Donnerstag, 31. Mai 2018

VA - Yelé Brazil

Though not quite as expansive as "The Rough Guide to the Music of Brazil" or the four-CD "Brasil: A Century of Song" boxed set, this 16-track compilation provides a wonderful introduction to the vibrant musical cultural of Brazil, where music is an integral entity that permeates nearly every aspect of daily life.

Ara Ketu, who presents three tracks here, is representative of how seamlessly African musical traditions were integrated into the Brazilian sound, with complex syncopated percussion worked into an accessible pop sound that combines elements of African soukous and Brazilian samba. Paralamas, a Rio-based group who contributes two songs here, craftily combines Brazilian rhythms with the visceral energy of Two-Tone ska, the end result sounding a bit like a South American version of General Public. With a number of other standout tracks from diverse artists like samba/reggae fusionists Banda Reflexu and traditional drummer Dorival Caymmi, "Yele Brazil" makes a fine starting point for your Brazilian music immersion.   


       1. Yele Congo - Ara Ketu
2. Coche Viejo - Paralamas
3. Venha Me Amar - Sarajane
4. Kizomba, Festa Da Raca - Banda Reflexu's
5. Emabla Eu - Clementina & Clara Nunes
6. Volte Para O Seu Lar - Marisa Monte
7. Felicidade - Ara Kefu
8. Epilogo - Geronimo
9. Jogo De Angola - Clara Nunes
10. Segura Este Samba - Umbada
11. De Onde Eu Vim - Geronimo
12. Negro Laranja - Banda Reflexu's
13. Alagados - Paralamas
14. Canto De Nana - Dorival Caymmi
15. Toque E. Seducao - Ara Kefu
16. Canto Da Cor - Banda Reflexu's
VA - Yelé Brazil
(256 kbps, cover art included)      

Dienstag, 29. Mai 2018

B. B. Seaton - Gun Court Dub Vol. 2

"Gun Court Dub Vol. 2" is a great late seventies dub set produced by B. B. Seaton and mixed by Errol Brown at Treasure Isle.Studio. It features Sly Dunbar & the Revolutionaires, The Conscious Minds Band & Skin Flesh & Bones.

Harris Lloyd "B.B." Seaton (born 3 September 1944), also known as "Bibby", is a Jamaican reggae singer and record producer who was a member of The Gaylads, The Astronauts, Conscious Minds, and The Messengers (along with Ken Boothe, Lloyd Charmers and Busty Brown), and who has had a long solo career dating back to 1960.

Seaton was the first reggae artist to be signed by Virgin Records, leading to the creation of the Front Line label. He became based in the United Kingdom in the mid-1970s where he became active as a producer, his productions including the Gun Court Dub series of dub albums.


Side One:
1. Laughing Dub
2. One Little Dub
3. Jah Dub
4. Dub Of Quality
5. Hold On To Your Dub
6. Careless Dub

Side Two:
1. Dubbing In The Rain
2. Daddy's Dub
3. Mamma Dub
4. Hop Skip & Jump
5. Revolution Dub
6. Dub For Us All

B. B. Seaton - Gun Court Dub Vol. 2
(320 kbps, cover art included)

Montag, 28. Mai 2018

Hein & Oss - Deutsche Lieder 1948/49 (1974)

This album was released in 1974 on the Songbird label by famous folk singer, songwriter and pair of twin brothers Heinrich and Oskar Kröher.

"Hein & Oss" call themselves "The People´s Singer" and were activ on stage for more than the last fifty years. Long before there was a new folk song movement, the vocal and guitar duo was popularizing democratic folk songs: work songs , songs of freedom of 1848-49, songs from the Hambach Festival , partisan songs, soldier songs against the drill, sailor songs and cowboy songs, songs from hiking , from drinking and of the unrest.

The 1848 Revolutions were a series of loosely coordinated protests and rebellions in the German Confederation which sought to challenge the status quo. The revolutions, which stressed pan-Germanism, emphasised popular discontent with the traditional, largely autocratic political structure of the thirty-nine independent states of the Confederation that inherited the German territory of the Holy Roman Empire. Furthermore, they demonstrated the popular desire for increased political and social freedom, democracy, and national unity within liberal principals of socioeconomic structure.

The revolution of 1848–49 marks a turning point in history. Throughout Germany the middle classes, workers, peasants, artisans, students, and the lower middle classes rose up against the ruling feudal nobility in order to create a unified, democratic state. The songs of freedom from the revolutionary years 1848 - 1949 are the expression of the struggle against feudalism, and they reflect the events of the time, the hopes and disappointments of the struggling democrats.


