carmine Appice that recorded for MCA in 1976. During the late '70s, Bloomfield recorded for several smaller labels (including Takoma), usually in predominantly acoustic settings; through Guitar Player magazine, he also put out an instructional album with a vast array of blues guitar styles, titled "If You Love These Blues, Play 'Em as You Please".

Unfortunately, Bloomfield was also plagued by alcoholism and heroin addiction for much of the '70s, which made him an unreliable concert presence and slowly cost him some of his longtime musical associations (as well as his marriage). By 1980, he had seemingly recovered enough to tour in Europe; that November, he also appeared on-stage in San Francisco with Bob Dylan for a rendition of "Like a Rolling Stone." However, on February 15, 1981, Bloomfield was found dead in his car of a drug overdose; he was only 37.

Tracklist:
1) Eyesight to the Blind
2) Women Lovin' Each Other
3) Linda Lou
4) Kansas City
5) Blues in B-Flat
6) Medley: Darktown Strutter's Ball / Mop Mop / Call Me a Dog
7) I'm Glad I'm Jewish
8) Jockey Blues
9) Between the Hard Place and the Ground
10) Don't Lie to Me
11) Cherry Red
12) Uncle Bob's Barrelhouse Blues
13) Wee Wee Hours
14) Vamp in C
15) One of These Days

Mike Bloomfield - Initial Shock - Live Between 1977 And 1979
(256 kbps, cover art included)

Freitag, 21. Dezember 2018

Woody Guthrie - The Legendary Woody Guthrie

Originally posted in July, 2012:

HAPPY 100th BIRTHDAY WOODY!

Woody Guthrie was born on July 14th, 1912 in Okemah, Oklahoma. So we can celebrate his 100th birthday next saturday. And we will post some of his wonderful songs during this week.

Woody Guthrie was the most important American folk music artist of the first half of the 20th century, in part because he turned out to be such a major influence on the popular music of the second half of the 20th century, a period when he himself was largely inactive. His greatest significance lies in his songwriting, beginning with the standard "This Land Is Your Land" and including such much-covered works as "Deportee," "Do Re Mi," "Grand Coulee Dam," "Hard, Ain't It Hard," "Hard Travelin'," "I Ain't Got No Home," "1913 Massacre," "Oklahoma Hills," "Pastures of Plenty," "Philadelphia Lawyer," "Pretty Boy Floyd," "Ramblin' Round," "So Long It's Been Good to Know Yuh," "Talking Dust Bowl," and "Vigilante Man." These and other songs have been performed and recorded by a wide range of artists, including a who's who of folksingers.
Most of those performances and recordings came after Guthrie's enforced retirement due to illness in the early '50s. During his heyday, in the 1940s, he was a major-label recording artist, a published author, and a nationally broadcast radio personality. But the impression this creates, that he was a multi-media star, is belied by his personality and his politics. Restlessly creative and prolific, he wrote, drew, sang, and played constantly, but his restlessness also expressed itself in a disinclination to stick consistently to any one endeavor, particularly if it involved a conventional, cooperative approach. Nor did he care to stay in any one place for long. This idiosyncratic individualism was complemented by his rigorously left-wing political views. During his life, much attention was given in the U.S. to whether people of a liberal bent were or had ever been members of the Communist party. No reliable evidence has emerged that Guthrie was, but there is little doubt where his sympathies lay; for many years, he wrote a column published in Communist newspapers.

Ironically, as Guthrie's health declined to the point of permanent hospitalization in the '50s, his career took off through his songs and his example, which served as inspiration for the folk revival in general and, in the early '60s, Bob Dylan in particular. By the mid-'60s, Guthrie's songs were appearing on dozens of records, his own recordings were being reissued and, in some cases, released for the first time, and his prolific writings were being edited into books. This career resurgence was in no way slowed by his death in 1967; on the contrary, it continued for decades afterward, as new books were published and the Guthrie estate invited such artists as Billy Bragg and Wilco in to write music for Guthrie's large collection of unpublished lyrics, creating new songs to record.


Tracks:

1. What Did The Deep Sea Say - Guthrie, Woody & Cisco Houston
2. Oregon Trial
3. Car Song
4. We Shall Be Free - Guthrie, Woody & Leadbelly/Sonny Terry/Cisco Houston
5. Danville Girl
6. Struggle Blues
7. John Henry - Guthrie, Woody & Cisco Houston
8. Chisholm Trail - Guthrie, Woody & Cisco Houston
9. Ludlowe Massacre
10.: Nine Hundred Miles
11. Make Me A Pallet On Your Floor
12. Buffalo Skinner's
13. Ramblin' Round
14. Rising Sun Blues (house of the rising sun)
15. Lindbergh
16. Vigilante Man
17. Two Good Men
18. Red River Valley - Guthrie, Woody & Cisco Houston
19. Ranger's Command
20. Farmer Labour Train
21. Sinking Of The Rueben James
22. Hard Ain't It Hard
.

Donnerstag, 20. Dezember 2018

Peter, Paul & Mary - In The Wind (1963)

You could have some fun with the title in more suggestive times, but In the Wind refers here to the popular trio's classic recording of Bob Dylan's "Blowin' in the Wind." Interestingly, their recording did as much for Dylan's career as it did for PP&M's, for, while it sealed their image as the troubadours of the '60s civil rights movement, it helped posit the then-little-known Dylan as the voice of a generation. Other highlights here include their gorgeous interpretation of Dylan's "Don't Think Twice, It's All Right" as well as spirituals, a lullaby, and even a Civil War ballad. It may all seem quaint now, but when this LP reached No. 1 in 1963, only weeks after John F. Kennedy's assassination, the folk movement was in full throttle...and something was definitely in the air. Or in the wind, so to speak. --Bill Holdship

Their third recording was one of the group's stronger outings, even if it confirms their status as folk popularizers rather than musical innovators. In particular, this record was essential to boosting the profile of Bob Dylan, including their huge hit cover of "Blowin' in the Wind," their Top Ten version of "Don't Think Twice, It's All Right," and the bluesy "Quit Your Lowdown Ways," which Dylan himself would not release in the '60s (although his version finally came out on The Bootleg Series). "Stewball," "All My Trials," and "Tell It on the Mountain" were other highlights of their early repertoire, and the dramatic, strident, but inspirational "Very Last Day" is one of the best original tunes the group ever did.      

Tracklist:
  1. "Very Last Day" (Peter Yarrow, Noel Stookey)
  2. "Hush-A-Bye" (traditional; arranged by Peter Yarrow, Noel Stookey)
  3. "Long Chain On" (Jimmie Driftwood)
  4. "Rocky Road" (Peter Yarrow, Noel Stookey)
  5. "Tell It on the Mountain" (arranged by Mary Travers, Peter Yarrow, Milton Okun, Noel Stookey)
  6. "Polly Von" aka Polly Vaughn and Molly Bawn (Mary Travers, Peter Yarrow, Noel Stookey)
  7. "Stewball" (Mary Travers, Milton Okun, Noel Stookey, Elena Mezzetti)
  8. "All My Trials" (traditional; arranged by Peter Yarrow, Paul Stookey, Mary Travers)
  9. "Don't Think Twice, It's All Right" (Bob Dylan)
  10. "Freight Train" (Elizabeth Cotten)
  11. "Quit Your Low Down Ways" (Bob Dylan)
  12. "Blowin' in the Wind" (Bob Dylan)

Peter, Paul & Mary - In The Wind (1963)    
(320 kbps, cover art included)

Mittwoch, 19. Dezember 2018

Leonard Dillon - One Step Forward (1992)

Reggae legend Leonard Dillon was born in Port Antonio, Jamaica on December 9, 1942. After relocating to Kingston in 1963, he was befriended by Peter Tosh, who in turn introduced him to the legendary producer Coxsone Dodd; with Tosh and his fellow Wailers singing harmony, Dodd cut four of Dillon's songs -- among them the hit "Ice Water" -- released in 1965 under the name Jack Sparrow.

