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

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)

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)     

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)

Otto Reutter - Es geht vorwärts - Chansons und Couplets (1922 - 1930)

A coupletist (kupletist) is a poet, singer, or actor who specializes in couplets - wittily ambiguous, political, or satirical songs, usually in cabaret settings, usually with refrains, generally used as a transition between two cabaret numbers.

With sarcasm and humor, coupletists take on political dignitaries, the prevailing zeitgeist and lifestyle, in short, "all of the world's madness." Friedrich Wolf called the couplet "the direct involvement of the audience in the game."


1 Es Geht Vorwärts 3:00
2 Der Überzieher 3:10
3 Karussell 3:23
4 Wir Fang'n Noch Mal Von Vorne An 3:39
5 Das Ist So Einfach, Und Man Denkt Nicht Dran 3:19
6 Aus! 2:47
7 Gründ'n Wir 'Ne G.M.B.H. 3:27
8 Der Blusenkauf 2:43
9 Alles Weg'n De Leut' 2:50
10 Berlin Ist Ja So Groß 3:13
11 Nehm'n Sie 'N Alten 2:38
12 Gräme Dich Nicht 2:54
13 Mir Hab'n Se Als Geheilt Entlassen-Vortrag Eines Idioten 2:26
14 Loblied Auf Die Frauen Von Heute 2:54
15 Phantasie Ist Jederzeit Schöner Als Die Wirklichkeit 3:14
16 Einmal Im Jahr 2:20
17 Mein Theaterrepertoire 3:15
18 Und Dadurch Gleicht Sich Alles Wieder Aus 3:34
19 Ist Doch Schön-So Bequem 3:30
20 Ich Habe Zuviel Angst Vor Meiner Frau 3:52
21 Ich Kann Das Tempo Nicht Vertragen 4:00
22 Sei Modern 3:26
23 Der Gewissenhafte Maurer 2:48

Otto Reutter - Es geht vorwärts - Chansons und Couplets (1922 - 1930)
(320 kbps, cover art included)

Dienstag, 15. Mai 2018

Autonomie - Materialien gegen die Fabrikgesellschaft

The journal "Autonomie" ("Autonomy") was established in 1975. It emerged from the agitational newspaper "Wir Wollen Alles" ("We Want it All"), which was published by the Operaist-oriented groups ‘Arbeitersache’ (‘Workers’ Cause’) in Munich, ‘Revolutionärer Kampf’ (‘Revolutionary Struggle’) in Frankfurt and ‘Proletarische Front’ (‘The Proletarian Front’) in Hamburg. Two political lines soon developed within the editorial board. On the one hand, there was the ‘first-person politics’ proposed by those in Frankfurt. On the other hand, the Hamburg group in particular insisted on a ‘working-class standpoint’: for this group, relating to the subjectivity of the ‘class’ and building a social-revolutionary organisation should take priority over policies related to the individual. In 1979, the Frankfurt group issued the last journal (No. 14) of the old version of Autonomie. Between 1979 and 1985 the Hamburg group published Autonomie: Neue Folge (Autonomy: The New Edition). It is now available here online for the first time. In fact, issue No. 12 of the old version of the journal was conceived in Hamburg and thus has been included in this digitised edition. This issue was devoted to the subject of regionalism. Alongside this theme, there was an article on ‘the moral economy’, which took up the British New Left’s writing on social history.

The Hamburg editorial board was made up of a core of former members from the ‘Proletarische Front’ organisation. This core was expanded by a number of people who joined in connection with a campaign for a suspended sentence for Karl Heinz Roth, a member of the board.1 During the first two years, Roth carried out an important and integrative role on the editorial board. Smaller editorial teams – in which external authors also played a part – were formed for each individual issue. All articles were regularly discussed by the main editorial board, which was supported by a salaried senior editor. The board’s offices were located in Hamburg-Altona. In 1982, several members left the editorial board in connection with the ‘Position Paper’ published in issue No. 10.

Apart from issue No. 1, the magazine was self-produced and financed by donations from the editorial staff. The journal’s circulation was three thousand – four thousand for some issues. The majority of its readers came from the protest movements of the 1970s and were predominantly from North Germany. But there were also some readers from around several university cities in South Germany, as well as from Berlin. Reading circles occasionally sprung up and the editorial board organised a series of events centred on the journal – for example in the context of the prisoners’ and anti-nuclear movements.

Autonomie: Neue Folge aimed, on the one hand, to develop an expanded concept of structural violence which referred to the interweaving of technological violence into every-day life. On the other hand, the journal sought to work out a new, social-revolutionary understanding of internationalism and anti-imperialism. Behind these aims stood the political concept of placing in a broader historical context, and strategically expanding, the various partial movements active in the wake of the ‘anti-authoritarian’ revolts of 1968, which mainly agitated in selective and situational ways.

