Samstag, 31. März 2018

Fred Frith & Henry Kaiser ‎– With Enemies Like These, Who Needs Friends? (1987)

This is a compilation of Henry Kaiser and Fred Frith's guitar duo records. With Enemies like These, Who Needs Friends? is a masterpiece of studio improvisation and innovative guitar techniques.

Looking back on guitar history during the 1970s and 1980s, it seems like Henry Kaiser and Fred Frith are separated by a generation. After all, Frith got his steely nerve from Henry Cow, who formed in the early 1970s, and Kaiser seemed to step into his own as a brilliant musician fully formed in the late 1970s. The pair has always been tight - and close in both age and temperament - as this set demonstrates. Kaiser and Frith alternate squiggles and wiggles and string tickles here, giving lots of attention to the details of improvised abstractions. They also sink their picks into an assembly of song structures that sometimes verges on the absurdly bouncy and beat-driven, even when at the core of their sound the pair could spin into the ether with ringing, caustic finality. Frith loves to tinker with the actual guitar, altering the machine's ability to project the expected sounds. Kaiser, by contrast, seems perfectly seated when controlling the projections and mangling, tangling, and laying them in disconnected lines. Kaiser and Frith offer one of free music's best opportunities, and this is pinnacle work for both.

"This maximum-length CD-only release consists of selections from an unreleased live album by Frith and Kaiser (1984) combined with "greatest hits" from their two out-of-print duo albums: "With Friends Like These" (1979) and "Who Needs Enemies?" (1983).
Most all of this music was improvised by one method or another. Tracks 3,4,5,7,8,12,14,15,16 were recorded without overdubbing.
Frith and Kaiser give very special thanks to our engineer, Oliver DiCicco who recorded this music with us in an especially collaborative and creative way. Thanks also to Larry Ochs and Metalanguage Records who originally issued the previously released materials on this CD. Thanks to Greg, Rich and Ray at SST for making this CD possible."        


1 The Trace 2:52
2 Three Languages 9:27
3 Love In Hell 5:34
4 Twisted Memories Give Way To The Angry Pleasant 3:46
5 One Of Nature's Mistakes 2:07
6 Roy Rogers 5:01
7 It Sings 5:39
8 Drowsy Maggie 4:33
9 The Kirghiz Light 4:55
10 The Golden Eighties 5:46
11 Objects Everyday 3:06
12 The Changing Of Names 5:44
13 It Moves... 2:01
14 One-Eyed Theater 4:35
15 Dog Puppet Born Out Of A Sock 2:07
16 Hard Time Killin' Floor Blues 3:33

(320 kbps, cover art included)

Freitag, 30. März 2018

Floh De Cologne - Lucky Streik (1973)

"Lucky Streik" is a classic political "krautadelic" album released by Floh De Cologne in 1973 on the "Ohr" label.

Floh De Cologne were well-known for their humorous and satyrical approach (which gained them comparisons with other freak troupes like The Fugs or The Mothers Of Invention ). They deliver a freaky connection of agit-prop satira and madness with relentless no-barriers free jamming: Political agitation meets free-rock...

"Lucky Streik" was live recorded on 25.11.72 in the Stadthalle Gummersbach and remixed at Studio Dierks in Stommeln, Köln.


1. Countdown
2. Schön ist ein Jugendtraum
3. Sozialpartner Blues
4. Kalte Wut
5. Wenn ich einmal Reich bin
6. Die Wirtschaft ist jetzt in Gefahr
7. Der Imker
8. Deine Freiheit
9. Vergleiche
10. Der Löwenthaler
11. Was ein Kommunist trinken darf
12. Wenn es brennt
13. Freie Marktwirtschaft
14. Für die Zukunft sehen wir rot
15. Saurier
16. Wir sind millionenmal so stark

Gerd Wollschon - vocals, text
Dieter Klemm - vocals, percussion
Theo Konig - vocals, sax (tenor) clariner, flute
Markus Schmidt - vocals, guitar, keyboards
Dick Stadtler - bass, guitar, piano
Hansi Frank - vocals, drums

Floh De Cologne - Lucky Streik (1973)
(192 kbps, cover art included)

Montag, 26. März 2018

Quilapayún - Basta (1969)

"Basta" ("That’s enough!/Das genügt!") is an album that was released by Quilapayún in 1969. It brings together popular and folk songs from Latin America, the former USSR, and Italy. This album included "La muralla"/"The wall" - one of the most popular folk songs in Latin America - based on the text of a poem by the Cuban poet Nicolás Guillén.