Soon after he formed the Ethiopans with Stephen Taylor and Aston Morris, one of the seminal groups of the Rock Steady era and a major force in Jamaican music until Taylor's death in 1975. Reeling from the tragedy, Dillon retreated to Port Antonio for two years, finally resurfacing to reform the Ethiopans for a session with producer Niney the Observer later released as "Slave Call". He later recorded as a solo act as well, yielding the 1999 retrospective "On the Road Again".


Tracklist:

1 The Name Of The Game (Is Survival) 3:26
2 (Cool It) Amigo 3:02
3 On The Road Again 3:42
4 One Step Forward (And Two Steps Back) 3:19
5 Love You, Little Lover 3:10
6 In Day, Mi Dey 2:29
7 Feed The Fire (Fan The Flame) 3:18
8 Woman Of Babylon 3:10
9 Done I' Done 3:45
10 You Are My First Love 3:29
11 You Got The Dough 2:58
12 Train To Skaville 2:52
13 Dead Prophesy 3:29
14 No Bad Woman 2:43
15 The Whip 3:01
16 I'm Ready 3:00


Leonard Dillon - One Step Forward (1992)
(320 kbps, cover art included)

Sun Ra - Supersonic Jazz (1956)

Sun Ra had only been heading his Arkestra for a couple of years when they recorded the 12 songs featured on this 1956 session. But while the arrangements, ensemble work, and solos are not as ambitious, expansive, or free-wheeling as they became on later outings, the groundwork was laid on such cuts as "India," "Sunology," and one of the first versions of "Blues at Midnight." Ra's band already had the essential swinging quality and first-class soloists, and he had gradually challenged them with compositions that did not rely on conventional hard bop riffs, chord changes, and structure but demanded a personalized approach and understanding of sound and rhythm far beyond standard thinking. You can hear in Ra's solos and those of John Gilmore, Pat Patrick, Charles Davis, and others an emerging freedom and looseness which would explode in the future.        

"This 1956 album was out of this world! Sun Ra, a super talented pianist/composer played a big role in the Avant-Garde movement and was right there with Mingus, thinking “outside of the box” and taking risky improvised chances. The Jazz Con Class Radio listeners who never heard of Sun Ra will enjoy this mostly Hard Bop album very much but should learn more of his Avant-Garde albums that later followed. The ones who are very familiar with Sun Ra would be totally surprise to hear such a “down to earth” album from this “out of space” innovator. “Super-Sonic Jazz” is a collector’s item and every Jazz lover should have it in their collection along with all his other works. In my next to last post, I mentioned John Gilmore, who gave Coltrane saxophone lessons, is brilliant in this album. But then again, the whole band is great. Sun Ra’s belief that he was in contact with aliens from Saturn should not throw anyone off at all (Read biography below). This album will be featured for a week or so, check the schedule link for play times." - Jazz Con Class Radio

Tracklist:

A1 India
A2 Sunology
A3 Advice To Medics
A4 Super Blonde
A5 Soft Talk
B1 Kingdom Of Not
B2 Portrait Of The Living Sky
B3 Blues At Midnight
B4 El Is A Sound Of Joy
B5 Springtime In Chicago
B6 Medicine For A Nightmare

Sun Ra - Supersonic Jazz (1956)
(256 kbps, cover art included)

Dienstag, 18. Dezember 2018

VA – El Canto de un Pueblo (1977)


The music on this album was recorded live in August 1977 in Mexico City, during the festival "Jornadas de Solidaridad con la Cultura Uruguaya en el Exilio" (" Days of Solidarity with the Uruguayan Culture in Exil"). The featured artist are Roberto Darwin, Alfredo Zitarrosa, Daniel Vigletty and Camerata Punta del Este from Uruguay, Silvio Rodriguez, Pablo Milanés and Miriam Ramos from Cuba, Los Folkloristas and Amparo Ochoa from Mexico an Tania Libertad from Peru.

In the late 1950s, partly because of a world-wide decrease in demand for agricultural products, Uruguayans suffered from a steep drop in their standard of living, which led to student militancy and labor unrest. An urban guerrilla movement known as the Tupamaros emerged, engaging in activities such as bank robbery and distributing the proceeds to the poor, in addition to attempting political dialogue. As the government banned their political activities and the police became more oppressive, the Tupamaros took up an overtly armed struggle.
President Jorge Pacheco declared a state of emergency in 1968, followed by a further suspension of civil liberties in 1972. In 1973, amid increasing economic and political turmoil, the armed forces closed the Congress and established a civilian-military regime.  Around 180 Uruguayans are known to have been killed during the 12-year military rule of 1973 to 1985. Most were killed in Argentina and other neighbouring countries, with 36 of them having been killed in Uruguay.
A new constitution, drafted by the military, was rejected in a November 1980 referendum.
Following the referendum, the armed forces announced a plan for the return to civilian rule, and national elections were held in 1984.


Tracklist:

01. Adagio en mi país (Alfredo Zitarrosa)
02. Tierra mestiza (Los Folkloristas)
03. Mariposas (Silvio Rodríguez)
04. Soy latinoamericano (Roberto Darwin)
05. Gris tango (Camerata Punta del Este)
06. Tengo (Pablo Milanés)
07. Andes lo que andes (Tania Libertad)
08. Masa (Pablo Milanés, Silvio Rodríguez y Miriam Ramos)
09. Te quiero (Amparo Ochoa)
10. Sólo digo compañeros (Daniel Viglietti)

VA - El Canto de un Pueblo (1977)
(256 kbps, cover art included)

Sonntag, 16. Dezember 2018

Miriam Makeba - Miriam Makeba (1960)


Miriam Makeba had just made a splash in New York nightclubs and earned a fistful of press only a few months earlier when RCA Victor Records snapped her up and recorded her first album in May 1960. Clearly, the label was hoping to repeat the success of her mentor, Harry Belafonte, whose Belafonte Folk Singers accompanied her on some tracks and who wrote a blurb for the album's back cover.

Like Belafonte, she was a black singer with an exotic, folk-based repertoire who could translate her music into a sophisticated club act. In addition to the Belafonte troupe, which appeared on the calypso tune "The Naughty Little Flea," a song that sounded like a Belafonte number, the Chad Mitchell Trio joined her on "Mbube," aka the Weavers' "Wimoweh," and Charles Coleman was her duet partner on the comic Austrian tune "One More Dance."

She also turned in an early version of "House of the Rising Sun." Such familiar material offset the songs sung in her native South African tongue of Xhosa. Makeba had an expressive voice and was extremely versatile, as the range of material indicates. But despite the critical raves, she may have been a bit too exotic to be commercial on her first album, which was not a big seller. RCA let her go to Kapp Records for her second album, but came calling again three years later.


Tracks:

The Retreat Song
Suliram
The Click Song
Umhome
Olilili
Lakutshn, Ilanga
Mbube
The Naughty Little Flea
Where Does It Lead?
Novema
House of the Rising Sun
Saduva
One More Dance
Iya Guduza

Miriam Makeba - Miriam Makeba (1960)
(256 kbps, cover art incuded)

Samstag, 15. Dezember 2018

VA - Schauspieler singen Tucholsky - Heute zwischen Gestern und Morgen



Kurt Tucholsky (January 9, 1890 – December 21, 1935) was a German-Jewish journalist, satirist and writer. He also wrote under the pseudonyms Kaspar Hauser, Peter Panter, Theobald Tiger and Ignaz Wrobel. Born in Berlin-Moabit, he moved to Paris in 1924 and then to Sweden in 1930.