Trotz alledem
Vetter Michels Vaterland
Das Blutgericht
Die freie Republik
Das Reden nimmt kein End'
Ça ira
Mein Deutschland, strecke die Glieder
Fürstenjagd/ Heckerlied
Deutscher Nationnalreichtum
Das Lied von Robert Blum
Der gute Bürger
Badisches Wiegenlied
Achtzehnter März

Hein & Oss - Deutsche Lieder 1948/49 (1974)
(192 kbps, front cover included)

Mikey Dread - Jungle Signal (1982)

Mikey Dread, known as "The Dread at the Controls", was one of the most influential performers and innovators in reggae music.

As well as being a reggae artist and producer with international recognition, he may best be known as the pioneer of reggae broadcasting worldwide beginning in his hometown of Port Antonio, Jamaica as selector/DJ for his sound systems, Safari and Sounds of Music, he graduated from Jamaica's College of Arts, Science and Technology before taking his landmark job at the Jamaica Broadcasting Corporation (JBC) radio and television network in 1976. It was here he developed his "Dread At The Controls" label and trademark.

His production expertise has helped launched many artists, from Earl 16, Edi Fitzroy, Rod Taylor, Sugar Minott, Junior Murvin and the Roots Radics Band to the Clash.

Throughout the 1980s and 1990s, Mikeys résumé grew to enviable proportions. In addition to his work with The Clash, he recorded with UB40 and helped produce the well-received "Deep Roots" documentary on Jamaican music for Channel Four TV in the United Kingdom.

On February 21st, 2007 Mikey Dread has been invited to perform and to give an interview at the “Rock and Roll Hall Of Fame,” in Cleveland, Ohio.

On March 15, 2008 he lost a battle to a brain tumor. Despite his death his legacy will continue.

Here´s "Jungle Signal" with the following tracks:

A1 Signal One
A2 Jungle Signal
A3 Signal Three/Dub
A4 Rainbow Jungle
B1 Star Chaser & Jungle Gym
B2 Jungle Juice
B3 Dub Jungle
B4 Theme Signal (Jungle Theme)

Mikey Dread - Jungle Signal
(320 kbps, cover art included)

B. B. Seaton - Revolutionary Dub (1976)

B. B. Seaton is a singer with a soulful voice, a qualified musician, producer and one of the most prolific song writers in the history of Jamaican music. He had his first big hit in Jamaica when teaming up with Delano Stewart and Maurice Roberts to form "The Gaylads”.

Tribal Dub
Riot In Soweto
March Back To Africa
Havana (Fidel's) Dub
Forward To The Battle Dub
Revolutionary Dub
Emporor's Theme
Nationalist Dub
Dread In Johannesburg
Liberation Dub

(192 kbps, cover art included)

Samstag, 26. Mai 2018

Kurt Weill - Der Silbersee: ein Wintermärchen (London Sinfonietta)

"Der Silbersee: ein Wintermärchen" ("The Silver Lake: a Winter's Fairy Tale") is a 'play with music' in three acts by Kurt Weill to a German text by Georg Kaiser (cf. Heinrich Heine's Germany. A Winter's Tale).

"Der Silbersee" was premiered on 18 February 1933 simultaneously at the Altes Theater in Leipzig, the Stadttheater in Erfurt and the Stadttheater in Magdeburg, just 3 weeks after the Nazi Party's Machtergreifung on 30 January 1933. It was directed by Detlev Sierck and conducted by Gustav Brecher (Leipzig). It was the artists' last production in the Weimar Republic before they were forced to emigrate and it was banned on 4 March 1933 by the Nazis after having been performed 16 times.

"Der Silbersee" tells the story of Olim, a policeman, who shoots the thief Severin, who was stealing a pineapple. Severin survives and, from then on, Olim has a bad conscience. He wins the lottery and soon finds himself at a castle at the silverlake. He gives shelter to Severin, takes care of his wellbeing and tries to build a friendship with him. Severin does not forgive him, and conflict evolves at the estate. The mistress von Laub cleverly takes advantage of the two men with Olim finally agreeing to sell her all his property for a very low price. The two men reconcile and, at the end of it all, wish only to die together in the silverlake. However, in the meantime, the lake turns out to have frozen.

Even though the piece is based on a play and most of the action is transmitted by the spoken word, the elaboration of the piece by Weill requires skilled singers and musicians for a medium-sized orchestra. Similarly to his other works, Weill uses a broad variety of elements such as the cantata, instrumental interruptions, moritate, and songs. It questions the limitations of the genres. As a result, the Nazis labelled the work not only degenerated but a "musical bastard". Due to these characteristics it has not until recently become established in postwar theater nor on opera stages. It still lacks an appropriate framework to be performed within.
One day after the ban on the piece by the NSDAP on 4 March 1933, Georg Kaiser was also barred from the Akademie der Künste of which he was a member. On 10 May the work with illustrations by Caspar Neher was burned on the Opera Plaza. Today only occasionally is the piece found as part of the repertoire.

