Freitag, 27. Juli 2018

Lin Jaldati - Lin Jaldati singt (Eterna, 1966)

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Jewish Music in Post-War Germany, Part 2

Lin Jaldati: Communist First, Jewish Second

The first purveyors of Yiddish song in post-war Germany were Jews, but most of them did not actually speak Yiddish natively; they had acquired it some time later. From the very beginning, German interest in Judaism involved transforming real living assimilated Jews into a more exotic Eastern European variant.

Lin Jaldati, a Dutch Jew, was probably the most famous of these Yiddish students. Bron Rebekka Brilleslijper in 1921 in Amsterdam to a Sephardic family, Jaldati was taught Yiddish by a cantor shortly before the war. In 1944 she was deported to Auschwitz; as a Communist and aJew, she had two strikes agaisnt her. But she survived and rejoined the Communist Party soon after being freed. In 1952 she immigrated to East Germany, attracted by the opportunity to help the new socialist state. She took along her songs. In 1964 seh released her first album; by 1966, she had released her first book, a collection of Yiddish songs called Es brennt, Brüder, es brennt. In the introduction she wrote a short history of the Jews in Europe since the Middle Ages; she also noted their early involvement in Communist agitation.

Jaldati´s Jewish identification was secondary to her Communist affiliation, which would have appealed to German audiences who could congratulate themselves on their tolerance without having to feel threatend by someone who indentified above all as Jewish. Jaldati´s daughter, Jalda Rebling, explained that her mother "always said, that I´m Jewish is a fact: I´m not ashamed of it, and I´m also not particularly proud of it, that´s just the way it is".

Lin Jaldati was interned in Westerbork and Bergen-Belsen with Anne Frank and her familiy, and was actually the person who told Otto Frank that his daughters had died in the concentration camps. In the 1980s, Jaldati toured the world with a programme taht commemorated what would have been Frank´s 50th birthday.


Ist das alles schon wieder vergessen
An meine Landsleute
Lied einer deutschen Mutter
Nichts oder alles
Die Ballade vom Wasserrad
Das Lied der Kupplerin
Song von den träumen
Spanisches Wiegenlied
Lied der Mausmutter
Auf Wiedersehn
Hej zigelech
Dort balm breg fun weldl
A jiddische mame
Der balagole un sajn ferdl
Es brent
Amol is gewen a jidele
Jüdisches Partisanenlied

Voice: Lin Jaldati
Piano: Eberhard Rebling

Lin Jaldati - Lin Jaldati singt (Eterna, 1966)
(320 kbps, cover art included)

Max Roach ‎– We Insist! Max Roach's Freedom Now Suite

"We Insist! Max Roach's Freedom Now Suite", co-authored by Max Roach and Oscar Brown, Jr., was a pivotal work in the early-'60s African-American protest movement, and continues to be relevant in its message and tenacity. It represents a lesson in living as to how the hundreds of years prior were an unnecessary example of how oppression kept slaves and immigrants in general in their place. 

Vocalist Abbey Lincoln expresses this oppression as effectively as anyone could with her thespian-based wordless vocals, and lyrics written by Brown that tell the grim story of the struggle of African-American for far too long. Musically, Roach assembled one of the greatest bands, from his own emerging ensemble with trombonist Julian Priester and trumpeter Booker Little, to the legendary Coleman Hawkins and lesser-known, underappreciated tenor saxophonist Walter Benton. Percussionists Ray Mantilla and Michael Olatunji gave the poetic pieces sung by Lincoln enough substance and spice to also refer to Afro-Cuban and South American prejudice and urgency for change. Hawkins is particularly impressive, as his emotional range during the deep and dour, 5/4 slave song "Driva' Man" clearly feeds off of Lincoln's blues singing about quittin' time. 

"Triptych; Prayer/Peace/Protest" is the magnum opus of the set, introduced by Roach's signature drum moves, an eerie operatic vocal or oppressed angst yelling from Lincoln, and a 5/4 beat from the percussionist against a calmer vocal component, all written for interpretive dance. Of the modern jazz that Roach is renowned for, the horns jump into furious hard bop with solos from Little, Benton, and Priester on "Freedom Day" after Lincoln quietly invites you to "whisper/listen," while the obscure bassist James Schenck leads in 6/8 and 5/4 ostinato over Lincoln's sustained tones on "Tears for Johannesburg," with the layered horns in and out of well-wrought harmonies, and another triad of instrumental solos. "All Africa" sports lyrics about being on the beach, or maybe the beach head in the battle for freedom, as chants of tribal names echo similar village beats. 

This is a pivotal work in the discography of Roach and African-American music in general, its importance growing in relevance and timely, postured, real emotional output. Every modern man, woman, and child could learn exponentially listening to this recording - a hallmark for living life.


Driva' Man  5:10
Freedom Day  6:02
Triptych: Prayer, Protest, Peace  7:58
All Africa  7:57
Tears For Johannesburg  9:36

Max Roach ‎– We Insist! Max Roach's Freedom Now Suite
(320 kbps, cover art included)

Mittwoch, 18. Juli 2018

Sun Ra - Outer Spaceways Incorporated (1968)

This album adds a previously unreleased "Intergalactic Motion" to the original five-piece program. Sun Ra's orchestra was at its most radical during this period, alternating simple chants with very outside playing and dense ensembles.

While the sidemen include such notables as Marshall Allen and Danny Davis on altos, baritonist Pat Patrick, John Gilmore on tenor, bassist Ronnie Boykins and percussionist Clifford Jarvis, most of the other players in the 15-piece band (such as trumpeters Ahk Tal Ebah and Kwame Hadi) have slipped back into obscurity. This music is quite intriguing, although it requires an open mind and a sense of humor to fully appreciate.   