Tucholsky was one of the most important journalists of the Weimar Republic. As a politically engaged journalist and temporary co-editor of the weekly magazine Die Weltbühne he proved himself to be a social critic in the tradition of Heinrich Heine. He was simultaneously a satirist, an author of satirical political revues, a songwriter and a poet. He saw himself as a left-wing democrat and pacifist and warned against anti-democratic tendencies – above all in politics, the military and justice – and the threat of National Socialism. His fears were confirmed when the Nazis came to power in 1933: his books were listed on the Nazi's censorship as "Entartete Kunst" ("Degenerate Art") and burned, and he lost his German citizenship.
Gerd Wilden featured these 21 songs between 1972 and 1979 in his annual new years eve concert on german television programm "ZDF". Prominent actors like Luise Martine, Ingrid van Bergen and Günter Pfitzmann are singing lyrics by Kurt Tucholsky.

Tracks:
1. Eine Frau denkt (L. Martini)
2. Die geschiedene Frau (I. van Bergen)
3. Mutterns Hände (G. Pfitzmann)
4. Lamento (I. van Bergen, L.Martini, M.Sebaldt)
5. Die Nachfolgerin (M.Sebaldt)
6. Sie schläft (M. Rehberg)
7. An die Berlinerin (G. Pfitzmann)
8. Heute zwischen Gestern und Morgen (H. Messemer)
9. Ideal und Wirklichkeit (G. Pfitzmann)
10. Das Lied vom Kompromiß (C. Wodetzky, G. Pfitzmann, H. Korte)
11. Olle Germanen (H. Wieder)
12 Justitia schwoft (C. Wodetzky, H. Korte)
13. Einikeit und Recht und Freiheit (H. Wieder)
14. Arbeit tut not (G. Pfitzmann)
15. Werbekunst (L. Martini, M. Sebaldt, H. Wieder, G. Pfitzmann, R. Boysen, K. Schwarzkopf)
16. Deutsche Pleite (H. Messemer)
17. Eine Frage (R. Boysen)
18. Parteimarsch der Parteilosen (G. Pfitzmann)
19. Bürgerliche Wohltätigkeit (G. Pfitzmann)
20. Bürgerliches Zeitalter (H. Messemer)
21. Duo, dreistimmig (K. Schwarzkopf, H. Messemer, H. Menschig)

VA - Schauspieler singen Tucholsky - Heute zwischen Gestern und Morgen
(192 kbps, front cover included)

Ramona Zündloch - Musikalisches Kabarett 1921 - 1933

The German cabaret really began to blossom in the 1920s and 1930s, bringing forth all kinds of new cabaret artists such as Werner Finck at the Katakombe, Karl Valentin at the Wien-München, and Claire Waldorf.
Some of their texts were written by great literary figures such as Kurt Tucholsky, Erich Kästner, and Klaus Mann.

When the Nazi party came to power in 1933, they started to repress this intellectual criticism of the times. Cabaret in Germany was hit badly: In 1935 Werner Finck was briefly imprisoned and sent to a concentration camp; at the end of that year Kurt Tucholsky committed suicide; and nearly all German-speaking cabaret artists fled into exile in Switzerland, France, Scandinavia, or the USA. What remained in Germany was a state-controlled cabaret where jokes were told or the people were encouraged to keep their chins up.

Paul O'Montis was a Berlin cabaret celebrity, featured in several major revues and on dozens of recordings.
As a homosexual and a Jew, however, his career was ended after the Nazis came to power.
In 1933 he emigrated to Vienna, Austria. He fled to Prague after the "Anschluss" in 1938 (the German annexation of Austria).
When the Germans occupied western Czechoslovakia in 1939, O'Montis was arrested and sent to Sachsenhausen concentration camp, near the Berlin theaters where he formerly starred. He died there perhaps by his own hand in July 1940, at age 46.
This collection features his song "Ramona Zündloch" besides other great cabaret tracks by Curt Bois, Trude Hesterberg, Ernst Busch, Kurt Gerron and Claire Waldoff.
The cover shows us "Stilleben mit Maske und Fisch" by the great George Grosz from 1931.

Ramona Zündloch - Musikalisches Kabarett 1921 - 1933
(256 kbps, cover included, ca. 88 MB)

Freitag, 14. Dezember 2018

MC 5 - Live Detroit 1968/69

Alongside their Detroit-area brethren the Stooges, MC5 essentially laid the foundations for the emergence of punk; deafeningly loud and uncompromisingly intense, the group's politics were ultimately as crucial as their music, their revolutionary sloganeering and anti-establishment outrage crystallizing the counterculture movement at its most volatile and threatening. Under the guidance of svengali John Sinclair (the infamous founder of the radical White Panther Party), MC5 celebrated the holy trinity of sex, drugs, and rock & roll, their incendiary live sets offering a defiantly bacchanalian counterpoint to the peace-and-love reveries of their hippie contemporaries. Although corporate censorship, label interference, and legal hassles combined to cripple the band's hopes of mainstream notoriety, both their sound and their sensibility remain seminal influences on successive generations of artists.               

This album features more live material by The MC5. It was recorded at Detroit's Unitarian Church in 1968 and at Westfield High School in 1969. Tunes include "Come Together," "I Want You Right Now," "Come on Down," "Looking at You," and three others.   

Tracklist:

1 Intro / Come Together 5:27
2 I Want You Right Now 5:51
3 I Believe 3:17
4 Come On Down 12:31
5 It's A Man's Man's Man's World 5:18
6 Looking At You 3:43
7 Fire Of Love 3:11

(320 kbps, cover art included)

Guts Pie Earshot - Distorted Wonderland

GUTS PIE EARSHOT was an experimental anarcho-punk band with cello/drums/bass and a female vocalist from Germany that started in 1993. Later, the band turned into an instrumental cello/drum duo, which is still active today. It is surely one of the most unusual modern bands who music-wise vaguely have something to do with punk/ hardcore and in the same time breakbeat/ techno.

...and yet the music conjures up entire new universes in the mind's eye - or ear

Tracklist:

A1 Reflection
A2 Sonic You
A3 Several Parts Of Life
A4 Sum
B1 Clean
B2 Feedback
B3 Me Grain
B4 Enemy Today
B5 Run From The Shadow (Live)

Guts Pie Earshot - Distorted Wonderland
(320 kbps, front cover included)



Montag, 10. Dezember 2018

Abbey Lincoln - That´s Him! (1957)

Anna Marie Wooldridge (August 6, 1930 – August 14, 2010), known by her stage name Abbey Lincoln, was an American jazz vocalist, songwriter, and actress, who wrote and performed her own compositions. She was a civil rights advocate during the 1960s.

"That´s Him!" was her second recording, and her first for Riverside. The album finds her accompanied by quite an all-star roster: tenor saxophonist Sonny Rollins, trumpeter Kenny Dorham, pianist Wynton Kelly, bassist Paul Chambers, and drummer Max Roach.

Even this early, she was already a major jazz singer with a style of her own. Lincoln was careful from this point on to only interpret lyrics that she believed in. Her repertoire has a few superior standards (including several songs such as "I Must Have That Man!" and "Don't Explain" that are closely associated with Billie Holiday) plus Oscar Brown, Jr.'s "Strong Man" and Phil Moore's "Tender as a Rose"; she takes the latter unaccompanied. "Don't Explain" is slightly unusual in that Paul Chambers is absent and Wynton Kelly makes an extremely rare appearance on bass. All three of Abbey Lincoln's Riverside albums are well worth the listen.          