Here´s the recording with the London Sinfonietta, conducted by Markus Stenz with Heinz Kruse, HK Gruber and Juanita Lascarro.

Kurt Weill - Der Silbersee (London Sinfonietta)
(128 kbps, front cover included)

Patti Smith - Live In Paris, 1978

Punk rock's poet laureate, Patti Smith ranks among the most influential female rock & rollers of all time. Ambitious, unconventional, and challenging, Smith's music was hailed as the most exciting fusion of rock and poetry since Bob Dylan's heyday.

If that hybrid remained distinctly uncommercial for much of her career, it wasn't a statement against accessibility so much as the simple fact that Smith followed her own muse wherever it took her - from structured rock songs to free-form experimentalism, or even completely out of music at times. Her most avant-garde outings drew a sense of improvisation and interplay from free jazz, though they remained firmly rooted in noisy, primitive three-chord rock & roll. She has a powerful concert presence, singing and chanting her lyrics in an untrained but expressive voice, whirling around the stage like an ecstatic shaman delivering incantations.

The Stooges may have defined the sound and attitude of punk rock, and the New York Dolls lent it some style, but Patti Smith gave it its substance. Imbued with an all-consuming passion for the verse of Arthur Rimbaud and the grit of early rock ‘n’ roll, Patti combined simplicity and intellect to help forge the most vital and honest musical form of the 20th century.After humble beginnings in Chicago and chasing her muse to Paris, Patti Smith eventually found her way to the artistic circles of New York in the early ‘70s. Her readings at St. Mark’s Poetry Project lead to performances including musicians like rock historian and guitarist Lenny Kaye and pianist Richard Sohl, who would later comprise her fully fledged rock band and contribute to a series of records that were as aggressive and daring as they were beautiful.

Here´s a bootleg called "Live In Paris, 1978". The sound quality is excellent. All but the last 5 tracks were recorded live in Paris in 1978 - performance is fair to good. This show from March of 1978 was a sort of spiritual homecoming for the woman that had once busked on the streets of the City of Light, immersed in the environs that had created her favorite poems. But the cobbled alleyways needn’t have served as her theatre this time around; the punk scene Patti helped nurture was in full swing and the recent release of the album Easter yielded her highest charting hit, “Because the Night,” co-written by Bruce Springsteen. The band is in top form as the rattle through a brief set, book-ending their palpitating version of Them’s “Gloria” with newer material that is just as transcendent - listen for a room full of raucous French fans chanting, “pah-TEE, pah-TEE!!”

The first 4 of the last 5 tracks were from "The Mike Douglas Show" in 1976 - performance is excellent. The very last track is from "The Today Show" in 1978 - Patti sounds a little bit worn out. The cover shows a picture of Patti's back (in Vietnam jacket) and pink cartoon hands with paintbrush and pen nib on index fingers.

Patti Smith - Live In Paris, 1978
(192 kbps, front cover included)

Justin Hinds & The Dominoes - Corner Stone (Treasure Isle)

Throughout a crucial period that bore witness to the emergence of ska and its later mutations into rocksteady and finally reggae, Justin Hinds was among the most successful recording artists on the Jamaican music scene, his sweet tenor spotlighted on hundreds of Duke Reid-produced singles between 1963 and 1972.

Born on May 7, 1942 in the St. Ann's area, Hinds' greatest music was later created in the company of his backing vocalists the Dominoes, a duo comprising Dennis Sinclair and Junior Dixon. They first recorded at Reid's Treasure Isle studios in late 1963, a debut session that yielded the hit "Carry Go Bring Come" in just one take.

Between 1964 and 1966, Hinds was Reid's most popular artist, and during this period alone he recorded some 70 singles backed by session aces Tommy McCook and the Supersonics; among his biggest ska hits were "King Samuel," "Jump Out of the Frying Pan," "The Ark" and "Rub Up Push Up."

Around 1966, Hinds made the transformation to rocksteady, and the hits kept coming. Over the next several years, he released smash after smash, including "The Higher the Monkey Climbs," "No Good Rudy," "On a Saturday Night," "Here I Stand," and "Save a Bread." He and Reid parted company in 1972, with the latter dying three years later; Hinds then began working with producer Jack Ruby, a collaboration which resulted in the 1976 LP "Jezebel". Two years later, he also teamed with producer Sonia Pottinger for a series of singles including "Rig-Ma-Roe Game" and "Wipe Your Weeping Eyes." After 1984's "Travel with Love", however, the reclusive Hinds essentially went into retirement, leaving Jamaica only rarely.