1 Somewhere There 15:10
2 Outer Spaceways Incorporated 7:02
3 Intergalactic Motion 8:07
4 Saturn 6:08
5 Song Of The Sparer 4:22
6 Spontaneous Simplicity 7:56

Track 3 was previously unreleased, recorded in New York City 1968.

Sun Ra - Outer Spaceways Incorporated (1968)
(256 kbps, cover art included)          

Dienstag, 17. Juli 2018

Hanns Eisler - Vierzehn Arten den Regen zu beschreiben

These variations were written to accompany a documentary film made in 1941 by the Dutch artist Joris Ivens during Eisler's exile in America. They are based on a 12-tone row which contains an anagram of Eisler's teacher Arnold Schönberg (in German nomenclature A - Es - C - H - B - G, which translates to the notes A, E flat, C, B, B flat and G).

In this wonderfully impressionistic piece we can picture the rain beginning to fall amidst trills and tremolos, the dance of splashing droplets, sweet, simple remembrances of other rainy days, the slow streamlets of water draining away. It's up to the imagination of the listener as there are no titles to the sections. The scoring for flute, clarinet, violin, viola, violincello and piano shows the composer's exceptional talent for producing timbres.

These interpretations were recorded in Berlin and Dresden, in the years 1967 and 1987.

Hanns Eisler - Vierzehn Arten den Regen zu beschreiben
(192 kbps, front cover included)

Montag, 16. Juli 2018

Jackie Mittoo - Macka Fat (1972)

Keyboard virtuoso Jackie Mittoo was among the true legends of reggae -- a founding member of the Skatalites and an extraordinarily prolific songwriter, he was perhaps most influential as a mentor to countless younger performers, primarily through his work as the musical director at the famed Studio One.

There are a dozen nice sultry instrumentals on this LP, released in the early '70s, though as always with vintage reggae albums, that doesn't necessarily indicate that all of the material was recorded then. Certainly it has the sound of the best rocksteady music, some of its trancier grooves hinting at the dub era. Bubbly organ riffs are heard throughout, of the sort that, with some tweaks, would be popularized in the U.S. by Timmy Thomas´ 1973 hit "Why Can't We Live Together."


Henry The Great
Good Feeling
Macka Fat
Lazy Bones
Fancy Pants
Something Else
Happy People
Purple Heart
Whoa Whoa
Division One
Ghetto Organ
Dad Is Home

Produced by C.S. Dodd at Studio 1 (Kingston, JA)

Jackie Mittoo - Macka Fat (1972)
(192 kbps, front cover included)

Sonntag, 15. Juli 2018

Nina Simone And Her Friends (1959)

Nina Simone and Her Friends is an album released by the Bethlehem Records label that compiled songs by Jazz singers Nina Simone, Carmen McRae and Chris Connor.

All three artists had left the label and signed with other companies by the time Bethlehem released this album. The songs of Nina Simone were previously unissued “left overs” from the recording sessions for her debut album Little Girl Blue (1958) and released without her knowing.

The tracks by Chris Connor and Carmen McRae were already issued together this way as Bethlehem's Girlfriends in 1956 accompanied by the debut recording session of Julie London.


01.  He's Got The Whole World In His Hands
02.  Cottage For Sale
03.  Old Devil Moon
04.  I Loves You, Porgy
05.  Try A Little Tenderness
06.  You Made Me Care
07.  For All We Know
08.  What Is There To Say
09.  Too Much In Love To Care
10.  African Mailman
11.  Good Bye
12.  Last Time For Love

Nina Simone And Her Friends (1959)
(320 kbps, front cover inlcuded)

Samstag, 14. Juli 2018

Dave Van Ronk - Sunday Street (1976)

This album, originally released in 1976, may or may not be, as annotator (and former Dave Van Ronk guitar student) Elijah Wald claims, "Dave's greatest single album" (frankly, Van Ronk has made so many albums for so many fly-by-night labels that it is hard to endorse so sweeping a statement), but it is certainly a very good one.

Van Ronk had made various efforts in recent years to accommodate pop and rock music on his albums, but this one was a return to his usual repertoire of folk-blues tunes and jazz and ragtime transcriptions for guitar, with one Joni Mitchell song ("That Song About the Midway") and an original, the title song, thrown in.

And it was a solo album on which Van Ronk sang and accompanied himself on acoustic guitar. Thus, it approximated what a good set in a club by this artist would sound like, minus the singer's witticisms, of course. Van Ronk never hid his influences, but he never sounded exactly like them, either, and on this album he was very much himself. Maybe it is his greatest single album; it is certainly one of his most representative.  

A1 Sunday Street 3:27
A2 Jesus Met The Woman At The Well 5:34
A3 Nobody Knows The Way I Feel This Morning 3:51
A4 Maple Leaf Rag 3:59
A5 Down South Blues 4:35
B1 Jivin' Man Blues 3:03
B2 That Song About The Midway 3:33
B3 The Pearls 4:29
B4 That'll Never Happen No More 3:48
B5 Mamie's Blues 4:19
B6 Would You Like To Swing On A Star? 2:38

Dave Van Ronk - Sunday Street (1976)
(192 kbps, cover art included)

Sun Ra - The Singles (2 CDs)

Had the chance to see a wonderful Sun Ra concert this week with bandleader Marshall Allen.
Of all the jazz musicians, Sun Ra was probably the most controversial. He did not make it easy for people to take him seriously, for he surrounded his adventurous music with costumes and mythology that both looked backward toward ancient Egypt and forward into science fiction. In addition, Ra documented his music in very erratic fashion on his Saturn label, generally not listing recording dates and giving inaccurate personnel information, so one could not really tell how advanced some of his innovations were. It has taken a lot of time to sort it all out (although Robert L. Campbell's Sun Ra discography has done a miraculous job). In addition, while there were times when Sun Ra's aggregation performed brilliantly, on other occasions they were badly out of tune and showcasing absurd vocals.