Abbey Lincoln - That´s Him! (1957)
(320 kbps, cover art included)

Samstag, 8. Dezember 2018

Ape, Beck & Brinkmann - Regenbogenland (1982)

Ape, Beck & Brikmann were founded in 1979 by Fred Ape, Klaus Beck and Peter Brinkmann together with the sound engineer Klaus-Werner Wollnowski. The group quickly became one of the flagships of the German alternative folk rock scene. Their political lyrics were mainly written by Fred Ape.

With over 100,000 sold copies, their song "Rauchzeichen" (1979), based on the "Prophecy of the Cree", became a secret hit in the growing alternative scene. Nowadays, it is one of the best knows songs focusing on ecological problems, and is published in germen school books. 

All the activities of the 1980s West German left wing and alternative scene were accompanied by the music of  bands like Ton Steine Scherben, Cochise and - of course - Ape, Beck & Brinkmann: The demonstrations against nuclear power plants, against the "Startbahn West" in Frankfurt, against the "Volkszählung" ("census") in 1983 and for women´s emancipation.
 
Now, nearly 40 years later, these songs may sound utopian and naive. But why should we not hope that war and hunger will be abolished at some point? And not so much has changed since these days and there is still a lot to do to show solidarity and enjoy life. We are not alone.

The Album "Regenbogenland" was released in 1982 on the Folk Freak Label.

Tracklist:

1. Regenbogenland 4:12
2. Indianersee 3:21
3. Das Haus 3:43
4. Der Schlag 2:07
5. Das letzte Paradies 2:09
6. Endlich ein Liebeslied 4:06
7. Wir sind noch wahre Pioniere 3:33
8. Global 2001 3:25
9. Auf der Flucht erschossen 3:07
10. Wounded Knee 4:10
11. Startbahn 4:26


Ape, Beck & Brinkmann - Regenbogenland (1982)
(192 kbps, cover art included)

Hai & Topsy Frankl - Wi ahin sol ich gejn?

Heinrich Frankl, called Hai, was born in Charlottenbrunn (Seleucia) on February 14, 1920. Beginning in 1930 he lived with his parents in Wiesbaden-Biebrich. In 1939, just before the war began, Hai Frankl emigrated to Lahäll near Stockholm (Sweden) and studied painting in Stockholm.
Hai’s father, Dr. Erich Frankl and his wife Elli (née Schachtel in Charlottenbrunn /Silesia on August 12, 1896) were deported on June 10, 1942, to Lublin and Majdanek – respectively to Sobibor – and murdered. Their daughter Hermine (born in Sophienau /Silesia on March 9, 1922) was able to reach Pyrford, England in a children’s transport and later moved to the USA.
Hai and his wife Gunny (née Wahlstroem) called Topsy, became known as the Folk-Duo “Hai and Topsy”. They toured West Germany in the 1960s and 1970s, singing songs from the labour movement as well as Yiddish folk songs.
They released the album "Wi ahin sol ich gejn?" in 1993 on the Wundertüte label.

Hai died on January, 13, 2016 - thanks a lot for all the wonderful music you gave us!

Hai & Topsy Frankl - Wi ahin sol ich gejn?
(256 kbps, cover art included)

Freitag, 7. Dezember 2018

Ruts - Penetration - BBC Radio 1 Live in Concert

With their unique blend of raucous punk rock laced with reggae and dub, the Ruts were one of the most exciting bands to emerge from Britain's late-'70s scene. Their career was cut cruelly short by the death of their singer in 1980, but still the group released six crucial singles and a seminal album in their short lifetime, while the surviving members soldiered on as Ruts D.C. 

They were also a powerful force within Britain's Rock Against Racism movement, ensuring a political legacy at least as vital as their music. On classic tunes like "Babylon's Burning" and "In a Rut," the band delivered rough-and-ready punk rock as strong as any of their peers in the first wave of U.K. punk, but "Jah War" showed they were similarly expert with reggae rhythms and dubwise production, and "Staring at the Rude Boys" showed they could blend punk sounds and West Indian themes, honoring each side equally.

Penetration is a punk rock band from County Durham, England formed in 1976. They re-formed in 2001 with several new members. Named after the Stooges song of the same name the band were formed in late 76 in Ferryhill County Durham by three friends Pauline Murray, Robert Blamire and Gary Smallman after seeing the Sex Pistols play in Manchester. They played their first gig in October 76 at the Middlesborough Rock Garden and played their first London gig at the famous Roxy Club in January 77 supporting Gen X.
Their debut single, "Don't Dictate", is now acknowledged as a classic punk rock single and their debut album, "Moving Targets" (1978), is still widely admired.

This concert was originally recorded for the BBC 7th July 1979 at the Paris Theatre and broadcasted the same month. The Ruts songs have been bootlegged on vinyl as "I Ain't Sofisticated" and "Shine On Me: Paris Theatre, London 7th July 1979".


Tracklist:

1 The Ruts - Your Just A ... 3:02
2 The Ruts - It Was Cold 4:16
3 The Ruts - I Ain't Sofisticated 2:29
4 The Ruts - Dope For Guns 2:15
5 The Ruts - Sus 3:27
6 The Ruts - Babylon's Burning 2:43
7 The Ruts - Jah Wars 3:05
8 The Ruts - Criminal Minds 1:46
9 The Ruts - In A Rut 4:37
10 Penetration - Danger Signs 2:37
11 Penetration - Lovers Of Outrage 3:59
12 Penetration - She Is The Slave 3:18
13 Penetration - Come Into The Open 2:54
14 Penetration - Movement 3:14
15 Penetration - Nostalgia 3:58
16 Penetration - Free Money 4:12
17 Penetration - Stone Heroes 3:45
Ruts - Penetration - BBC Radio 1 Live in Concert
(320 kbps, cover art included)

Donnerstag, 6. Dezember 2018

Itzhak Perlman - Tradition - Itzhak Perlman Plays Popular Jewish Melodies

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

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

Tracklist:

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

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

Mittwoch, 5. Dezember 2018

The Mamas And The Papas - If You Can Believe Your Eyes And Ears (1966)

In the spring of 1966, "If You Can Believe Your Eyes and Ears" represented a genuinely new sound, as fresh to listeners as the songs on "Meet the Beatles" had seemed two years earlier. Released just as "California Dreaming" was ascending the charts by leaps and bounds, it was the product of months of rehearsal in the Virgin Islands and John Phillips' discovery of what one could do to build a polished recorded sound in the studio - it embraced folk-rock, pop/rock, pop, and soul, and also reflected the kind of care that acts like the Beatles were putting into their records at the time. "Monday, Monday" and "California Dreamin'" are familiar enough to anyone who's ever listened to the radio, and "Go Where You Wanna Go" isn't far behind, in this version or the very similar rendition by the Fifth Dimension. But the rest is mighty compelling even to casual listeners, including the ethereal "Got a Feelin'," the rocking "Straight Shooter" and "Somebody Groovy," the jaunty, torch song-style version of "I Call Your Name," and the prettiest versions of "Do You Wanna Dance" and "Spanish Harlem" that anyone ever recorded.

If the material here has a certain glow that the Mamas & the Papas' subsequent LPs lacked, that may be due in part to the extensive rehearsal and the exhilaration of their first experience in the studio, but also a result of the fact that it was recorded before the members' personal conflicts began interfering with their ability to work together. The work was all spontaneous and unforced here, as opposed to the emotional complications that had to be overcome before their next sessions.