The vocal arrangements reach their peak in “Bella Ciao”, “Por montañas y praderas” and “Patrón.” This album – as "X Vietnam" - shows the internationalism of Nueva Cancion Chilena/ New Chilean Song.

The liner notes below are from the original "Basta" album release in 1969 and in the re-edition of the album in Italy in 1974, but may not appear with more recent editions:
"The importance of the role that art has to play for the revolutionary movements of our people was addressed for the first time in our country by a historical letter - that serves as an introduction to this recording - that was signed by the first leader of the proletariat cause in Chile, Luis Emilio Recabarren.
Since its inception our group has defined its work as committed with the interests of the proletariat, and hasn’t concealed, nor will it ever conceal, its political aims. This is born of a need to remain forever loyal to the nascent truth that impels and mobilizes our people towards the hour of its authentic historical realization.
All artists that have the opportunity to give their work to the revolutionary cause should do so, and in that manner not only do they fulfill their responsibility with the working class but also with art itself. Given that in an era of exploitation and misery, of subjugation, of cruel and unjust wars, of unrestrained egoism and selfishness, of repression that violate the will of the people, which seek to liberate themselves from imperialism and capitalism; artists that remain on the fence and profit from their privileged position within society – which in a thousand ways aims to bribe and alienate them – betray the very essence of art.
An essence, which yearns to liberate, to educate, to elevate mankind.
Bourgeois society wants art to be another factor contributing to social alienation; we artists should transform it into a revolutionary weapon, until the contradiction that actually exists between art and society is finally surpassed.

This surpassing is called revolution and its motor and fundamental agent is the working class. Our group, loyal to the ideals of Luis Emilio Recabarren, sees its work as a continuation of what has already been achieved by many other popular/folk artists. This side of the trenches has been occupied by artists whose names are forever linked to the revolutionary struggle of our people; the first Luis Emilio Recabarren, the latest: Violeta Parra and Pablo Neruda. The example they have given us is the light that guides us."

  1. ”A la mina no voy” (I won’t go back to the mine) (Colombian folklore)
  2. ”La muralla” (The wall) (Nicolás Guillén - Quilapayún)
  3. ”La gaviota” (The gull) (Julio Huasi – Eduardo Carrasco)
  4. ”Bella ciao” (Goodbye, my beautiful) (Italian folk - Italian partisans Hymn)
  5. ”Coplas de baguala” (Verses of Baguala) (Argentinian Folk)
  6. ”Cueca de Balmaceda” (Cueca dance for Balmaceda) (Popular)
  7. ”Por montañas y praderas (Over mountains and prairies) (Soviet Red Army Hymn)
  8. ”La carta” (The letter) (Violeta Parra)
  9. ”Carabina 30-30" (A commonly used rifle) (from the Mexican Revolution)
  10. ”Porqué los pobres no tienen...” (Why don’t the poor have...) (Violeta Parra)
  11. ”Patrón” (Landlord) (Aníbal Sampayo - Uruguayan folk)
  12. ”Basta ya” (Enough, already!) (Atahualpa Yupanqui)
Quilapayún - Basta (1969)
(256 kbps, cover art included)

Mittwoch, 21. März 2018

Georges Brassens - In Great Britain (1973)

"France's most popular singer in concert, Cardiff 1973".

Georges Brassens (22 October 1921 – 29 October 1981) was a French singer-songwriter and poet.
He wrote and sang, with his guitar, more than a hundred of his poems, as well as texts from many others such as Victor Hugo, Paul Verlaine, or Louis Aragon. In 1967, he received the Grand Prix de Poésie of the Académie française.

Between 1952 and 1976, he recorded fourteen albums that include several popular French songs such as Les copains d'abord, Chanson pour l'Auvergnat, La mauvaise réputation, and Mourir pour des idées. Most of his texts are black humour-tinged and often anarchist-minded.

This album was recorded on October 23rd, 1973 at the Sherman Theatre in Cardiff.


A1 Dans L'Eau De La Claire Fontaine 2:15
A2 Les Sabots D'Helène 3:10
A3 Saturne 3:15
A4 Le Vieux Léon 3:55
A5 La Chasse Aux Papillons 2:50
A6 Bonhomme 2:45
B1 La Non-Demande En Mariage 4:25
B2 La Mauvaise Réputation 2:50
B3 Chanson Pour L'Auvergnat 3:15
B4 Le Gorille 3:55
B5 Les Copains D'Abord 2:55

Georges Brassens - In Great Britain (1973)
(320 kbps, cover art included)

Dienstag, 20. März 2018

Enrico Medail Canta Ferré – Nè Dio Nè Padrone (1977)


"Medail est un poète, et c'est pour ça qu'el ne m'a jamais tradi. Et puis, il a du talent, et puis il chante bien. Ecoutez-le. Vous ne l'entendrez jamais su "Hit Parade" de la merde. Et c'est bien comme ça. Il me ressemble et bravo!" – Léo Ferré

This album is Enrico Medail's only recording with songs from Léo Ferré translated into Italian.