Sun Ra consistently maintained he came from another planet - and his taste in clothes and harmonies lent some credence to the claim - but he also felt he could connect with a broad terrestrial audience, which is why he continually released singles on his Saturn label. Some of these singles were his trademark space-jazz, but most of them were more down-to-earth-doo-wop, blues, R&B vocals, swing standards, novelty songs and big-band dance numbers. Yet they all had the Sun Ra touch, which made them weird and worldly all at once.

Back in the mid-'50s, bandleader Sun Ra decided to get his music to his audience through a more direct process by starting his own label, Saturn Records. Equal parts creative futuristic vision and small-time Southern R&B bandstand hustle, these 45s were pressed in unbelievably small quantities (sometimes in runs of only 50 copies), making them the holy grail of Sun Ra collectibles. The collection of singles runs a neat 30-year time-frame and features everything from Sun Ra with an embryonic form of his Arkestra doing backup duties behind doo-wop groups and R&B slopbucket singers like 'Space Age Vocalist' Yochannon to wild-ass sonic experiements from the late '70s into the early '80s that would have atmospherically fit on any of his avant-garde albums. Pieced together for this release from the contributions of private collectors around the world -- and sonically cleaned up far beyond the audio capabilities of the original vinyl they were pressed on -- these 49 three-minute opuses will alternately confuse, astound, confound, delight, and illuminate Sun Ra fans of all stratas of involvement. A major piece of puzzle that is the man, now in place.

Sun Ra - The Singles CD 1
Sun Ra - The Singles CD 2
(192 kbps, cover art included)

Dave Van Ronk - Gambler´s Blues (1965)

Guitarist, singer, songwriter, and native New Yorker Dave Van Ronk inspired, aided, and promoted the careers of numerous singer/songwriters who came up in the blues tradition.

"Not infrequently I am taken to task for the manner in which I approach my material," folk singer and guitar player Dave Van Ronk (1936-2002) wrote in the liner notes to Ballads, Blues, and a Spiritual. A white New Yorker singing traditional Southern black songs, he distinguished himself from others who adopted this repertoire by imitating the way he heard black musicians perform. "Although I can appreciate the ‘white approach’ to Negro folksongs and enjoy the work of many of its adherents, I still reserve the right to sing these songs in the style to which I am accustomed, partly because of habit, and partly, I confess, because I feel that my way is the ‘right way'."


A1 Duncan And Brady 2:50
A2 Black Mountain Blues 3:50
A3 In The Pines 3:05
A4 My Baby's So Sweet 2:30
A5 Twelve Gates To The City 3:10
A6 Winin' Boy Blues 2:30
A7 If You Leave Me Pretty Momma 3:05
B1 Backwater Blues 3:99
B2 Careless Love 2:55
B3 Betty And Dupree 3:34
B4 K.C. Moan 2:56
B5 Gambler's Blues 2:25
B6 John Henry 2:24
B7 How Long 3:45

Dave Van Ronk - Gambler´s Blues (1965)
(192 kbps, cover art included)

Freitag, 13. Juli 2018

David Peel & The Apple Band - The Battle For New York

“My records are a music history and biography in truth and fiction on how I see myself, the world and its people. The songs speak for themselves. David Peel is real – forever David Peel – yes!!” - David Peel

"The Battle for New York" marks the nadir of David Peel's recording career, one of the few moments where this unique artist compromised his music in the service of something too small - in this case, Howard Stern's stillborn 1994 campaign for governor of New York, which ended when the radio personality balked at the financial disclosure forms that he would have to file. Even if you didn't agree with the idea, battling for the reform of marijuana laws was something worthy of his attention and broad and personal enough to invite songwriting of a certain wit and scope - the Vietnam War, Watergate, the murder of John Lennon, and the ascent of Reagan to the White House and its consequences were similarly inviting and appropriate subjects, and even the rioting on New York's Lower East Side was a worthy subject, if only because Peel was a longtime denizen of the neighborhood, even if the results weren't the most listenable of his career. But the opening song here is "Howard Stern for Governor," and two of the following songs had previously appeared on earlier, better albums - that pretty much defines the problem with this album, which is too limited in scope and has little new to say. For serious David Peel enthusiasts, it will still suffice, but "The Battle for New York" isn't much more than a bridge between more important albums.


1 Howard Stern For Governor
2 FCC - Don't Censor Me
3 Stan The Man
4 I Love New York
5 John Lennon Forever
6 David Peel's Dream
7 Uptight Manhattan
8 All The Homeless People
9 The Battle For New York
10 Howard Stern For Governor (Live)
11 FCC - Don't Censor Me (Live)
12 Libertarians For Freedom (Live)
13 Goodbye Mario (Live)
14 He's A Groovy Head (Live)
15 Marijuana Chant (Live)
16 David Peel Speech (Live)
17 Woodstock Nation

David Peel  & The Apple Band - The Battle For New York
(320 kbps, cover art included)

Nancy Dupree - Ghetto Reality (Folkways, 1970, vinyl rip)

“…Nancy Dupree’s 1969 album Ghetto Reality, essentially an inner city version of the Langley Schools Music Project, but with the kids writing their own songs rather than covering contemporary pop hits.” – Mike McGonigal

In 1969 Nancy Dupree was running an after school music program in Rochester, New York. She helped the kids in the program write songs that related to there own experiences and feelings. The results are presented on this LP, and they are really something else. There are black power anthems, odes to stealing candy, a beautiful tribute to James Brown and an even more beautiful tribute to Martin Luther King. Not a novelty record with kids being goofy but rather a heartfelt work of art, Nancy Dupree sensitively accompanying the kids singing on piano. A real classic.
Nancy Dupree initially found her elementary school music students in Rochester, NY resistant to participation in class.