Tracklist:

"Monday, Monday" (John Phillips) – 3:28
"Straight Shooter" (J. Phillips) – 2:58
"Got a Feelin'" (J. Phillips, Denny Doherty) – 2:53
"I Call Your Name" (John Lennon, Paul McCartney) – 2:38
"Do You Wanna Dance" (Bobby Freeman) – 3:00
"Go Where You Wanna Go" (J. Phillips) – 2:29 Side two
"California Dreamin'" (J. Phillips, Michelle Phillips) – 2:42
"Spanish Harlem" (Jerry Leiber, Phil Spector) – 3:22
"Somebody Groovy" (J. Phillips) - 3:16
"Hey Girl" (J. Phillips, M. Phillips) – 2:30
"You Baby" (Steve Barri, P. F. Sloan) – 2:22
"The 'In' Crowd" (Billy Page) – 3:12

The Mamas And The Papas - If You Can Believe Your Eyes And Ears (1966)
(320 kbps, cover art included)

Dienstag, 4. Dezember 2018

Asian Dub Foundation - Naxalite - Culture Move EP (1998)

Asian Dub Foundation formed in 1993 as an outgrowth of the documentary Identical Beat, a film shot at London's Farringdon Community Music House, the site of a series of summer workshops designed to teach Asian children the essentials of music technology. In charge of the workshops were tutor Aniruddha Das and youth worker John Pandit, also a noted DJ; with one of their students, a 15-year-old Bengali rapper named Deedar Zaman, they soon formed a sound system that they called the Asian Dub Foundation. After each adopted an alias -- bassist/tabla player Das became Dr. Das, Pandit became Pandit G, and Zaman became Master D -- they gradually evolved into a working band with the 1994 addition of former Higher Intelligence Agency guitarist Steve Chandra Savale, an innovative performer known for tuning his strings to one note like a sitar, turning up the distortion unit, and playing his instrument with a knife, earning him the nickname "Chandrasonic." Emerging in the midst of considerable anti-Asian violence throughout Britain, the Foundation's early demos landed them a contract with Nation Records, and they recorded their debut EP, Conscious, in 1994.

Channeling influences ranging from punk to ambient music to Bengali folk songs, Asian Dub Foundation quickly gained a strong fan base not only among clubgoers but also among the anti-fascist movement, who applauded the group's vocal stand against racism.

Here´s their EP "Naxalaite - Culture Move" from 1998.


Tracklist:
01. Naxalite (Main Mix)
02. Culture Move (Pusher Sound Mix)
03. Free Satpal Ram (Russell Simmins Remix)
04. Culture Move (Urban Decay Remix)
05. Culture Move (Silver Haze Mix)



Asian Dub Foundation - Naxalite - Culture Move EP (1998)
(320 kbps, cover art included)

Montag, 3. Dezember 2018

The Fugs - Tenderness Junction (1968)


The Fugs began their career as a gaggle of post-beat era bohemians whose talents were as poets and activists first, musicians second, but after recording a handful of unexpectedly successful albums for Folkways and ESP, the group found themselves signed to Reprise Records, and had to face the prospect of becoming a genuine, professional rock & roll band.

"Tenderness Junction" was The Fugs' first album for Reprise, and also unveiled a new lineup, with founders Ed Sanders, Tuli Kupferberg, and Ken Weaver joined by three capable young rock & rollers, guitarist Danny Kortchmar (aka Danny Kooch), bassist Charles Larkey, and multi-instrumentalist Ken Pine.

While the early Fugs albums often made a virtue of the limited abilities of the musicians on hand, "Tenderness Junction" proved they could add a bit of polish and firm up their sound without losing touch with what made them memorable; the music is strong and expressive without being unnecessarily flashy, and Sanders clearly enjoyed having more reliable accompanists for his pastiches on various musical conventions, such as blues ("Knock Knock"), doo wop ("Wet Dream"), country ("War Song"), and traditional English folk ("Fingers of the Sun").

The Fugs also made the most of Reprise's pledge not to censor the group's material by including a recording of their appearance at an anti-war event in Washington D.C., in which they conducted an exorcism of the Pentagon in the midst of a "Grope for Peace."

"Tenderness Junction" puts greater focus on the extended poetics of "The Garden Is Open" and the five-part "Aphrodite Mass" over short, funny songs like "Slum Goddess," "CIA Man," or "I Couldn't Get High", presumably because they could, and they had collaborators with the chops to make them work musically, but this also makes this album less immediately engaging than the Fug´s earlier works. Still, it's musically ambitious while still allowing Sanders, Kupferberg, and Weaver to sound like themselves, and it's the rare album where chaos and discipline both get their moment in the spotlight and bring out the best in one another.      


Tracklist:

Side 1:
1 Turn On / Tune In / Drop Out
2 Knock Knock
3 The Garden Is Open
4 Wet Dream
5 Hare Krishna

Side 2:
1 Exorcising The Evil Spirits From The Pentagon October 21, 1967
2 War Song
3 Dover Beach
4 Fingers Of The Sun
5 Aphrodite Mass (In 5 Sections) 

The Fugs - Tenderness Junction (1968)
(256 kbps, cover art included)

Meistersinger & Ihre Kinder - Meistersinger & Ihre Kinder (1978)


Nuremberg's most valuable contribution to the polit-rock scene was the group Ihre Kinder:
A german rock band from the late 1960s and early 1970s, considered a pioneer of german rock music, because they were one of the first modern rock groups singing in german language.
Their music contained elements of classic rock, folk and jazz rock, their lyrics were politically aware.

After the decline of the band the keyboarder and singer Sonny Henning formed a horrible soul pop-rock band named Powerful Tramps, before regaining some musical sense as Meistersinger & Ihre Kinder, a quintet that recorded two albums in the late seventies.

Tracklist:
A1 Mit dem Kopf durch die Wand 3:10
A2 Zustand Nr. 10 6:00
A3 Könnte ich Fliegen 3:35
A4 Tohuwabohu 3:45
A5 Das Wort zum Montag 3:55
B1 Bär sucht Honig 4:35
B2 Im Paradies ist die Hölle los 3:30
B3 Erinnerung 3:45
B4 Schlechte Zeiten 6:55

Meistersinger & Ihre Kinder - Same (1978)
(320 kbps, cover art included)

Peggy Seeger - Early In Spring (1962)

The half-sister of Pete Seeger and the widow of Ewan MacColl, singer/songwriter Peggy Seeger continued her family's long history of championing and preserving traditional music, most notably emerging as a seminal figure in the British folk song revival of the 1960s. Peggy Seeger is considered by many to be the female folksinger, responsible for the continuous upswing of folk music popularity. It is a fitting title, considering Peggy was living and breathing folk music since before she was born.

She plays banjo and sings on this 1962 Topic Label EP. The four songs are 'courting songs'.

Tracklist:

A1. Madam I Have Come To Court You
A2. When I Was In My Prime
B1. So Early, Early In The Spring
B2. The Chickens They Are Crowing

Peggy Seeger - Early In Spring (1962)
(ca. 170 kbps, cover art included)

Samstag, 1. Dezember 2018

Stephanie Haas - YOUKALI (1996)

"Youkali" is a wonderful album by Stephanie Haas with songs by Vojtech Saudek, Susanne Erding-Swiridoff, Friedrich Holländer and Kurt Weill. The album was recorded with support of Susan Wenckus, Roswitha Troitzsch, Alexandru Ianos and Christoph Haas.