He did return to recording, albeit sporadically, with a final studio effort in 1992, "Know Jah Better", and then a decade later with a live album "Let's Rock Live". Another concert album, 2003's "Live at the Grassroots", featured Hinds backed by roots revivalists John Brown's Body.

Justin Hinds succumbed to cancer two years later, passing away quietly at his Jamaican home on March 16, 2005.


Carry Go Bring Come
Rub Up Push Up
Corner Stone
Here I Stand
Over The River
The Higher The Monkey Climbs
Teach The Youth
Hey Mama
Fight Too Much
If It's Love You Need
Mighty Redeemer
Save A Bread
On A Saturday Night
Say Me Say
Once A Man
Carry Go Bring Come Version 2

Justin Hinds - Corner Stone (Treasure Isle)
(192 kbps, front cover included)

Donny Hathaway - Everything Is Everything (1970)

Already a respected arranger and pianist who'd contributed to dozens of records (by artists ranging from the Impressions to Carla Thomas to Woody Herman), with this debut LP Donny Hathaway revealed yet another facet of his genius - his smoky, pleading voice, one of the best to ever grace a soul record.

"Everything Is Everything" sounded like nothing before it, based in smooth uptown soul but boasting a set of excellent, open-ended arrangements gained from Hathaway's background in classical and gospel music. (Before going to Howard University in 1964, his knowledge of popular music was practically non-existent.) After gaining a contract with Atco through King Curtis, Hathaway wrote and recorded during 1969 and 1970 with friends including drummer Ric Powell and guitarist Phil Upchurch, both of whom lent a grooving feel to the album that Hathaway may not have been able to summon on his own (check out Upchurch's unforgettable bassline on the opener, "Voices Inside (Everything Is Everything)").

All of the musical brilliance on display, though, is merely the framework for Hathaway's rich, emotive voice, testifying to the power of love and religion with few, if any, concessions to pop music. Like none other, he gets to the raw, churchy emotion underlying Ray Charles' "I Believe to My Soul" and Nina Simone's "To Be Young, Gifted and Black," the former with a call-and-response horn chart and his own glorious vocal, the latter with his own organ lines. "Thank You Master (For My Soul)" brings the Stax horns onto sanctified ground, while Hathaway praises God and sneaks in an excellent piano solo. Everything Is Everything was one of the first soul records to comment directly on an unstable period; "Tryin' Times" speaks to the importance of peace and community with an earthy groove, while the most familiar track here, a swinging jam known as "The Ghetto," places listeners right in the middle of urban America. Donny Hathaway's debut introduced a brilliant talent into the world of soul, one who promised to take R&B farther than it had been taken since Ray Charles debuted on Atlantic.

Voices Inside (Everything Is Everything) 3:28  
Je Vous Aime (I Love You) 3:31
I Believe To My Soul 3:51
Misty 3:37
Sugar Lee 4:03
Tryin' Times 3:13
Thank You Master (For My Soul) 5:50
The Ghetto 6:57
To Be Young, Gifted And Black 6:45
A Dream (bonus track)                              4:14

Donny Hathaway - Everything Is Everything (1970)
(256 kbps, cover art included)

Kingston Trio - At Large (1959)

In the history of popular music, there are a relative handful of performers who have redefined the content of the music at critical points in history - people whose music left the landscape, and definition of popular music, altered completely. The Kingston Trio were one such group, transforming folk music into a hot commodity and creating a demand - where none had existed before - for young men (sometimes with women) strumming acoustic guitars and banjos and singing folk songs and folk-like novelty songs in harmony.

On a purely commercial level, from 1957 until 1963, the Kingston Trio were the most vital and popular folk group in the world, and folk music was sufficiently popular as to make that a significant statement. Equally important, the original trio - Dave Guard, Nick Reynolds, and Bob Shane - in tandem with other, similar early acts such as the Limeliters, spearheaded a boom in the popularity of folk music that suddenly made the latter important to millions of listeners who previously had ignored it. The group's success and influence transcended its actual sales. Without the enviable record of popularity and sales that they built up for folk music, it is unlikely that Columbia Records would ever have had any impetus to allow John Hammond to sign an unknown singer/guitarist named Bob Dylan, or to put Weavers co-founder Pete Seeger under contract, or for Warner Bros. to record the Greenwich Village-based trio Peter, Paul and Mary.