Once she dropped the standard literature (which asked "Mr. Bear" to "come and") and began composing music that bore relevancy to contemporary society and to their very tuned-in and grownup interests, she found they immediately took to performing.

Her songs addressed, for example, the contributions icons James Brown and Jelly Roll Morton (aka "Docta King") made to society, the intangible assets each child naturally possessed ("What do I have? Guts...heart...and soul") and fighting for civil rights ("I want my freedom; I want it now"). Not only did singing about meaningful issues in real musical styles reveal the immense talents the students had, but it gave all a critical lesson in empowerment.


1 What Do I Have? 3:01
2 James Brown 2:48
3 Bag Snatchin' 2:46
4 Docta King 5:35
5 Virgin Mary 3:00
6 I Want 3:34
7 Frankenstein 0:55
8 Cold 2:16
9 Jingle Bells 3:48
10 Call Baby Jesus 4:12

Nancy Dupree - Ghetto Reality (1970)
(320 kbsp, front cover included)

Donnerstag, 12. Juli 2018

David Peel - War & Anarchy

For this 1994 album, David Peel returned to his roots, releasing what amounted to an audio newspaper, built on then-recent events such as the Los Angeles riots; his singing style is no more sophisticated than it ever was, but the playing is surprisingly deft and solid, with a suitably jagged punk-influenced guitar part on "Riot in America," and similar flourishes throughout. 

"Riot Rock" is strangely spellbinding in its mix of rage, nostalgia, and travelogue, and displays a crude but compelling honesty in its mix of amateurish vocalizing and solid music-making; and it hardly matters that it's a thematic repeat of the preceding track. One begins here to understand the modern appeal of Peel's work: in the early '70s he was a novelty act, but he was willing to express anger and rage in unbridled terms yet, in a manner better than a lot of more celebrated bands, turns it into something hypnotically compelling with just the right musical trimmings.


1  Riot In America  5:17
2  Riot Rock  4:34
3  Life Above The Law  6:03
4  Anarchy In The U.S.A.  4:23
5  Who Killed J.F.K.  6:20
6  Hells Of Fire  6:43
7  Stop Aids Forever  4:32
8  No More Nukes  6:05
9  Ground Zero  4:26
10 The Invasion  5:41
11 World War III  6:33
12 Stop The War [ Poem ]  6:34

(320 kbps, cover art included)

Mittwoch, 11. Juli 2018

Richie Havens - Something Else Again

As a little thank you for all the nice comments related to the earlier Richie Havens postings, here´s one more of his albums: "Something Else Again".

The sound here is more keyboard-heavy than its predecessor "Mixed Bag", but Richie Havens continues in a similar vein with his distinctive smoky voice and thumb-fretted open-tuned guitar.

"No Opportunity Necessary, No Experience Needed" and "Don't Listen to Me" are propelled by Warren Bernhardt's percussive electric piano, while "Inside of Him" and "Sugarplums" are pretty ballads featuring the flute of Jeremy Steig. "The Klan" and "Run Shaker Life" are cut from the same mold as "Handsome Johnny," the Woodstock show-stopper from "Mixed Bag". The melody of "New City" has attractive, expansive intervals, and "From the Prison" is an intense piece of balladry built around a riff on the guitar's bass strings. Finally, the title track is seven-and-a-half minutes of sitar, flute, tamboura, and tabla, very much of its time, when George Harrison's interest in Ravi Shankar led many musicians to experiment with Indian instruments, rhythms, and melodies. This cut could be the soundtrack to a flower-power dance in the park or an incense-laced gathering around a hookah beneath posters and black lights.


A1 No Opportunity Necessary, No Experience Needed 2:58
A2 Inside Of Him 4:27
A3 The Klan 4:31
A4 Sugarplums 2:54
A5 Don't Listen To Me 4:25
B1 From The Prison 3:40
B2 Maggie's Farm 4:35
B3 Somethin' Else Again 7:26
B4 New City 2:50
B5 Run, Shaker Life 5:45

Richie Havens - Something Else Again
(320 kbps, cover art included)

Montag, 9. Juli 2018

Alles Lalula - Songs & Poeme - Originalaufnahmen von Valentin über Schwitters bis zur Beat-Generation

This is the first half of a four cd set spanning compilation presenting poems, songs and litaruture beyond the mainstream. The first set brings original recordings from Karl Valentin to dada artists like Kurt Schwitters and Richard Huelsenbeck to the Beat Generation.

Strongly recommended!