This is an English translation for "Youkali":

"It was almost to the end of the world
That my wandering boat
Straying at the will of the waves
Led me one day
The isle is very small
But the kind fairy that lives there
Invites us
To take a look around
Youkali
Is the land of our desires
Youkali
Is happiness, pleasure
Youkali
Is the land where we forget all our worries
It is in our night, like a bright rift
The star we follow
It is Youkali
Youkali
Is the respect of all vows exchanged
Youkali
Is the land of love returned
It is the hope
That is in every human heart
The deliverance
We await for tomorrow
Youkali
Is the land of our desires
Youkali
Is happiness, pleasure
But it is a dream, a folly
There is no Youkali
And life carries us along
Tediously, day by day
But the poor human soul
Seeking forgetfulness everywhere
Has, in order to escape the world
Managed to find the mystery
In which our dreams burrow themselves
In some Youkali
Youkali
Is the land of our desires
Youkali
Is happiness, pleasure
Youkali
Is the land where we forget all our worries
It is in our night, like a bright rift
The star we follow
It is Youkali
Youkali
Is the respect of all vows exchanged
Youkali
Is the land of love returned
It is the hope
That is in every human heart
The deliverance
We await for tomorrow
Youkali
Is the land of our desires
Youkali
Is happiness, pleasure
But it is a dream, a folly
There is no Youkali

But it is a dream, a folly
There is no Youkali"


Tracklist:

Vojtech Saudek
Julie
Klubko
Hamlet
Makbeth
Sasek

Susanne Erding-Swiridoff
Einmal, Liebste
Sternkarte
Küste, das Meer
Einmal
Sehnsucht

Kurt Weill
Le Roi d'Aquitaine
Le grand Lustucru
Les filles de Bordeaux
Nannas Lied

Friedrich Holländer
Wenn ich mal tot bin

Kurt Weill
Youkali


Stephanie Haas - YOUKALI (1996)
(320 kbps, cover art included)

Donnerstag, 29. November 2018

Jack Elliott - Hootenanny With Jack Elliott (1964)


First posted on February 24, 2016:

This friday will be the opening of this years "Festival Musik und Politik". The festival remembers the history of "hootenanny" in East Berlin and goes back to the year 1966. This is a good opportunity to post an album related to the history of "hootenanny" in the USA.

Ramblin' Jack Elliott is one of folk music's most enduring characters. Since he first came on the scene in the late '50s, Elliott influenced everyone from Bob Dylan and Pete Seeger to the Rolling Stones and the Grateful Dead. The son of a New York doctor and a onetime traveling companion of Woody Guthrie, Elliott used his self-made cowboy image to bring his love of folk music to one generation after another. Despite the countless miles that Elliott traveled, his nickname is derived from his unique verbiage: an innocent question often led to a mosaic of stories before he got to the answer. According to folk songstress Odetta, it was her mother who gave Elliott the name when she remarked, "Oh, that Jack Elliott, he sure can ramble."                

This album was recorded at a Philadelphia club on May 18, 1962. It has a good cross-section of the cowboy- and country-oriented folk Elliott liked to sing: Jimmie Rodgers' "Mule Skinner Blues," the Sons of the Pioneers' "Cool Water," "Boll Weevil," "How Long Blues," "Hobo's Lullaby," "Rock Island Line"; and, of course, a couple of "talking" Woody Guthrie tunes. It's perhaps a little more fun to hear than the average early 1960s Jack Elliott album, because the live ambience and spoken introductions and asides give it a warmer atmosphere than the earnest but plain studio recordings.              

The album "Hootenanny With Jack Elliott" was originally released  as "Jack Elliott At The Second Fret" in 1962

Tracklist:                           
A1Mule Skinner Blues
A2Cool Water
A3Talking Miner
A4Boll Weevil
A5How Long Blues
B1Salty Dog
B2Tyin' Knots In The Devil's Tail
B3Hobo's Lullaby
B4Talking Sailor
B5Rock Island Line

Jack Elliott - Hootenanny With Jack Elliott (1964)
(192 kbps, cover art included)

Mikis Theodorakis & Pablo Neruda - Canto General (Amiga, vinyl rip)

"Canto General" is a oratorio for two solo parts, mixed choir and orchestra by Mikis Theodorakis with poems by Pablo Neruda

This album was recorded 1980 in Berlin in the Palace of the Republic (Palast der Republik), performed at the "10. Festival des politischen Liedes".

A delight for the ear and a pleasure for the soul ... It is difficult to translate the feelings when listening to this music. Theodorakis and Neruda achived with their composition "Canto General" a master piece.


Tracklist:
1. Amor America
2. Algunas Bestias
3. Voy A Vivir
4. Los Libertadores
5. Vienen Los Pajaros
6. La United Fruit Co.
7. Vegetaciones
8. America Insurrecta

Mikis Theodorakis & Pablo Neruda - Canto General (Amiga)
(320 kbps, cover art included)

Kastrierte Philosophen - Rub Out The World - Maxi Mixes

Kastrierte Philosophen (Castrated Philosophers) from Hamburg was one of the most important German independent rock bands in the 1980s and 90s. The band formed in 1983 by Matthias Arfman and Katrin Achinger, both of whom worked together with other artists on their releases and concerts. Their musical style ranges from psychedelic rock, hip-hop, dub and electronic music.

Starting with a dark sound inspired by Velvet Underground and Nico (to who they dedicated their 1989 album "Nerves") as well as chanson, later on they worked on african and oriental influenced music. In their last phase in the mid-90s, they began to work with several young dub mixers, one of which was Jan Eißfeldt. Philosopher Arfmann (Knochenhaus studio) then produced all albums of Eißfeldt's German hip hop band Absolute Beginner and his Jan Delay reaggae albums.


Tracklist:
Radio Active (Solid Mix) 4:47
Jussun (Mix For Jazz-Supervisors) 6:58
Radio Active (Kid Mix) 4:02
Jussun ("Nicht Für Paul Simon" Mix) 2:58
Radio Active (Page 62 Space Mix) 4:08
Jussun (Morricone Mix) 3:26
Radio Active ("Hotel & Warten Auf Die Stars"-Mix) 4:23
Rub Out The Word (Commercial) 0:58

Angèle Durand - Lieder der Claire Waldoff (1980)


The husky-voiced Belgian pop singer and actress Angèle Durand sings on this album some of Claire Waldoff´s "greatest hits".  Durand's tribute to Claire Waldoff, the famous lesbian cabaret performer of Berlin, was recorded in 1980.

Angèle Durand , civil Angèle Caroline Liliane Josette Marie-José DeGeest (* 23 October 1925 in Antwerp , Belgium , † 22 December 2001 in Augsburg ) was a Belgian singer and actress. She was married from 1958 to 1961 with producer Nile Nobah. Later she had a long-time relationship with the entertainer Lou van Burg.

Claire Waldoff was a star on the stage of the great cabarets and variety shows between 1907 and 1935, not only in Berlin. Their songs were sung in the streets or whistled by garbage carters and millionaires. "Hermann heeßt er", "Wer schmeißt denn da mit Lehm?" or "Das war sein Miljöh" knew every child.

Angèle Durand - Lieder der Claire Waldoff (1980)
(192 kbps, front cover included)

Samstag, 24. November 2018

VA - Reggae Archive Vol. 2 (On-U Sound)

Unique, maverick and massively respected, On-U Sound is undoubtedly one of the UK’s most important independent labels.

Contributing a strikingly diverse soundtrack to chaotic post-punk, post-colonial Britain, On-U has become a by-word for experimentalism, spewing forth incredible, far-fetched, sometimes completely baffling tunes, never straying far from the cutting edge.

