Montag, 31. Dezember 2018

VA - 16. Festival des politischen Liedes (1986)

The "Festival des politischen Liedes" ("festival of political song") took place in East Berlin every February between 1970 and 1990. It was one of the biggest music events in the GDR.

The guest list was more than impressiv:  Miriam Makeba, Maria Farandouri, Konstantin Wecker, Hannes Wader, Inti Illimani, Francis Bebey, Billy Bragg, Bruce Cockburn, Dick Gaughan, Mercedes Sosa, Leon Gieco, Pete Seeger, Franz Josef Degenhardt, Erika Pluhar, Schmetterlinge and many others. The "Festival of the Political Song" brought internationally popular artist to East Berlin - all with a political attitude to engage for a change of society.

This album features original recordings form the 16th "Festival des politischen Liedes" in 1986.           

A1Bolivia MantaSuri Sikuris3:40
A2OktoberklubWas Kann Ein Land2:08
A3Rachid BahriJohannesburg3:38
A4Francis BebeyHeavy Ghetto5:55
A5Aroona 40.000 Years4:04
A6Franz Josef DegenhardtTrink Aus, Katrin3:43
A7SzélkiáltoLesz-e Meg Menedek3:35
B1Pete SeegerTurn, Turn3:40
B2Pi De La SerraAi, Ai3:10
B3Billy BraggBetween The Wars (Zwischen Den Kriegen)2:31
B4Forum Es Wird Keinen Sieger Geben3:28
B5Babsztyl U Bozena Makowiecka    Panna Pszeniczna (Das Erntemädchen)4:00
B6John FaulknerSong Withaout Name2:57
B7Modern Soul Band, AmandlaNelson Mandela4:54

VA - 16. Festival des politischen Liedes (1986)
(192 kbps, cover art included)

P. P. Zahl - Alle Türen offen (1978, Antagon)

Eight years ago, on January 24, 2011, the wonderful Peter-Paul Zahl died from cancer in Port Antonio, Jamaica.

Peter Paul Zahl was a German anarchist who turned author while spending ten years in prison in the 70s after shooting at a police man during a manhunt for terrorists. In 1985, he emigrated to Jamaica where he was granted Jamaican citizenship and worked as a stage director and writer.

May he rest in peace!

As a tribute to Peter Paul Zahl we present the album "Alle Türen offen" by the project "P.P. Zahl" (1978), which refers to the poet and anarchist Peter-Paul Zahl. Zahl was some kind of idol for the 1968 generation in Germany, as his anarchist and communist sympathies often got him in trouble with the law. This album was recorded during his longest stint in jail after he was caught with a gun. The album title ("All Doors Open") is an obvious reference to his incarceration, the lyrics are actually some of Zahl's poems.

The members of this ad hoc ensemble did actually have a respectable background in the politrock scene: They were recruited from Germany's "Oktober" and Austria's "Schmetterlinge" (who also represented Austria in the 1977 Eurovision Song Contest!). For example Willi Resetartis (vocals on "Meinen kultivierten Bekannten"), Schurli Herrnstadt (vocals on "Alle Türen offen") and Beatrix Neundlinger (flute) from the "Schmetterlinge" were part of the project.

All in all, "Alle Türen offen" is a very interesting album of complex polit-rock similar to "Oktober".
It was recorded in 1978, August, in the "Schmetter-Sound" studio in Vienna and was released in the same year on the "Antagon" label.

  • Meinen kultivierten Bekannten (P.P. Zahl/A. Hage) (2:57)
  • Ninguneo (P.P. Zahl/M. Iven) (22:45)
  • Alle Türen offen (P.P. Zahl/P. Robert/H. Schwarz)
    1. Hinter der dunklen Seite des Mondes (4:24)
        2. Zurückgebombt ... (6:40)
        3. Dynamos (4:32)
        4. ... in die Steinzeit (4:52)
        5. Alle Türen offen (4:50)   
P. P. Zahl - Alle Türen offen (1978, Antagon)
(192 kbps, cover art included)

Thanks a lot to for bringing up this lost gem of the german speaking polit rock scene!

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)

Schmetterlinge - Lieder fürs Leben (1975)

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

The album "Lieder fürs Leben" was recorded in the summer of 1975 at Windrose-Studio, Hamburg and released in the same year on the "Antagon" label.