CD 1:
01 Richard Huelsenbeck / Hans Richter - Prolog
02 Wladimir Majakowski - Würden Sie denn
03 Filippo Tommaso Marinetti - La Battaglia di Adrianopoli
04 Karl Valentin - Valentin singt und lacht selbst dazu
05 Karl Valentin & Liesl Karlstadt - Liesl Karlstadt singt chinesisch
06 Kurt Schwitters - Die Sonata in Urlauten
07 Kurt Schwitters - An Anna Blume
08 William Butler Yeats - The Song of the Old Mother
09 Gertrude Stein - If I Told Him: A completed Portrait Of Picasso
10 Camille Bryen - Tete de Coq
11 Alexej Krutschonych Frühling mit Beköstigung?
12 - 14 Raoul Hausmann - bbbb /fmsb / kp´erioum
15 Murice Lemaitre - Lettre Rock
16 Francois Dufrene - Batteries vocales
17 Brion Gysin - I Am That I Am
18 Ezra Pound ´- Mouers contemporaines
19 - 23 H. C Artmann - blauboad 1 &2 / kindafazara / etc.
24 Allen Ginsberg - Footnote to Howl
25 William S. Burroughs / Brion Gysin - Recalling All Active Agents
26 Hans Arp - Aus der "Pyramidenrock"
27 Brion Gysin - Come To Free the Words
28 - 29 Henri Chopin - Indicatif 1 / La fusée Interplanétaire
30 Konrad Bayer - der sechste sinn (Ausschnitt)

CD 2:
01 Mimmo Rotella - 7 Poèmes Phonétiques
02 LeRoi Jones - Sweet - Black Dada Nihilismus
03 William S. Burroughs - Burroughs called the law
04 Ernst Jandl - auf dem land
05 Napoleon XIV - They're Coming to Take Me Away, Ha-Haaa!
06 Richard Huelsenbeck - Kapitän Kuckjohns Lautgedicht
07 Richard Huelsenbeck - Chorus sanctus
08 Ermst Jandl - falamaleikum
09 Ermst Jandl - talk
10 Ernst Jandl - schtzngrmm
11 John Lennon, Yoko Ono - No Bed for Beatle John
12 Joseph Beuys - Ja Ja Ja Ja Ja, Nee Nee Nee Nee Nee (Ausschnit)
13 Taj Mahal - A Little Soulful Tune
14 Wolfgang Bauer - Tornado
15 Wolfgang Bauer - November
16 Otto Nebel - Generalverrammlung
17 Sten Hanson - Railroad Poem
18 Benno Höllteuffel - xangl
19 Benno Höllteuffel - schbas muas sei ...
20 Benno Höllteuffel - jawarum
21 Benno Höllteuffel - as resal
22 Benno Höllteuffel - de groskobfadn griang nia gnua
23 Benno Höllteuffel - anschdendige nama
24 Benno Höllteuffel - schbruch
25 Erst Jandl - ottos mops
26 Charles Amirkhanian - Each 'LL
27 John Giorno - Suicide Sutra
28 Bernhard Heidsieck - Canal Street 35
29 Don van Vliet - Apes-Ma

Alles Lalula - Songs & Poeme Vol. 1 - cd 1
Alles Lalula - Songs & Poeme Vol. 1 - cd 2
(320 kbps, cover art included)

Sonntag, 8. Juli 2018

Bluegrass At Newport - Newport Folk Festivals 1959, 1960 & 1963

Bluegrass is one of America´s original root music forms, one which originated in the traditional mountain music of the Kentucky and Virginia hills. The ringing banjos, lively fiddles and mandolins, and booming upright bass tones set toes to tapping and hands to clapping in rural mountain communities throughout the early and mid 1950s.

It was at the very first Newport Folk Festival, back in 1959, that bluegrass got its initial exposure to the young urban audiences who flocked to Rhode island each July to see and hear the red hot pickers and singers who were among the legendary figures of bluegrass.

In some cases these performers were making theri first-ever trips out of the South. Artists like Flatt and Scruggs, Doc Watson, and Jim & Jesse McReynold beace, if not quite household words, at least well enough known to contiinue to pursue active careers on the bluegrass festival, college, coffeehouse and concert circuit for many years after their Newport Folk Festival appearances.

Bluegrass At Newport - 2 CDs:
Bluegrass At Newport - Newport Folk Festivals 1959, 1960 & 1963
(256 kbps, cover art included)

Samstag, 7. Juli 2018

Ras Michael: Dadawah - Peace and Love (1974)

Nyahbingi music in its purest form ist the music played at Rastafarian meetings or "grounations", and is based around a style of relentless drumming and chanting. Sometimes a guitar or horns are used, but no amplification at all is employed.

Though serious musicologists had made occasional field recordings of nyahbingi sessions, the first album to give the music the studio time it deserved, while remaining as true to its original forms are possible, was the triple LP set "Grounation" from Count Ossie & The Mystic Revelation Of Rastafari. This historic set has never been superseded, but the establishment of Rastafari as the dominant reggae ideology in the mid-1970s, plus the emergence of an audience for reggae albums that were more than collections of hit singles, created a climate in which more sets of nyabingi-based music could be produced.

The most noteworthy of these were by Ras Michael & The Sons Of Negus. In 1975, Ras Michael´s group were joined by some of Kingston´s top studio musicians for the retrieving album "Dadawah - Peace & Love". Unique in its synthesis of musical forms and the length of its tracks, it uses traditional Rasta chants as its basic material, but subjects it to elements from the reggae mainstream, US funk and even rock.

"Dadawah" was a revelation, a stunning album that, across a mere four numbers, wove together a grounation feel, thick roots atmospheres, blues, rock, psychedelia, and deep Rastafarian devotion. Brilliantly produced by Lloyd Charmers, who also provided keyboards, with stunning work from guitarist Willie Lindo and the rhythm section of Paul Williams and Lloyd Parks, "Dadawah" remains one of the most exceptional albums of its, or any other, day. It is one of our favourite albums for the more quiet and thoughtful hours of the day:

1. Run Come Rally
2. Seventy-Two Nations
3. Zion Land
4. Know How You Stand

Ras Michael - Dadawah - Peace And Love (1974)
(256 kbps, cover art included)

Fela Kuti - Shuffering And Shmiling (1977)

After the 1977 police attack on Fela's Kalakuta Republic, where his mother and about 80 members of his entourage and band were injured and arrested, he set out to light a fire underneath the authority figures and his various other enemies that were causing him and, in his eyes, the people of Nigeria to suffer in the form of harassment, oppression, and economic devastation.