Primarily associated with the sound of ‘dub’, the label’s heritage is far broader, with many of its artists having backgrounds in punk & post-punk, industrial, hip-hop and funk where the cross-pollination of punk experimentation and Jamaican dub has mapped out the innovative, culturally exciting territory the label has covered over the years.

Since 1981, with label boss and producer Adrian Sherwood at the helm, On-U Sound has released over 100 albums and singles and has launched the careers and/or inspired an endless list of artists.
The label’s influence upon a younger generation of musicians, not to mention the ambient/techno style in general, has proved enormous, helping to fuse dub with both the independent rock and post-punk scenes

Tracklist:
1. Deadly Headley - 35 Years From Alpha
2. Deadly Headley - Head Charge
3. Bim Sherman/Deadly Headley - Without A Love Like Yours
4. Bim Sherman/Deadly Headley - Little Dove
5. Deadly Headley - Two From Alpha
6. Deadly Headley - Headley's Meadly
7. Deadly Headley/Singers & Players - Revolution Part 5
8. New Age Steppers - Some Love Dub
9. New Age Steppers - 5 Dog Race / Tribute
10. Lol Coxhill/New Age Steppers - 5 Dog Race Part 3
11. Bim Sherman - Accross The Red Sea
12. Bim Sherman - Awake The Slum
13. Bim Sherman - You Are The One
14. Bim Sherman - Golden Morning Star
15. Bim Sherman - Sit And Wonder


VA - Reggae Archive Vol. 2 (On-U Sound)
(192 kbps, cover art included)

Sonja Kehler - Dessau Lieder (Nova)

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This is an album with songs by Paul Dessau and lyrics by Bertolt Brecht, in the interpretation of Sonja Kehler. The album was recorded in 1976 and released in 1977 on the NOVA label in the GDR.

Paul Dessau, (born Dec. 19, 1894, Hamburg, Ger.—died June 28, 1979, East Berlin, GDR) was a German composer and conductor best known for his operas and other vocal works written in collaboration with Bertolt Brecht. Dessau’s conducting career included posts in Cologne (1919–23) and Berlin (1925–33). His long collaboration with Brecht began in 1942 in the United States, where he wrote the music (1946) for Brecht’s play Mutter Courage und ihre Kinder (Mother Courage and Her Children), the most popular of the Brecht-Dessau works. From 1948, they continued their partnership in East Germany, where Dessau composed his most successful opera, Die Verurteilung des Lukullus (1949; “The Sentencing of Lucullus”; also called Das Verhör des Lukullus [“The Trial of Lucullus”]), with libretto by Brecht. Dessau’s other works include the opera Einstein (1971–73).
His opera "Die Verurteilung des Lukullus" drew sharp criticism from the Party. Still, Dessau was highly respected: in 1952, he was voted membership into the Academy of Arts in East Berlin, then was appointed its vice president in 1957, serving until 1962. From 1962 to 1975, he taught at a primary school in the Berlin suburb of Zeuthen, where he lived since 1954. He remained active in composition in his last years and never acquiesced to Party officials, who often condemned his works.        

Sonja Kehler was born on February 2, 1933 in Haldersleben near Magdeburg. After graduating from the College of Drama in Leipzig she was given engagements at several theatres in the GDR, before launching on an international career as a freelance singer and actress. Sonja Kehler made a name for herself above all as a performer of works by Bertolt Brecht, whether as Shen Te in “The Good Person of Sezuan”, as Jenny in “The Threepenny Opera” or as Grusche in “The Caucasian Chalk Circle”.
Nevertheless in the 80s she was barely alowed to perform in the GDR. The repression started when one of her musicians didn´t come back to GDR after a concert “in the West”. Sonja Kehler told about that time in an interview: “I couldn´t get work in the GDR, no concerts, no recordings, but I was allowed to tour abroad again because it brought in foreign currency. I had of course done a lot in the GDR before that: concerts, theatre, shows, television work. But at a particular point that all stopped and I was only allowed to perform abroad. At that time Bernd Wefelmeyer was already my accompanist. In 1978 I made a very accomplished Brecht recording with hi but it was never released in the GDR, although WERGO did market it in the West”.
 

Tracklist:

Das Zukunftslied
Zwei Lieder aus Der Kaukasische Kreidekreis"
Bei den Hochgestellten
Zwei Kinderlieder
Drei Lieder aus "Mutter Courage und ihre Kinder"
Historie vom verliebten Schwein Malchus
Tierverse
Kampflied der schwarzen Strohhüte
Drei Lieder aus"Der gute Mensch von Sezuan"
Bitte der Kinder aus Herrnburger Bericht"

Sonja Kehler - Dessau Lieder (Nova)
(ca. 224 kbps, cover art included)

Lipstick Traces - A Secret History Of The 20th Century (1928-92)

This is a soundtrack or audio companion to Greil Marcus' book 'Lipstick Traces: A Secret History of the 20th Century' (1989), originally published in the US by Harvard University Press, in the UK by Penguin Books, in Germany by Rogner & Bernhard (Zweitausendeins), in Italy (as 'Tracce di Rossetto') by Leonardo Editore, and in Spain (as 'Rastros de Carmin') by Anagrama - a book of comparative history by rock-music critic Greil Marcus that examines popular music and art as a social critique of Western culture.

From the liner notes:

"It happens. You feel alien. You are other. Nothing in your culture, in your experience gets near to what you feel. You want to be elsewhere. If you can't be elsewhere, you want to see everything brought down. These thoughts explode in your head. You can't sleep, you grind your teeth. You get migraines. You shake.

Then you walk into a room. You see or hear four people making a noise, playing the limits of electricity and the room's ambient space: like a switch tripping, your life is changed forever. Out of nowhere, the terrain is cleared and the possibilities stretch before you.

This will only happen once, with that certainty. It may happen before and afterwards, in precognitions, aftershocks, conscious attempts to recapture that first shock of recognition: when you find the piper that calls your tune.

This collection exists for many reasons: for fun, to be played alongside a book with words and pictures, to rewrite Punk in terms of a still hidden female history. Most of all, it solves a perceptual problem: how to recapture that first hearing of the Sex Pistols' 'Anarchy in the UK'.

Nearly seventeen years after its first release, 'Anarchy in the UK' sounds, well, tired. If not quite a generally recognised 'rock classic', then its familiarity, and indeed supersession by generations of Punk and Rap groups, has meant that the song, and the time which it heralded, have lost their immediate potency. How to hear them in a new way?

In this particular example, to hear and see the Sex Pistols/the Clash/the Saints (among others) in 1978 was to feel this: 'Everything that is normally taken for granted as the way God planned it, as the way human beings were meant to be, is suddenly refuted, loses its reality, loses its pull. And people glimpse two things: they glimpse that the world they've been raised to accept is a fraud and a sham, and that another world is possible.'

This is a sensation at once galvanising and terrifying: you will hear it on most of the selections here. Just jump into the tunnel with the Slits, like Alice after the rabbit: by the end of this sixty minute journey, you'll have a composite picture that takes you right back to Punk's original, primal alienation.

I'd love to hear this collection condensed into a six minute rap tune, or a twelve minute techno mantra, but in the meantime we begin, with a giggle...


1. The Slits "A Boring Life"
A 1977 demo, recorded by Ari Up (vocals), Tessa Pollitt (bass), Viv Albertine (guitar), and Palmolive (drums). One of the few documents of that 1977 sound. (Originally released on 'Once Upon a Time in a Living Room', Y/Rough Trade, 1980, UK).