The Kingston Trio's first stereo album. "At Large", was also the first LP on which they adopted the more sophisticated recording techniques that would characterize their subsequent records, including multiple overdubs and separate recordings of the different players of vocals and instrumentation. It shows in the far more complex sound achieved by the trio throughout this album, with voices and instruments more closely interwoven than on their earlier studio recordings and achieving control over their volume that, even today, seems astonishing.
The group also sounds very energized here, whether doing Calypso-style numbers like Bob Shane's "I Bawled," soaring bluegrass-style harmony numbers such as "Corey, Corey," or the gossamer-textured "All My Sorrows."
The hits "M.T.A." and "Scarlet Ribbons" helped propel "Kingston Trio At Large" to the number one LP spot, but it was the rest of the album - including "Early in the Mornin'" (a skillful adaptation of the song best known to most of us by its opening line, "What do you do with a drunken sailor") and "The Seine," which anticipates the later trio's classic "Take Her Out of Pity" - that helped keep it at the top spot for 15 weeks, an amazing feat for a folk album. Dave Guard's banjo playing, in particular, shines throughout this album, and it was beginning here that Guard was to exert a separate influence on a whole generation of aspiring folk musicians and even one rock star (Lindsay Buckingham) with his banjo.

Kingston Trio - At Large (1959)
(320 kbps, cover art included)

Donnerstag, 24. Mai 2018

Pete Seeger - American Favorite Ballads Vol. 3 (1959)

Having recorded two volumes of "American Favorite Ballads", Pete Seeger still had many familiar American folk songs to choose from in assembling a third volume. Yet he (or Folkways Records producer Moses Asch) seems to have expanded the concept of what songs were acceptable for inclusion. Maybe that explains this album's subtitle, "Tunes and Songs", which would seem to cover just about anything.

Beginning with the pre-Civil War tribute to the famed militant abolitionist, "John Brown's Body," Seeger also sings spirituals ("Oh, Mary Don't You Weep," "Swing Low Sweet Chariot"), blues (W.C. Handy's "St. Louis Blues"), and minstrel songs (Stephen Foster's "Swanee River" and "Camp Town Races"), along with more traditional folk fare. He also presents a banjo instrumental ("The Girl I Left Behind Me"), and he draws from the repertoire of the group from which he has now departed, including his solo versions of the Weavers' "Goodnight Irene," "My Good Man," and "Wimoweh."

The last selection is perhaps the oddest in the set, first because, as Seeger freely acknowledges, it comes from South Africa, not America. (Of course, having been a U.S. pop hit, it can rightly be called an "American favorite," anyway.) The second curious aspect of its inclusion is Seeger's evident discomfort in singing it by himself. He begins as if he's conducting an instruction record on group singing, telling listeners how they can join in on the recording and acknowledging that the song will sound odd with only his solo part. Then he sings his solo part. This may not be a Seeger live album, but even alone in the recording studio, he expects an unseen audience to sing along on one of his greatest hits, American or not.         

John Brown's Body
The Girl I Left Gehind Me
Oh, Mary Don't You Weep
St. Louis Blues
My Good Man
Dink's Song
New River Train
Swanee River
Camptown Races
Swing Low, Sweet Chariot
Goodnight Irene
Sometimes I Feel Like A Motherless Child
The Farmer's Curst Wife
When I First Came To This Land

Pete Seeger - American Favorite Ballads Vol. 3 (1959)
(320 kbps, cover art included)     

Mittwoch, 23. Mai 2018

Hanns Eisler - Oeuvres Pour Piano - Christoph Keller

Hanns Eisler became interested in piano music mainly after his studies with Arnold Schönberg, and again druing his exile in the USA. Four of the pieces recorded here date from 1923 - 25, and the other two respectively from 1941 and 1943.

The pianist Christoph Keller from Zürich has played a number of times Eislers piano compositions in concert, analysed them in articles and has given several talks on the work.
Within the context of a complete execution of Eisler´s piano music at the Festival "Musiktage der DDR 1988" he performed for the first time a few posthumous pieces.

The six works presented here were all recorded anew, including the ones already published in 1983 under the label ACCORD. The same firm has also recorded two albums with Eisler´s complete chamber music played by the Zürich Chamber Ensemble under Christioph Keller.

The album was recorded in Zürich January 19 - 21 1989.