"Shuffering and Shmiling" is one of those comments. While continuing along in his tradition of savvy instrumental innovation, "Shuffering and Shmiling" plays out with the same intensity and voracious soloing that mark other great Africa 70 performances like "Confusion", "Gentleman", and "No Agreement"; but the point of departure here is the outward remarks he makes on a touchy topic: religion. Fela had become increasingly concerned about the growing influence of non-traditional religions fracturing African countries. He believed that these divisions had created a population unable to unify and stand up for themselves and instead had them living in conditions that forced "them go pack themselves in like sardine (into a bus): Suffering and smiling," and without trying to change things he says they "Suffer suffer for world/Enjoy for heaven."

"Shuffering and Shmiling" is another highly recommended Fela Kuti and Africa 70 release.               
  • "Shuffering and Shmiling (Vocal)" - 12:12
  • "Shuffering and Shmiling (Instrumental)" - 9:47

  • Fela Kuti - Shuffering And Shmiling (1977)
    (192 kbps, cover art included)

    Freitag, 6. Juli 2018

    Hanns Eisler´s 120th birthday - "Gegen die Dummheit"

    Today we celebrate the 120th birthday of composer Hanns Eisler.

    Hanns Eisler was born in Leipzig on 6 July 1898 and went to school in Vienna. After two years as a common soldier in the first world war, he became a student of Arnold Schoenberg in 1919, dedicating his Sonata for Piano op. 1 to his teacher in 1923. He moved to Berlin 1925, where he composed for workers’ choruses and agitprop groups, collaborating with Brecht (Die Maßnahme, Die Mutter) from 1928. 

    From 1933, Eisler initially resided in Paris, Svendborg, and London, before taking exile in America from 1938, where he created his most significant chamber music works (including Fourteen Ways to Describe Rain). Alongside music for eight Hollywood pictures, Eisler also composed his Hollywood Songbook to texts by Brecht, Hölderlin, and others while in California.

    In 1948, Eisler returned to Europe, initially to Vienna and Prague and ultimately to East Berlin. Although he wrote the National Anthem of the GDR to a text by Johannes R. Becher, conflict arose with GDR cultural bureaucracy when he published his libretto Johann Faustus in late 1952. Up until 1955, Eisler predominantly worked in Vienna for the Scala Vienna and Vienna Film at Rosenhügel. In the GDR, he wrote works for the Berliner Ensemble and DEFA. In 1959, he witnessed the premiere of his Deutsche Symphonie, mostly composed while in exile, at the State Opera Unter den Linden. Hanns Eisler died in East Berlin on 6 September 1962. 

    The album "Gegen die Dummheit" with Peter Siche (vocals) and Klaus Schäfer (piano) was released in 1998 on Edition Apoll. Besides well-known Eisler songs it contains Die Götter, Zuckerbrot und Peitsche, Und endlich stirbt die Sehnsucht doch and Goethe-Fragment.


    1 Die Götter 0:44
    2 Zuckerbrot und Peitsche 2:30
    3 Rückkehr zur Natur 2:06
    4 Die Spaziergänge 2:18
    5 Feldfrüchte 2:29
    6 O Fallada, da du hangest 2:53
    7 Stempellied 4:08
    8 Lob des Lernens 2:01
    9 Die Ballade vom Wasserrad 3:20
    10 Kälbermarsch 2:00
    11 An den kleinen Radioapparat 0:59
    12 Der Kirschdieb 1:19
    13 An eine Stadt 3:55
    14 Elegie II - An die Überlebenden 2:32
    15 Der Graben 2:59
    16 Friedenslied 2:37
    17 Das ferne Lied 1:43
    18 Und endlich 1:25
    19 Goethe-Fragment 1:21
    20 Ardens sed virens 1:02
    21 Lied von der Moldau 1:34
    22 Anmut sparet nicht noch Mühe 1:43
    23 (Schluß-)Spruch 0:56

    Hanns Eisler - Gegen die Dummheit - Gesang: Peter Siche, Klavier: Klaus Schäfer
    (320 kbps, cover art included)

    Claude Lanzmann died at 92. - "Der Letzte der Ungerechten"

    Claude Lanzmann, the French director behind the landmark nine-and-a-half-hour Holocaust documentary Shoah, has died yesterday at 92.

    Lanzmann – who fought with the French resistance aged 17 – will be best remembered for Shoah (1985), one of the most important documentary features of all time and a significant moment in cinema history.
    The director's magnum opus is over nine hours in length and was 11 years in the making, composed entirely of new interviews with survivors of the Nazi Holocaust during the Second World War.

    Lanzmann believed that the process of recycling contemporary newsreel footage of Germany's extermination camps only served to erode our understanding of the true significance of what went on behind their walls.
    In re-running old clips or seeking to dramatise the Final Solution in fiction, we were remiss in our duty to remember, he believed.
    Doing so safely confined the horrors of Auschwitz-Birkenau, Belsen, Treblinka and the rest to the annals of history, the first step on the road to forgetting the worst atrocity in human history and increasing the likelihood of our repeating it in the future.

    Instead, Lanzmann undertook the enormous task of interviewing as many survivors of the camps as he could – with no exposition or explanation, just straight talking head recitals of their memories of what they endured, a necessarily gruelling and unflinching business.
    His elderly subjects include Abraham Bomba, a barber living in Israel who breaks down in tears as he recalls shaving the heads of Jewish women destined for the gas chamber, shaking with sorrow as he relives the moment a woman he knew sat in the chair before him and sought reassurance that everything would be OK.