Léo Ferré (24 August 1916 – 14 July 1993) was a Monegasque French poet and composer, and a dynamic and controversial live performer, whose career in France dominated the years after the Second World War until his death. He released some forty albums over this period, composing the music and the majority of the lyrics. He released many hit singles, particularly between 1960 and the mid-seventies. Some of his songs have become classics of the French chanson repertoire, including "Avec le temps", "C’est extra", "Jolie Môme" or "Paris canaille".

Along with Serge Gainsbourg, Jacques Brel and Georges Brassens, he is considered one of the greatest French-language singer-songwriters of all time, but unlike Brel and Gainsbourg, or even Charles Aznavour, his songs are little known in the English-speaking world. Ferré also gained a large following as an anarchist, and is often seen as the archetypal French protest singer.

Ferré’s songwriting was famously incisive and attuned to the issues of the day, but also poetic. He mixed revolt with love and melancholy, sophisticated lyricism with slang and shouts, and rhyming verse with prose monologues. He moved from music-hall to symphonic music and spoken word, breaking free from traditional song structure, inventing his own dramatic and innovative musical territory. He also popularized the French poètes maudits, such as François Villon, Charles Baudelaire, Paul Verlaine, and Arthur Rimbaud, as well as acclaimed French poets from the 20th century such as Guillaume Apollinaire and Louis Aragon, by setting many of their poems to music.

01. Gli stranieri 06:26
02. Rotterdam 03:00
03. I poeti 02:45
04. La notte 03:54
05. Nè Dio nè padrone 02:32
06. La malinconia 04:01
07. È solo lei 04:16
08. Thank you Satan 03:25
09. L'età in fiore 04:07
10. Signora miseria 02:05

Enrico Medail: vocals, lyrics
Cesare Poggi: pianoforte, arrangiamenti
Cecilia Vallini: flauto
Sergio Almangano: violino
Giorgio Azzolini: contrabasso
Tonino Paolillo: tecnico
Registrato alla Mondial Sound, Milano

Enrico Medail Canta Ferré – Nè Dio Nè Padrone (1977)
(ca. 256 kbps, cover art included)

Sonntag, 18. März 2018

Franz K. - Wir haben Bock auf Rock

Band history translated from Wikipedia:

In 1969, Franz K. was established by Mick Hannah (guitar, born 15 July 1951), Peter Josefus (bass, vocals, November 6, 1951, † 14 November 1997) and Stefan Josefus (drums, born 24 February 1947). First, the trio played blues and impressively covered blues-rock from bands like Cream, Jimi Hendrix, Ten Years After – down to jazz/crossover. Initially they held gigs e.g. combined with local political cabaret of their roadie Manfred Günther, after 1970 they worked often together with lyricist Arnold Leifert. The style was in this period increasingly rocking up to hard rock.

In 1972 they released their first album "Sensemann", and thus belonged to the pioneers of German Rock. On this LP, there were only two tracks, each of 20 minutes length. In 1973 came the second album in less progressive vain in German. Both records sold poorly, however. In the next few years Franz K. released several singles. The breakthrough came in 1977 with the album "Bock auf Rock". In the years 1978 to 1983 the band released another six albums. Then it became quiet around the band and with producer Peter Orloff they moved into the pop field.

In 1997 Peter Josefus died of lung cancer. Mid 2000, his brother Stefan released the last recording with Peter "Nachts sind deine Küsse heiß" (Your kisses are hot at night) and put together a CD with pop songs from recent years. On a concert in December 2004 in the sold-out "Zeche Bochum" Mick Hannes and Stefan Josefus played together for the first time in over 20 years. The appearence, in which only six songs were played, was held at the event "Rock for animals". In fall 2008, SPV published a double CD with the two LPs "Bock auf Rock" and "Geh zum Teufel". In the summer of 2009, Franz K. started a comeback. In September 2009, their new album "Mehr Respekt" was published. The 2010 released single "Die Gute" is the only German version authorized by Steve Miller of his world hit "The Joker". A big party for old friends was the open-air concert in their home town Witten-Annen in July 2010.

Line Up 2010: Stefan Josefus (drums), Mick Hannah (guitar), Michael "Momo" Grimm (bass, vocals), Klaus Vanscheidt (guitar), Tim Husung (drums, percussion).