01 Schmetter-Band (Herrnstadt - Resetarits/Unger) (3:09)
02 Antagon (Herrnstadt - Resetarits/Unger) (2:39)
03 Tango von der Heiligkeit des Lebens (Meixner - Resetarits/Unger) (2:37)
04 Lied von den schönen Worten (Herrnstadt - Resetarits/Unger) (2:43)
05 Lied von der Käuflichkeit des Menschen (Herrnstadt - Resetarits/Jura Soyfer) (3:53)
06 Feiertag (Herrnstadt - Resetarits/Unger) (4:40)
07 Jonny reitet wieder (Herrnstadt - Resetarits/Unger) (4:38)
08 Rosa Tante Rosa (Herrnstadt - Resetarits/Unger) (3:54)
09 Blaubarts Brautschau (Meixner/Unger) (2:35)
10 Lied von der menschlichen Gemeinheit (Herrnstadt-Resetarits/Unger) (3:03)
11 Lied von der Erde (Herrnstadt - Resetarits/Jura Soyfer) (3:35)
12 So soll es sein - so wird es sein (Wolf Biermann) (1:06)

More infos about the band in german language via in german language via this link.

Schmetterlinge - Lieder fürs Leben (1975), 192 kbps

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)

Happy New Year!

Sonntag, 30. Dezember 2018

Tom Paxton - Morning Again (1968)

Tom Paxton´s fourth album occasioned his first, albeit quite tentative, ventures into tracks employing some full band backing and orchestration. Among the session musicians were some notable players, including David Grisman on mandocello, Paul Harris on keyboards, and Herb Brown on bass. His songwriting, too, was becoming more diverse, from character sketches ("Victoria Dines Alone," about a lonely elderly woman) to comedy ("The Hooker") to languid introspection ("So Much for Winning," which ran almost seven minutes).

The expected political commentary was present in "Talking Vietnam Pot Luck Blues," and as much as U.S. involvement in Vietnam cried out for protest, this was a card that Paxton had arguably overplayed by this time. Unfortunately the best song, the odd "Mr. Blue" (whose protagonist is something of a Kafkaesque figure), isn't served too well by the almost tuneless arrangement and under-emoted vocals. The psychedelic cover by Clear Light (which actually preceded the release of Paxton's own version) absolutely tears it to pieces, and Judy Collins' interpretation (heard on a 1967 TV special, although not included on her albums) was also considerably superior. "Now That I've Taken My Life" rates as a highlight for its mordantly lighthearted and slightly surreal suicide note, complemented by mock-jaunty brass and orchestral fanfares. Only one of these songs was selected for the CD anthology The Best of Tom Paxton, so if you're hungry for more from his Elektra era, this is one of the more desirable places to begin.


A1 Jennifers Rabbit 1:25
A2 Mr. Blue 2:20
A3 Victoria Dines Alone 2:55
A4 The Hooker 3:15
A5 So Much For Winning 6:40
B1 Talking Vietnam Pot Luck Blues 2:45
B2 Clarissa Jones 3:30
B3 Morning Again 3:37
B4 A Thousand Years 3:30
B5 Now That I've Taken My Life 3:30

Tom Paxton - Morning Again (1968)
(320 kbps, cover art included)

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.

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:


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.


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.      

  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".


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


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.


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)

Montag, 17. Dezember 2018

Nina Simone - Pastel Blues (1965)

Pastel Blues is a studio album by Jazz singer/pianist/songwriter Nina Simone (1933–2003). It was recorded in 1964 and 1965 in New York City and released in 1965 by Philips Records. The name Pastel Blues is somewhat deceiving because the songs on the album incorporate different musical styles besides the blues, such as jazz, soul and folk music.

If this is blues, it's blues in the Billie Holiday sense, not the Muddy Waters one. This is one of Nina Simone's more subdued mid-'60s LPs, putting the emphasis on her piano rather than band arrangements.

It's rather slanted toward torch-blues ballads like "Strange Fruit," "Trouble In Mind," Billie Holiday's own composition "Tell Me More and More and Then Some," and "Nobody Knows You When You're Down and Out."
Simone's then-husband, Andy Stroud, wrote "Be My Husband," an effective adaptation of a traditional blues chant.

By far the most impressive track is her frantic ten-minute rendition of the traditional "Sinnerman," an explosive tour de force that dwarfs everything else on the album.    