    Others include Sonderkommando Mordechai Podchlebnik, escapee Rudolf Vrba, train driver Henryk Gawkowski and Szymon Srebrnik, a 13-year-old boy soprano forced to sing for the Nazis as he rowed down the Ner River near Chelmno in Poland, tasked with dumping sacks of bones and ashes into the water.

    Persistent and intrepid, Mr Lanzmann also worked hard to track down former members of the SS to interview, although securing their co-operation was far tougher. 
    What is so devastating in Shoah is the details: Nazi Corporal Franz Suchomel – one of the few he is able to speak to, with the aid of a concealed mic – admits making naked Jewish prisoners destined for extermination queue outside in winter temperatures of -20C, asking camp barbers to take their time in sheering their hair so as to ensure they suffered more.
    In making it, Lanzmann achieved the impossible, recording oral testimonies that would otherwise have been lost to reveal to us the true legacy of the atrocity. Lanzmann's film is a gruelling experience but an essential one.

    Claude Lanzmann and Benjamin Murmelstein, Rome, 1975; from Lanzmann’s film The Last of the Unjust

    “Le Dernier des Injustes” (“The Last of the Unjust”) was a devastating 2013 film about betrayal, complicity and survival centered on the figure of Rabbi Benjamin Murmelstein, who had been on the governing body at the Germans’ “show-camp” of Theresienstadt. Murmelstein was an "Ältester" (council elder) of the Judenrat in the Theresienstadt concentration camp after 1943. He was the only "Judenältester" to survive the Holocaust and has been credited with saving the lives of thousands of Jews by assisting in their emigration, while also being accused of being a Nazi collaborator.

    Here´s the ebook "The Last Of The Unjust" in German language.

    Claude Lanzmann - Der Letzte der Ungerechten

    Donnerstag, 5. Juli 2018

    King Tubby - Explosive Dub


    Born January 28th 1941, King Tubby (Brad Osborne) is known primarily for his influence on the development of dub in the 1960s.
    In the 1950s, King Tubby's musical career began with the sound systems, set up on the streets of Kingston and playing dance music for the people. As a radio repairman, Tubby soon became quite helpful at most of the sound systems around.
    Tubby began working with Duke Reid in 1968. At Treasure Isle, a studio, Tubby began making remixes of hit songs, usually by simply removing the vocals. In time, Tubby (and others) began shifting the emphasis in the instrumentals, adding sounds and removing others and adding various special effects, like echoes. By 1971 , Tubby's soundsystem was one of the most popular in Kingston and he decided to open a studio of his own. His remixes soon proved enormously popular, and he became one of the biggest celebrities in Jamaica.

    During the 1970s, Tubby's work in the studio gave rise to modern dub music. He had a long string of hit songs, and worked as a producer for some of Jamaica's most popular artists, including Lee Perry, Bunny Lee, Augustus Pablo and Yabby You. In 1973, he began recording vocals to put along the instrumentals. By the later part of the decade though, King Tubby had mostly retired from music, still occasionally recording remixes and tutoring a new generation of artists, including King Jammy and Scientist. In the 1980s, he focused on production for Anthony Red Rose, Sugar Minott and other popular musicians.

    He was shot and killed by unknown persons, probably in a robbery attempt, in 1989, February 06th."

    "Explosive Dub" is a collection of tracks originally appeared on Brad Osbourne's New York based Clocktower label in the late 70s, many of which were played as dub plates by the sound systems of these days.


    Soundtrack Dub
    Easy Skanking Dub
    Burning Dub
    Daylight Dub
    Stepping Dub
    Just A Man Dub
    Send Me Dub
    In Love Dub
    Perfidia Dub
    Reggae Dub
    Babylon Dub
    Love Me With Your Heart Dub
    Music Field Dub
    So Fine Dub
    True Dub
    Freedom Dub
    Today Dub
    No One Dub
    Good Man Dub

    King Tubby - Explosive Dub

    Donovan - Catch The Wind (EP, Pye, 1965)

    Donovan's folky 1965 recordings for Pye Records (they were released in the U.S. by Hickory Records) bear only a superficial resemblance to the more famous pop material he began issuing a year later when he switched to Epic Records. True, the fey gypsy and flower power sensibility was already present in songs like "Turquoise" (which is as gorgeous as it is ridiculous), but the pre-"Sunshine Superman" Donovan had a good deal more Woody Guthrie in him than he did Timothy Leary.

    His work from this period has been compared (usually unfavorably) to Bob Dylan, but the strongest influence at play in these songs is probably Bert Jansch. In the end, the Pye tracks form a complete and distinct cycle in Donovan's canon, separate from - but not necessarily lesser than-his more ornate pop material.

    Side A:
    01. Catch The Wind
    02. Every Man Has His Chain

    Side B:
    03. Josie
    04. Why Do You Treat Me Like You Do

    All tracks by Donovan P. Leitch.

    · Donovan: vocals, acoustic guitar and mouth harp.
    · Brian 'Liquorice' Locking: bass.
    · Skip Alan: drums.

    Donovan - Catch The Wind (EP, Pye, 1965)
    (192 kbps, front cover included)

    Dienstag, 3. Juli 2018

    Eulenspygel - Ausschuss (1972)

    Eulenspygel was one of the many German bands in the early '70s who combined rock with theater and politics, though unfortunately for the English listener, the lyrics to this are all in German. The music, though, is enough to keep it interesting, as the group blends classic and progressive rock styles with a lot of other stuff thrown in.