A1Wir haben Bock auf Rock4:36
A2Bye bye, Johnny4:30
A3Eh, Mann!3:55
A4Der König4:15
B2Halt mich fest3:25
B3Halt mich fest, Teil II (Boogie)5:10
B4Condor (Instrumental)4:12

Franz K. - Wir haben Bock auf Rock
(ca. 256 kbps, cover art included)

Samstag, 17. März 2018

Tom Robinson Band - The Winter Of 89

This album was recorded live in 1990 by a re-formed version of the band without either Dolphin Taylor, who was playing with STIFF LITTLE FINGERS at the time or Charlie Morgan who was playing with ELTON JOHN. Basic tracks recorded at Central TV Studios for the Bedrock programme, which has subsequently been released on DVD. Studio post production by Tom.

"Motorway - Live In Concert" is a pirate version of 'The Winter of 89' thanks to an unscrupulous record company called Merlin exploiting a loophole in EU law. Having licensed the album for £3000 they sold it on to other dodgy record companies around the world. The album has now been pirated variously under the titles 'Motorway', '2-4-6-8 Motorway' and even (incredibly) 'Power In The Darkness' using different covers, crap photographs and duff or nonexistent liner notes. In some cases even the song titles have been altered. The band receive no royalties from sales of these albums.

TR(bs), Danny Kustow (gtr), Mark Ambler(kyb), Steve Creese (drs) EXCEPT tracks 11 and 12 which feature Paul Harvey (gtr) Winston Blisset (bs) James McMillan (tpt) Mark Ramsden (sax) and on Track 12 Steve Laurie (dr)

1. Number One: Protection
2. The Winter Of '89
3. You Gotta Survive
4. Too Good To Be True
5. Martin
6. We Didn't Know What Was Going On
7. Up Against The Wall
8. Glad To Be Gay
9. Power In The Darkness
10. 2-4-6-8 Motorway
11. Atmospherics: Listen to the Radio
12. War Baby

Tom Robinson Band - The Winter Of 89
(256 kbps, front cover & alternative covers included)

Freitag, 9. März 2018

David Bowie in Bertolt Brecht´s "Baal" (1982) - Rest in peace!

Baal is an EP by David Bowie, comprising recordings of songs written for Bertolt Brecht’s play Baal. It is also referred to as David Bowie in Bertolt Brecht’s Baal, as credited on the sleeve.

In August 1981, Bowie had begun rehearsals to appear in the BBC version of Baal. The lyrics to the songs were all translated by Ralph Manheim and John Willett. Dominic Muldowney provided all new musical settings, except for "The Drowned Girl", which was a setting by Kurt Weill done originally for Das Berliner Requiem.
In September 1981, Bowie and Tony Viscontireturned to the Hansa studios in Berlin to re-record the five songs Baal performed in the play.

“Baal’s Hymn” is a combination of the vignettes spread throughout the play, and establishes Baal’s amoral character. “Remembering Marie A” concerns Baal’s reminiscences of a past conquest, where he can remember a cloud drifting overhead, but not the face of the girl he was with. “Ballad of the Adventurers” is Baal’s aggressive lament to the death of his mother. “The Drowned Girl” relates the suicide of one of Baal’s conquests – a video clip for this song was shot by David Mallet at the same time as the one for “Wild is the Wind”. “The Dirty Song” is a short number, with Baal humiliating his lover Sophie.

His performance as Baal was transmitted on February 2, 1982, and RCA issued the EP to coincide with this. Both the play and EP were well received, with the latter reaching #29 in the UK chart, commendable considering the unconventional tracks. As well as the 7" edition (which came packaged in a double gatefold sleeve containing extensive notes pertaining to the musical content and a short biography of Bertolt Brecht) the EP was released as a 12" which gained it some play in clubs as well as radio airplay.


A1) Baal's Hymn
A2) Remembering Marie A
B1) Ballad Of The Adventurers
B2) The Drowned Girl
B3) Dirty Song

David Bowie in Bertolt Brecht´s "Baal" (1982)
(320 kbps, cover art included)

Donnerstag, 8. März 2018

Josh White - Presenting...

A gifted and charismatic entertainer, Josh White (1914-1969) was a blues star of the 1930s, a cabaret star of the 1940s, and a folk star of the 1950s and the 1960s. In 1963, a Billboard magazine poll ranked him America's third most popular male folksinger, surpassed only by Pete Seeger and Harry Belafonte, and ahead of Bob Dylan. White brought American folk and blues to audiences around the world and released several dozen albums, all featuring his distinctive guitar style, supple voice, and unique showmanship.