A1Be My Husband
A2Nobody Knows You When You're Down And Out
A3End Of The Line
A4Trouble In Mind
A5Tell Me More And More And Then Some
A6Chilly Winds Don't Blow
B1Ain't No Use
B2Strange Fruit

Nina Simone - Pastel Blues (1965)
(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.


The Retreat Song
The Click Song
Lakutshn, Ilanga
The Naughty Little Flea
Where Does It Lead?
House of the Rising Sun
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.

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)

VA - Music Of The Andes

"...this is music with its feet in tradition and it's heart and mind in changing times..." - Jazziz (10/1995

"Well, this music does come from the Andes, but it's not representative of the wide range of Andean music, given that there are only five artists on the disc, and one of those, the late, great singer and songwriter Victor Jara, only appears once, with "El Tinku."

Like Jara, the other groups here have their roots in the time before the Chilean military coup of 1973. Among them is the venerable Inti-Illimani, a group that's existed for over three decades, playing not only the music of their native Andes, but who've also explored traditions across Latin America, although they moved to Europe following the coup, as did Quilapayun, who settled in Paris, continuing their vocal music, as on "El Canto Del Cuculi."

All three of the above were quite political, Jara particularly, and socially concerned, traits reflected heavily in their music and songs, comprised not only of traditional pieces, but also the Nueva Cancion movement which had swept the country in the '60s. The same is true of Illapu, another band who were forced into temporary exlie from their homeland by their political stance. While they all kept one foot in the past and looked forward, the other group on here, Kollahuara, remained exclusively folkloric -- their "El Condor Pasa," a tune well-known to Americans, thanks to Paul Simon -- has the weight of many years behind it.

So while this might not be a full view of Chilean Andean music, what's here is beautiful, with, of course, plenty of pan pipes and charangos, and well worth hearing, played by some true masters." ~ Chris Nickson

1Inti IllimaniHuajra
2QuilapayúnLas Obreras
3Conjunto KollahuaraEl Condor Pasa
5Victor JaraEl Tinku
6Inti IllimaniPapel De Plata
7IllapuBaila Caporal
8Inti IllimaniSubida
9QuilapayúnYaravi Y Huayno De La QuebradaDe Humahuaca
10QuilapayúnTan Alta Que Esta La Luna
11Inti IllimaniFiesta Punena
12QuilapayúnEl Canto Del Cuculi
13Conjunto KollahuaraCancion Y Huayno
14IllapuSol De Maiz
15QuilapayúnDos Palomitas
16Inti IllimaniAmores Hallaras
17Conjunto KollahuaraVicunita

VA - Music Of The Andes
(256 kbps, cover art 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.   


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


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)

Mittwoch, 12. Dezember 2018

Odetta - Sings Folk Songs (1963)

One of the strongest voices in the folk revival and the civil rights movement, Odetta was born on New Year's Eve 1930 in Birmingham, AL.
Odetta's most productive decade as a recording artist came in the 1960s, when she released 16 albums, including "Odetta at Carnegie Hall", "Christmas Spirituals", "Odetta and the Blues", "It's a Mighty World", and "Odetta Sings Dylan".
In December 2008, she died of heart disease in New York.       

"Odetta Sings Folk Songs" is an Odetta album first released in 1963, produced by Mickey Crofford. It was her second release on her new label, RCA Victor and is out of print. It peaked at number 75 on the Billboard Pop Albums charts.

  1. "900 Miles" – 3:10
  2. "Blowin' in the Wind" (Bob Dylan) – 4:09
  3. "Maybe She Go" – 1:54
  4. "I Never Will Marry" – 1:55
  5. "Yes I See" – 2:53
  6. "Why'n Oh Why" – 2:05
  7. "Shenandoah" – 3:46
  8. "The Golden Vanity" – 4:02
  9. "Roberta" – 3:07
  10. "Anthem of the Rainbow" – 4:07
  11. "All My Trials" – 3:32
  12. "This Little Light of Mine" (Harry Loes) – 3:03
Odetta - Sings Folk Songs (1963)
(192 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, 30 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.

3.Das Haus3:43 
4.Der Schlag2:07 
5.Das letzte Paradies2:09 
6.Endlich ein Liebeslied4:06 
7.Wir sind noch wahre Pioniere3:33 
8.Global 20013:25 
9.Auf der Flucht erschossen3:07 
10.Wounded Knee4:10 
(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".


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)