    On this, their second album from 1972, Eulenspygel expands their range of instruments from the first record, confusingly called "Eulenspygel 2".  The album was recorded at Apple Studios on April, 4th to 8th 1972. It features razor sharp lyrics criticizing the shadowy sides of German society in the early 70's. The first track is the sidelong opus "Abfall," which is about an orphan, with many different sections segued together and lengthy instrumental parts featuring a guitar, keyboard, and horn section. This is the strongest piece on the disc, but the shorter tracks from side two of the original album are still very good. These are varied but mostly up-tempo rockers with many psychedelic and progressive flourishes. The CD also includes seven bonus tracks, either from television appearances in 1972 or some demos from 1973 and 1974, most of which have good sound quality and are similar to the album's material, though with a slightly lighter atmosphere.

    On "Ausschuss", Eulenspygel continue with their left wing lyrics which have become increasingly demanding and critical of society. There is a side long suite on this their second album about orphans. Lyrics are still in German and the band certainly didn't just preach without practising their philosophies as they would visit orphanages and youth prisons which gave all the band members that emotional connection to the subject matter.

    1 Abfall 22:17
    2 Menschenmacher 2:57
    3 Teufelskreis 6:50
    4 Herzliches Beileid 2:55
    5 Der Fremde 5:45
    6 Untertanenfabrik 3:55
    7 Sechs Uhr aufstehen 2:08
    8 Junge, was willste draußen 2:42
    9 Mich kotzt hier alles an 2:18
    10 Schlafstadt 3:56
    11 Kinderlied 4:28
    12 Freut Euch, Kinder 2:51
    13 Zusammenstehen 6:22

    Eulenspygel - Ausschuss (1972)
    (256 kbps, cover art included)

    Sonntag, 1. Juli 2018

    Tom Robinson Band - Up Against The Wall (Single, 1978)


    A Up Against the Wall
    B I'm All Right Jack

    "Up Against The Wall" was the great third single from the Tom Robinson Band, released in 1978. This storming stuff from a wonderful band is still actual more than 30 years after it´s release. Tom Robinson jettisonned his band Cafe Society after he attended a Sex Pistols gig and got to work on a band that what would become the overtly political T.R.B.
    Tom Robinson began gigging in London in 1976. By the end of the year, he had decided to put together a permanent band. Robinson's old friend, guitarist Danny Kustow, was the first in the permanent lineup. They ran small ads in the music papers looking for a bass player and drummer. Robinson found drummer Brian "Dolphin" Taylor. The search for a bass player continued, until Mark Ambler auditioned. Some days later, Ambler mentioned he also played keyboards; he had spent many years studying piano with veteran jazz musician, Stan Tracey. After listening to Ambler playing his Hammond organ Robinson realised he would have to be the bass player himself.
    The band hit the club scene right in the middle of London's punk explosion. Their live shows got favourable reviews, and soon A&R men were attending many of their gigs.
    EMI Records signed TRB. Robinson later described this period, saying "Within nine months we'd made the transition from signing on at Medina Road dole office to Top Of The Pops, Radio One, EMI Records and the giddy heights of the front cover of the New Musical Express".
    TRB made leaflets and fliers about their political views and sent them to everyone who attended their gigs, they gave away badges and made up T shirts emblazoned with the band's logo and they appeared regularly at Rock Against Racism concerts.

    "2-4-6-8 Motorway" was their first single, released in late 1977. It got into the top five of the UK singles charts, staying there for over a month. It was followed almost immediately by their next record, a four song EP called "Rising Free" which was recorded live at London's Lyceum Theatre in November 1977. It contained the songs "Glad to Be Gay", "Right On Sister", "Don't Take No for an Answer", and "Martin". The EP reached #18 in the UK singles charts.
    In early 1978, TRB recorded their debut album, "Power in the Darkness". The UK version of the LP contained all new songs, but in the US (on the Harvest label), the "2-4-6-8 Motorway" single and "Rising Free" record were combined for a six-track bonus EP that made the album almost a double.
    "Power in the Darkness" reached number 4 in the UK album charts and won the band a gold record, and TRB were voted "Best New Band" and "Best London Band" for the year 1977 by listeners at the Capital Radio Music Awards. Mark Ambler left the band after recording the album. Session pianist Nick Plytas was drafted in as a temporary replacement, and played with TRB at a major Anti Nazi League rally in London's Victoria Park early that year.
    Ian Parker joined as a permanent replacement for Ambler. TRB then went to Rockfield Studios in Wales to record their next album, "TRB Two". Chris Thomas who had produced their first album, was also at the control deck for their second album, to start off with. Dolphin Taylor suggested Todd Rundgren should replace Thomas. After not being able to decide which tracks should appear on the LP, the band eventually agreed to let Rundgren choose. However, he picked two of the songs Dolphin particularly disliked, and Taylor decided that he would leave rather than play on the tracks. A day later he had calmed down somewhat and offered to return, but Robinson refused, and Preston Heyman was recruited as an emergency stand-in. His picture was included on the album cover, but there was never any intention for him to join the band permanently. Taylor's eventual replacement was Charlie Morgan who had played for Kate Bush, and went on to drum for Elton John for a further fifteen years.
    To support the album's release, the band went on tour, but by this point the TRB's infighting had taken its toll. When Kustow decided to quit in 1979 that was the end of TRB.
    In 1989, Robinson, Kustow and Ambler put together a reunion tour and played sold out shows at the Marquee in London and went on for the best part of a year before splitting one final time.

    Tom Robinson Band - Up Against The Wall (Single, 1978)
    (192 kbps, cover art included)