                                                     Sonate N° 1, Op. 1 (1923)
1 Allegro 4:54
2 Intermezzo: Andante Con Moto 2:49
3 Finale: Allegro 3:55

                                                     Klavierstücke Op. 3 (1923)
4 Andante Con Moto 3:31
5 Allegro Molto 0:51
6 Andante/Adagio 3:11
7 Allegretto/Molto Allegro 1:25
8 Sonate N° 2 Op. 6 (1924/25) (In Form Von Variationen) 8:19

                                                     Klavierstücke Op. 8 (1925)
9 Allegretto 1:33
10 Kräftig, Energisch 1:29
11 Thema Mit Variationen 3:43
12 Allegro Con Fuoco 1:51
13 Poco Allegretto Grazioso 1:50
14 Hastig, Aufgeregt 0:57
15 Andante/Presto/Andante 1:12
16 Allegro 1:51

                                                                   Variationen (1941)
17 Thema Mit 11 Variationen Und Coda 7:33
18 1. Finale 2:39
19 2. Finale 2:57
20 3. Finale 2:15

                                                                   Sonate N° 3 (1943)
21 (Noire - 96 Env.) 2:28
22 Adagio 4:17
23 Allegro Con Spirito 3:59

Hanns Eisler - Oeuvres Pour Piano - Christoph Keller
(320 kbps, front cover included)

Dienstag, 22. Mai 2018

Mahalia Jackson - Newport 1958

General critical consensus holds Mahalia Jackson as the greatest gospel singer ever to live; a major crossover success whose popularity extended across racial divides, she was gospel's first superstar, and even decades after her death remains, for many listeners, a defining symbol of the music's transcendent power. With her singularly expressive contralto, Jackson continues to inspire the generations of vocalists who follow in her wake; among the first spiritual performers to introduce elements of blues into her music, she infused gospel with a sensuality and freedom it had never before experienced, and her artistry rewrote the rules forever.

"Newport 1958"  is a wonderful album with recordings of the Newport Jazz Festival 1958.

Jackson was at the peak of her career, and she gave a stunning performance at this show, lifting such songs as "He's Got the Whole World In His Hands," "Lord's Prayer," "Evening Prayer," "I'm on My Way," "Walk over God's Heaven" and "His Eye is on the Sparrow" to glorious heights. It's not only one of the great live gospel albums, it's simply one of the great gospel albums.

Mahalia Jackson - Newport 1958
(256 kbps, cover art included)

VA - Bauer Maas - Lieder gegen Atomkraftwerke

Originally posted in November 2011:

A big number and high variety of actions is expected for November 23-28, 2011, due to the 13th transport of high level active atomic waste (the so-called Castor transport) from the reprocessing unit (plutonium factory) La Hague in France to the temporary repository in Gorleben, Germany.

To support the protest against nuclear waste dump in Gorleben (Wendland, Germany), we post the classic album "Bauer Maas - Lieder gegen Atomkraftwerke". It was released in 1979 on the "Pass-Op" label and contains tracks by Frank Baier, Fiedel Michel, Schmetterline and  more. This compilation contains protest songs against the atomic power plant in Kalkar.

VA - Bauer Maas - Lieder gegen Atomkraftwerke
(~160 kbps, cover art included, two tracks from the original album are missing)

More information about the protest action can be found via or

Nina Simone - Folksy Nina (1964)

Like the 1963 LP "Nina Simone at Carnegie Hall", this was recorded at Carnegie Hall on May 12, 1963, but duplicates little of the material found on that prior album. It isn't just unworthy leftovers, but a strong set in its own right, concentrating on material that could be seen as traditional or folk in orientation.

It's not exactly strictly folk music, in repertoire or arrangement (which includes piano, guitar, bass, and drums, though not every tune has all of the instruments); "Twelfth of Never" (which had also appeared on the Carnegie Hall LP) certainly isn't folk music. However, there was also an uptempo piano blues, Leadbelly's "Silver City Bound"; covers of the Israeli "Erets Zavat Chalav" and "Vanetihu" which served as further proof that Simone's eclecticism knew no bounds; and the stark, moody, spiritually shaded ballads at which she excelled ("When I Was a Young Girl," "Hush Little Baby"). "Lass of the Low Country" is as exquisitely sad-yet-beautiful as it gets.

A1Silver City Bound5:08
A2When I Was A Young Girl5:57
A3Erets Zavat Chalav4:25
A4Lass Of The Low Country6:15
B1The Young Night5:25
B2Twelfth Of Never3:33
B4You Can Sing A Rainbow / Hush Little Baby7:11

Nina Simone - Folksy Nina (1964)
(320 kbps, cover art included)

Samstag, 19. Mai 2018

The Chambers Brothers - Feelin´ The Blues (1970)

Like their West Coast contemporaries Sly and the Family Stone, the Chambers Brothers shattered racial and musical divides to forge an incendiary fusion of funk, gospel, blues, and psychedelia which reached its apex with the perennial 1968 song "Time Has Come Today."
Musical siblings George Chambers (bass/vocals), Willie Chambers (guitar/vocals), Lester Chambers (harmonica/vocals), and Joe Chambers (guitar/vocals) were raised on rural gospel in their native Mississippi before switching over to folk and then soulful blues and R&B-fueled rock. The Chambers Brothers' recordings issued by the Los Angeles-based Vault label were nearly four years old when "Feelin' the Blues" hit the streets in 1970. The band's style had changed quite drastically from old-school blues, soul, and pop to the longer psychedelic jams heard on their international hit "Time Has Come Today." Although the mixture of live and studio selections gives the collection an odds-and-sods vibe, several of the performances are among the best of the Vault Records-era material.