2. The Orioles "It's Too Soon To Know"
A No. 1 R&B hit in the USA in 1948, and also a more spectral hit among whites, the sort the chart couldn't fully register: 'a meeting of cultures' in a segregated society. Composed by a white Jewish songwriter named Deborah Chessler, performed by a black Baltimore group at first called the Vibra-Naires: Sonny Til (lead), George Nelson (second lead), Alexander Sharp (tenor), Johnny Reed (bass), and Tommy Gaither (guitar). (Originally released on It's-a-Natural, 1948, US).

3. Trio Exvoco "L'amiral cherche une maison à louer" (Tristan Tzara, Marcel Janco, Richard Huelsenbeck)
Composed 1916, performed in the same year at the Cabaret Voltaire in Zürich, recreated here by Trio Exvoco (Hanna Aurbacher, Theophil Maier, and Ewald Liska). Written, sung, and chanted in German (Huelsenbeck), French (Tzara), and English (Janco): 'proto rock 'n' roll'. (Recorded 1980; from 'Dada For Now', Ark, 1985, UK).

4. Jonathan Richman "Road Runner"
Accept no substitutes. (Originally released on Beserkley, 1975, US).

5. Guy Debord - Excerpt from soundtrack to 'Hurlements en faveur de Sade'
A film first shown in Paris in 1952 at the Ciné-Club Avant-Garde. See Debord, 'Society of the Spectacle and Other Films' (London: Rebel Press, 1992), for a translation of the screenplay ("Howlings in favour of Sade").

6. The Roxy, London - Ambience
From the two nights at the end of April 1977, recorded by Mike Thorne for the album 'The Roxy London WC2 (Jan-Apr 77)' (EMI, 1977, UK) - an accurate reflection of English Punk's early gamut, with X-Ray Spex, Wire, Buzzcocks, Slaughter & The Dogs, Eater, Johnny Moped, and the Unwanted).

7. Jean-Louis Brau "Instrumentation Verbale (Face 2)"
A 1963 recording in the style of 1950 ultra-lettrist Paris sound poetry. (Originally released on Achèle, 1965, France).

8. Buzzcocks "Boredom"
Recorded by the late Martin Hannett in Manchester, 12/76. Mostly put down in one take by Howard Devoto (vocals), Pete Shelley (guitar), Steve Diggle (bass), and John Maher (drums). (Originally released on New Hormones, 1/77, UK).

9. The Adverts "One Chord Wonders"
Second version, recorded by T. V. Smith (vocals), Howard Pickup (guitar), Gaye Advert (bass), and Laurie Driver (drums) for 'Crossing the Red Sea with the Adverts'. (Originally released on Bright Records, 1978, UK).

10. Raoul Hausmann "phonème bbbb"
Berlin dada sound poetry, composed 1918, performed 1956/57. (From 'Poèmes phonetiques complètes', S Press Tapes, 1978, W. Germany).

11. Gang of Four "At Home He's a Tourist"
Recorded as the band's second single by Jon King (vocals, melodica), Andy Gill (guitar, vocals), Dave Allen (bass), and Hugo Burnham (drums). (Originally released on EMI, 1979, UK, and on 'Entertainment!', EMI, 1979, UK / Warner Bros., 1980, US).

12. The Adverts "Gary Gilmore's Eyes"
Personnel as on "One Chord Wonders." (Originally released on Anchor, 1977, UK).

13. Kleenex "Ü (angry side)"
Recorded in London by by Regula Sing (vocals), Marlene Marder (guitar), Klaudia Schiff (bass), Lislot Ha (drums) from Switzerland. (Originally released on Rough Trade, 1979, UK). [liner notes erroneously states this to be recorded in Switzerland]

14. Guy Debord - Excerpt from the soundtrack to 'Critique de la séparation' (Dansk-Fransk Experimentalfilmskompagni, 1961)
Music: Bodin de Boismortier, 'Allegro movement, Op. 37 - Concerto in E Minor in five parts'. Narration: (Debord): "The sectors of a city are, at a certain level, legible. But the meaning they have had for us, personally, is incommunicable. like the clandestinity of private life. of which we possess nothing but pitiful documents." See Debord, 'Society of the Spectacle and Other Films', as above, for a translation of the screenplay ("Critique of Separation").

15. The Clash - Stage talk, Roundhouse, London, September 23, 1976
Joe Strummer recorded while supporting Crazy Avan and the Rhythm Rockers. (From the Jon Savage Archive).

16. Mekons "Never Been in a Riot"
Recorded 1977 with Andy Corrigan and Mark White (vocals), Ken and Tong (guitars), Ros Allen (bass), Jon Langford (drums and vocals). (Originally released on Fast Product, 1978, UK).

17. LiLiPUT "Split"
Kleenex after a name change; as above, with Chrigel Freund replacing Regula Sing on vocals, plus Angie Barrack, saxophone. (Originally released on Rough Trade, 1980, UK).

18. Roman Bunka, Holger Czukay, Raymond Federman etc. "röhrenhose-rokoko-neger-rhythmus"
from 'dr. huelsenbecks mentale heilmethode' ("Dr. Huelsenbeck's Psychological Salvation System"). Written and produced by Herbert Kapfer and Regina Moths as a radio play for Bayerischer Rundfunk, Munich, Germany, 1992 - an aural biography/autobiography of Huelsenbeck, but on this track the all-night argument over "Negro poetry,", aesthetic dictatorship, and untrammelled desire that was Berlin dada. (Originally released on Rough Trade Rec., 1992, Germany).

19. Essential Logic "Wake Up"
Recorded by Lora Logic (alto/tenor saxes, vocals), David (tenor sax), Phil Lip (guitar), William Bennett (guitar), Mark Turner (bass), Rich Tea (drums). (Originally released on Virgin, 1979, UK).

20. Kleenex "You (friendly side)"
Details as on "angry side" above.

21. Gil J. Wolman "Megapneumies, 24 Mars 1963 (Face 1)"
In the invention of ultra-lettrist sound poetry, Wolman was Braque to Jean-Louis Brau's Picasso, or vice versa. (Originally released on Achèle, 1965, France).

22. The Raincoats "In Love"
Recorded by Ana da Silva (vocals, guitar), Vicki Aspinall (vocals, violin), Gina Birch (vocals, bass), and Palmolive (drums). (Originally released on Rough Trade, 1979, UK).

23. Guy Debord - Excerpt from soundtrack to 'Hurlements en faveur de Sade'
Details as above.

24. Marie Osmond "Karawane"
Dada sound poem composed and first performed by Hugo Ball in Zürich in 1916, performed by Osmond on the syndicated US television program "Ripley's Believe It Or Not", c. 1984. As host of a special show on sound poetry, Osmond was asked by the producer to recite only the first line of Ball's work; incensed at being thought too dumb for art, she memorized the lot and delivered it whole in a rare 'glimpse of freedom'.

25. Bascam Lamar Lunsford "I Wish I was a Mole in the Ground"
A traditional Appalachian ballad: 'one little mole is enough to bring a whole mountain down.' (Originally released on Brunswick, 1928, US - taken from 'The Anthology of American Folk Music', compiled by Harry Smith and released by Folkway Records, 1952).

26. Mekons "The Building"
Performed by Mark White (vocals, foot). (Originally released on 'it falleth like the gentle rain from heaven - The Mekons Story, 1977-1982', CNT, 1982, UK).

27. Benny Spellman "Lipstick Traces (On a Cigarette)"
Composed by Allen Toussaint. (Originally released on Minit, 1962, US)."

Thanks again to Mr. Lucky!

Lipstick Traces - A Secret History Of The 20th Century
(192 kbps, cover art included)