In this compelling biography, Elijah Wald traces White's journey from a childhood leading blind singers on the streets of Greenville, South Carolina, to the heights of Manhattan cafe society. He explores the complexities of White's music, his struggles with discrimination and stereotypes, his political involvements, and his sometimes raucous personal life.

White was always drawn to music and made his first recordings at age fourteen. By the 1930s he had become a recording star, with equally strong careers in blues and gospel. In the 1940s he was discovered by white audiences and regularly appeared in New York cabarets alongside such artists as Billie Holiday. He also became an outspoken proponent of civil rights and frequently appeared at rallies and benefits, as well as at the Roosevelt White House, becoming known as "the Presidential Minstrel." He was one of the few black figures to star on Broadway and appear in Hollywood films, the only black solo performer to have his own national tour, and a daring sex symbol with adoring fans on both sides of the color line.

In the 1950s, White won acclaim in Europe, then saw his achievements collapse in the polarized political ferment of the McCarthy era. Attempting to strike a balance that would keep his career afloat, he instead ended up alienating both political camps. Although still a star in England, he became the forgotten man at home until his resurrection during the folk revival.

 1. Apples, Peaches And Cherries
  2. Bad Depression Blues
  3. Black and Evil Blues
  4. Fare Thee Well
  5. Frankie & Johnny
  6. Free And Equal Blues 
  7. Howlin' Wolf Blues
  8. I Gave My Love A Cherry
  9. John Henry
  10. Little Brother Blues
  11. Nobody Wants You When You're Down And Out
  12. Prison Bound
  13. Foggy Foggy Dew
  14. House Of The Rising Sun
  15. The Lass With The Delicate Air
  16. I'm Gonna Move To The Outskirts Of Town
  17. Hard Time Blues
  18. Strange Fruit
  19. Lord, I Want To Die Easy

Josh White - Presenting...
(320 kbps, front cover included)

Mittwoch, 7. März 2018

Paul Robeson - Spirituals (1945)

Born on April 9, 1898, in Princeton, New Jersey, Paul Robeson went on to become a stellar athlete and performing artist. He starred in both stage and film versions of The Emperor Jones and Show Boat, and established an immensely popular screen and singing career of international proportions. Robeson spoke out against racism and became a world activist, yet was blacklisted during the paranoia of McCarthyism in the 1950s. He died in Pennsylvania in 1976.

When he was 17, Robeson earned a scholarship to attend Rutgers University, the third African American to do so, and became one of the institution's most stellar students. He received top honors for his debate and oratory skills, won 15 letters in four varsity sports, was elected Phi Beta Kappa and became his class valedictorian.

Increasing political awareness impelled Robeson to visit the Soviet Union in 1934, and from that year he became increasingly identified with strong left-wing commitments, while continuing his success in concerts, recordings, and theatre. In 1950 the U.S. State Department withdrew his passport because he refused to sign an affidavit disclaiming membership in the Communist Party. In the following years he was virtually ostracized for his political views, although in 1958 the Supreme Court overturned the affidavit ruling. Robeson then left the United States to live in Europe and travel in countries of the Soviet bloc, but he returned to the United States in 1963 because of ill health.

Robeson appeared in a number of films, including Sanders of the River(1935), Show Boat (1936), Song of Freedom (1936), and The Proud Valley (1940). His autobiography, Here I Stand, was published in 1958.

Go Down Moses2:44
Balm In Gilead2:13
By An' By2:29
Sometimes I Feel Like A Motherless Child2:31
John Henry2:27
Water Boy2:30
Nobody Knows The Trouble I've Seen2:41
Joshua Fit De Battle Of Jericho1:53
Paul Robeson - Spirituals (1945)   
(320 kbps, cover art included)               

Samstag, 3. März 2018

Doc Watson - Southbound (1966)

"Southbound" is the second studio album by the American folk music artist Doc Watson, released in 1966.

"Southbound" was a pivotal record for Doc Watson. Upon its 1966 release, it demonstrated that Watson was capable of more than just dazzling interpretations of folk songs, but that he could also write excellent original material and rework new country songs in a fascinating manner.

"Southbound" also marked the recorded debut of Merle Watson, Doc's astonishingly talented son.               


A1Walk On Boy3:19
A2Blue Railroad Train2:41
A3Sweet Georgia Brown1:52
A6Windy And Warm2:11
A7Call Of The Road2:16
B1Tennesse Stud3:33
B2That Was The Last Thing On My Mind2:44
B3Little Darling Pal Of Mine2:40
B4Nothing To It2:00
B5Riddle Song2:34
B6Never No More Blues3:09
B7Nashville Pickin'1:50

Doc Watson - Southbound (1966)
(192 kbps, cover art inlcuded)