Somewhat contrasting with the album's title, the Chambers actually cover a wide spectrum of music on "Feelin' the Blues". Their roots can be heard throughout the flawless interpretation of the sacred standards "Just a Closer Walk with Thee" and the excellent "Travel on My Way." Similarly, the midtempo reading of Ray Charles' "I Got a Woman" offers the Chambers an opportunity to subtly return to their gospel origins with call-and-response backing harmonies. The proceedings are far from being pious, however, as the quartet harmonizes the chorus of "Too Fat Polka" during one of the instrumental breaks. Perhaps wishing to remove some of the sting from the real storyline, the reworking of "House of the Rising Sun" - according to the spoken introduction - is told from the point of view of the receptionist (huh?) at the infamous bordello. Had the Chambers Brothers decided on a more straightforward translation, the song could easily have been one of the album's best. Other tunes worth spinning include a version of Bobby Parker's "Blues Get Off My Shoulder" - in a longer form than on 1968's "The Chambers Brothers Shout!" - and the comparatively brief but effective update of the jazzy "Undecided."

A1Girls, We Love You
A2I Got A Woman
A3House Of The Rising Sun
B1Don't Lose Your Cool
B2Just A Closer Walk With Thee
B3Blues Get Off My Shoulder
B4Travel On My Way

The Chambers Brothers - Feelin´ The Blues (1970)
(320 kbps, cover art included)

Freitag, 18. Mai 2018

Mississippi John Hurt - 1928 Sessions

John Smith Hurt, better known as Mississippi John Hurt (July 3, 1893 or March 8, 1892 — November 2, 1966) was an American country blues singer and guitarist.
Raised in Avalon, Mississippi, Hurt taught himself how to play the guitar around age nine. Singing to a melodious finger-picked accompaniment, he began to play local dances and parties while working as a sharecropper. He first recorded for Okeh Records in 1928, but these recordings were commercial failures. Hurt then drifted out of the recording scene and continued to work as a farmer. Tom Hoskins, a blues enthusiast, located Hurt in 1963 and convinced him to relocate to Washington, D.C. where he was recorded by the Library of Congress in 1964. This helped further the American folk music revival, which had led to the rediscovery of many other bluesmen of Hurt's era. Hurt entered the university and coffeehouse concert circuit with other Delta blues musicians brought out of retirement. As well as playing concerts, he recorded several albums for Vanguard Records.

This album features the 13 original 1928 recordings of Hurt. Justifiably legendary, with gentle grace and power on these understated vocal and fingerpicking masterpieces. These are the ones to hear, although all Hurt is worth listening to.     

1Ain't No Tellin'2:55
2Stack O' Lee Blues2:57
3Candy Man Blues2:46
4Spike Driver Blues3:15
5Avalon Blues3:03
6Louis Collins2:59
8Big Leg Blues2:51
9Nobody's Dirty Business2:53
10Got The Blues Can't Be Satisfied2:51
11Blessed Be The Name2:47
12Blue Harvest Blues2:53
13Praying On The Old Camp Ground2:36

Mississippi John Hurt‎– 1928 Sessions                                          
(cover art included)

Donnerstag, 17. Mai 2018

Amandla! The mix-cd.

Some years ago the dj collective "Zero G Sound" made a wonderful mix-cd called "Amandla!". They built a nice and groovy mix of different kind of african music styles.

Here´s the tracklist of this mix:

02-Orchestra Baobab - Boulamine
03-Super Eagles - Aliou Gori-Mami
04-Abdel Gadir Salim All-Stars - Alhagi
05-Alemayehn Eshete - Eskegizew Bertchi
06-Clint Eph Sebastian - Jane
07-Jimmy Solanke - Eja Ka Jo
08-Fela Kuti - Highlife Time
09-Orchestre de la Paillote - Kandia Blues
10-Ze Manel - Na Kaminho Di Luta
11-Ernest Ranglin - Ala Walee
12-Ogyatanaa Band - Disco Africa
13-Oscar Sulley - Buhom Mashie
14-Thomas Mapfumo - Hondo
15-Tiken Jah Fakoly - Francafrique
16-Daara-J - Number One
17-X-Plastaz - Msimu Kwa Msimu
18-Reggie Rockstone - Eye Mo De Anaa
19-Felal Kuti - Shakara
20-Baba Maal & Taj Mahal - Trouble Sleep.mp3