Autonomie: Neue Folge began in May 1979 with an issue on the Iranian Revolution. With regard to the People’s Mujahedin and the theoretician Ali Schariati, the issue attempted to explore the potential of ‘Iranian mass autonomy’ – as a non-Bolshevik path to social revolution. This subject was revisited in issues No. 6 (on the Iran-Iraq War, 1980) and No. 8 (on the People’s Mujahedin, 1981). As is well known, the Iranian Revolution ended in a counterrevolution of the reactionary Ayatollahs, in civil war and terror. Back then the editorial board could not anticipate that the Iranian Revolution was possibly but the first episode in a revolutionary epoch, which would flow into the Arab rebellions. The interest in the ‘Middle and Near East’ lapsed.

The theme of social-revolutionary anti-imperialism carried over into issue No. 10 (‘Anti-Imperialism in the 1980s’, 1982) in which concepts drawn from the US Operaist left were further developed and the primacy of the social was contrasted with the classical theory of imperialism. The topic further found expression in the article ‘Genocide against Social Revolution’ in the final issue, No. 14 (1985). Not until many years later was this concept explicitly back-referenced to the Russian Revolution, which was always implicit within the approach in the mid-1980s.2

In the thematic issues No. 2 through No. 7, there was an attempt to enter into an exchange with single-issue movements and currents, as well as to ‘set out markers’ for the reconstruction of an overarching social-revolutionary agenda. The ‘workers’ standpoint’ was projected onto a new social subject – the ‘factory society’ became an explanatory model for the entirety of the social terrain. This began with the issue on prisons (No. 2, ‘The New Prisons’, 1979) which presented materials on the prisoners’ movement and recent developments in the detention systems. This topic was complemented in 1980 by a special issue on preventive detention. This theme was followed by that of urban planning in issue No. 3 (‘The Second Destruction of Germany’, 1980) which reached from the 19th century architectural utopias to the house occupations of the 1980s, and the issue on the anti-nuclear movement (No.4/5, ‘Resistance Against Nuclear Factories. The Nuclear State’, 1980) which alongside references to the movement against nuclear power included a polemic against the institutionalisation of politics by the Greens. The issues dedicated to medicine, such as special issue No. 2 (‘Medicine and National Socialism’, 1980) and No. 7 (‘Healthcare Reform, Rape, Forced Sterilisation, Sick Leave’, 1981) were to provide historical and contemporary material for the debates in the ‘health movement’ in the context of the ‘health conferences’ held in Berlin and Hamburg. This topic was taken up again later in the journal Beiträge zur nationalsozialistischen Gesundheits- und Sozialpolitik (Contributions to National Socialist Health and Social Policy).

It was not until the Fiat issue (No. 9, ‘Factories and the New Class Composition’, 1982) that Autonomie: Neue Folge chimed in with the point of departure of the 1970s, as expressed in the subtitle ‘Materials against Factory Society’. The ‘Arbeitersache’ group had related to the workers at BMW with an anti-Taylorist, anti-Fordist programme. ‘Revolutionärer Kampf’ had done the same with the Opel workers, and ‘Proletarische Front’ had focused on the ports, shipyards and the Volkswagen workers in Hannover. The experiences of this wave of struggle, which had culminated in the 1973 Ford strike, were now to be recalled in order to arrive at a new analysis of the reality of class in West Germany, of the exploitation of labour and of the regional labour markets. However, this systematic approach failed to materialise. Instead there was a separate issue (No. 12, ‘The Italian Model: Revolutionary Movements at an End?’, 1983) in which the topic of Italy was broached once more. The matters of labour markets and technology were differently dealt with in issues No. 11 and No. 13 under the common title of ‘Imperialism in the Metropolises’ (No. 11, ‘The Compulsion to Work. New Poverty, 1982) and issue No. 13 (‘The Assault of Technology’, 1983). In parallel with the quasi post-Operaist focus on the metropolitan class and global mass poverty, since issue No. 3 a debate had emerged regarding subjectivity and technological violence, which found its way into various issues. The reference point for this was a book published in 1981 entitled Leben als Sabotage (Life as Sabotage).3

Since 1982 there had been difficult disagreements on the editorial board. Issues No. 13 and No. 14 were only published by smaller editorial sub-groups who continued to work together informally. Some members of the editorial board no longer believed that it was possible to reconstruct social-revolutionary processes in the global north from a metropolitan standpoint and therefore focused more on the social-historical paradigm of mass poverty and anti-imperialist struggles. This implied different ideas of organisation. The divergent points of view no longer led to fruitful discussions, but rather to the dissolution of the editorial board. Appearing after a two-year break with a new design, the final issue (No. 14, ‘Class History – Social Revolution?’) was published in 1985. It contained three separate essays: a historical study of mass poverty and the right of existence; a contribution to reproductive labour (catching up somewhat, since a feminist position had not been able to prevail in the editorial board until then) and a portrayal of the Bretton Woods system as a weapon against the social revolution.
  1. Cf. Ein ganz gewöhnlicher Mordprozess, Berlin 1978
  3. Detlef Hartmann, Leben als Sabotage. Zur Krise der technologischen Gewalt, Tübingen 1981
You find a complete archive of the Autonomie journal via this link.