For your listening pleasure you can download the mix (mp3, 192 kbps, ca. 108 MB, cover art included, please burn it without gaps between the tracks!):

Zero G Soundsystem - Amadla!
(192 kbps, front & back cover included)

Mittwoch, 16. Mai 2018

Sun Ra - The Futuristic Sounds Of Sun Ra (1961)

Sun Ra's only release for the Savoy label is a gem. Recorded in October of 1961, this is probably the first recording the Arkestra made after arriving in New York. As such, you're dealing with a smallish Arkestra (seven main instrumentalists, joined by vocalist Ricky Murray on "China Gate") that's still playing the boppish, highly arranged music characteristic of the Chicago years (1954-1961).

Ra sticks to acoustic piano for the entire session, but various percussion instruments are dispersed throughout the band, giving a slightly exotic flavor to some of the tunes. John Gilmore plays bass clarinet on a couple tunes (as well as some great tenor solos), and Marshall Allen's flute playing is excellent, as always.

This album was produced by Tom Wilson, who also produced the first Sun Ra LP, "Jazz by Sun Ra" (1956) for the Transition label, later reissued by Delmark as "Sun Song" (Wilson later went on to sign the Mothers of Invention to Verve and "electrified" Bob Dylan). With the exception of "The Beginning," all the tunes are very accessible. This is one to play for the mistaken folks who think the Arkestra did nothing but make noise. Excellent.


A1 Bassism
A2 Of Wounds And Something Else
A3 What's That
A4 Where Is Tomorrow
A5 The Beginning
A6 China Gates
Vocals – Ricky Murray

B1 New Day
B2 Tapestry From An Asteroid
B3 Jet Flight
B4 Looking Outward
B5 Space Jazz Reverie

Sun Ra - The Futuristic Sounds Of Sun Ra (1961)
(256 kbps, cover art included)

Pete Seeger - American Favorite Ballads, Vol. 1

The first in a series of five immensely popular Pete Seeger releases, "American Favorite Ballads, Vol. 1" was intended to gather together and set down songs that "everyone" knew (or seemed to know), in simple, unadorned musical settings, accompanied by his guitar or banjo, that adults and children could learn and sing together.

At the time, the albums were primarily aimed at schools and libraries, though one can bet that more than a few progressive-minded and left-leaning families bought them a well, even if these weren't the union and topical songs Seeger was loved for in those circles, if only as a statement against the blacklist that had hurt the artist's career; one also wonders, as a minor point, if the decision to include "Big Rock Candy Mountain" wasn't a little zing at Burl Ives, for whom the song had been something of a signature tune, and who had ended up on the opposite side of Seeger in the ideological wars of the 1950s (a hatchet that wasn't fully buried between them until the '80s).

Seeger's range on this album is stunning, from the gentle simplicity of "Skip to My Lou" to the rousing exuberance of "Oh Mary, Don't You Weep" - his voice is melodious and powerful across a range that may surprise listeners who only know the artist for the recordings done in his seventies and eighties - and while his guitar playing is fine, it's his banjo work that is the real treat across these songs. For a man who (supposedly) so resented the electrification of folk music, Seeger isn't shy about spinning some (admittedly acoustic) pyrotechnics out of his banjo when the song seems to call for it. Moe Asch's recording technology was more than good enough for Seeger and his instrument, and the tapes have held up across five decades. And as to the songs, they encompass folk, country, and gospel standards, and their sheer power is perhaps the most amazing aspect of this record (and its four follow-ups): the world and its so-called culture, popular or otherwise, have moved on so far (even in the late '60s, these seemed kind of hokey to kids who thought they knew better) that 50-plus years later, this record is still an education, as well as a rare treat.                

A1 Down In The Valley
A2 Mary Don't You Weep
A3 The Blue Tail Fly
A4 Yankee Doodle
A5 Cielito Lindo
A6 Buffalo Gals
A7 The Wabash Cannon Ball
A8 So Long, It's Been Good To Know You
Written-By – Woody Guthrie
B1 The Wagoner's Lad
B2 The Big Rock Candy Mountain
B3 The Wreck Of The Old '97
B4 On Top Of Old Smokey
B5 I Ride An Old Paint
B6 Frankie And Johnny
B7 Old Dan Tucker
B8 Skip To My Lou
B9 Home On The Range

Pete Seeger - American Favorite Ballads, Vol. 1
(256 kbps, cover art included)