Donnerstag, 29. November 2018

Jack Elliott - Hootenanny With Jack Elliott (1964)

First posted on February 24, 2016:

This friday will be the opening of this years "Festival Musik und Politik". The festival remembers the history of "hootenanny" in East Berlin and goes back to the year 1966. This is a good opportunity to post an album related to the history of "hootenanny" in the USA.

Ramblin' Jack Elliott is one of folk music's most enduring characters. Since he first came on the scene in the late '50s, Elliott influenced everyone from Bob Dylan and Pete Seeger to the Rolling Stones and the Grateful Dead. The son of a New York doctor and a onetime traveling companion of Woody Guthrie, Elliott used his self-made cowboy image to bring his love of folk music to one generation after another. Despite the countless miles that Elliott traveled, his nickname is derived from his unique verbiage: an innocent question often led to a mosaic of stories before he got to the answer. According to folk songstress Odetta, it was her mother who gave Elliott the name when she remarked, "Oh, that Jack Elliott, he sure can ramble."                

This album was recorded at a Philadelphia club on May 18, 1962. It has a good cross-section of the cowboy- and country-oriented folk Elliott liked to sing: Jimmie Rodgers' "Mule Skinner Blues," the Sons of the Pioneers' "Cool Water," "Boll Weevil," "How Long Blues," "Hobo's Lullaby," "Rock Island Line"; and, of course, a couple of "talking" Woody Guthrie tunes. It's perhaps a little more fun to hear than the average early 1960s Jack Elliott album, because the live ambience and spoken introductions and asides give it a warmer atmosphere than the earnest but plain studio recordings.              

The album "Hootenanny With Jack Elliott" was originally released  as "Jack Elliott At The Second Fret" in 1962

A1Mule Skinner Blues
A2Cool Water
A3Talking Miner
A4Boll Weevil
A5How Long Blues
B1Salty Dog
B2Tyin' Knots In The Devil's Tail
B3Hobo's Lullaby
B4Talking Sailor
B5Rock Island Line

Jack Elliott - Hootenanny With Jack Elliott (1964)
(192 kbps, cover art included)

Mikis Theodorakis & Pablo Neruda - Canto General (Amiga, vinyl rip)

"Canto General" is a oratorio for two solo parts, mixed choir and orchestra by Mikis Theodorakis with poems by Pablo Neruda

This album was recorded 1980 in Berlin in the Palace of the Republic (Palast der Republik), performed at the "10. Festival des politischen Liedes".

A delight for the ear and a pleasure for the soul ... It is difficult to translate the feelings when listening to this music. Theodorakis and Neruda achived with their composition "Canto General" a master piece.

1. Amor America
2. Algunas Bestias
3. Voy A Vivir
4. Los Libertadores
5. Vienen Los Pajaros
6. La United Fruit Co.
7. Vegetaciones
8. America Insurrecta

Mikis Theodorakis & Pablo Neruda - Canto General (Amiga)
(320 kbps, cover art included)

Kastrierte Philosophen - Rub Out The World - Maxi Mixes

Kastrierte Philosophen (Castrated Philosophers) from Hamburg was one of the most important German independent rock bands in the 1980s and 90s. The band formed in 1983 by Matthias Arfman and Katrin Achinger, both of whom worked together with other artists on their releases and concerts. Their musical style ranges from psychedelic rock, hip-hop, dub and electronic music.

Starting with a dark sound inspired by Velvet Underground and Nico (to who they dedicated their 1989 album "Nerves") as well as chanson, later on they worked on african and oriental influenced music. In their last phase in the mid-90s, they began to work with several young dub mixers, one of which was Jan Eißfeldt. Philosopher Arfmann (Knochenhaus studio) then produced all albums of Eißfeldt's German hip hop band Absolute Beginner and his Jan Delay reaggae albums.

Radio Active (Solid Mix) 4:47
Jussun (Mix For Jazz-Supervisors) 6:58
Radio Active (Kid Mix) 4:02
Jussun ("Nicht Für Paul Simon" Mix) 2:58
Radio Active (Page 62 Space Mix) 4:08
Jussun (Morricone Mix) 3:26
Radio Active ("Hotel & Warten Auf Die Stars"-Mix) 4:23
Rub Out The Word (Commercial) 0:58

Angèle Durand - Lieder der Claire Waldoff (1980)

The husky-voiced Belgian pop singer and actress Angèle Durand sings on this album some of Claire Waldoff´s "greatest hits".  Durand's tribute to Claire Waldoff, the famous lesbian cabaret performer of Berlin, was recorded in 1980.

Angèle Durand , civil Angèle Caroline Liliane Josette Marie-José DeGeest (* 23 October 1925 in Antwerp , Belgium , † 22 December 2001 in Augsburg ) was a Belgian singer and actress. She was married from 1958 to 1961 with producer Nile Nobah. Later she had a long-time relationship with the entertainer Lou van Burg.

Claire Waldoff was a star on the stage of the great cabarets and variety shows between 1907 and 1935, not only in Berlin. Their songs were sung in the streets or whistled by garbage carters and millionaires. "Hermann heeßt er", "Wer schmeißt denn da mit Lehm?" or "Das war sein Miljöh" knew every child.

Angèle Durand - Lieder der Claire Waldoff (1980)
(192 kbps, front cover included)

Samstag, 24. November 2018

VA - Reggae Archive Vol. 2 (On-U Sound)

Unique, maverick and massively respected, On-U Sound is undoubtedly one of the UK’s most important independent labels.

Contributing a strikingly diverse soundtrack to chaotic post-punk, post-colonial Britain, On-U has become a by-word for experimentalism, spewing forth incredible, far-fetched, sometimes completely baffling tunes, never straying far from the cutting edge.

Primarily associated with the sound of ‘dub’, the label’s heritage is far broader, with many of its artists having backgrounds in punk & post-punk, industrial, hip-hop and funk where the cross-pollination of punk experimentation and Jamaican dub has mapped out the innovative, culturally exciting territory the label has covered over the years.

Since 1981, with label boss and producer Adrian Sherwood at the helm, On-U Sound has released over 100 albums and singles and has launched the careers and/or inspired an endless list of artists.
The label’s influence upon a younger generation of musicians, not to mention the ambient/techno style in general, has proved enormous, helping to fuse dub with both the independent rock and post-punk scenes

1. Deadly Headley - 35 Years From Alpha
2. Deadly Headley - Head Charge
3. Bim Sherman/Deadly Headley - Without A Love Like Yours
4. Bim Sherman/Deadly Headley - Little Dove
5. Deadly Headley - Two From Alpha
6. Deadly Headley - Headley's Meadly
7. Deadly Headley/Singers & Players - Revolution Part 5
8. New Age Steppers - Some Love Dub
9. New Age Steppers - 5 Dog Race / Tribute
10. Lol Coxhill/New Age Steppers - 5 Dog Race Part 3
11. Bim Sherman - Accross The Red Sea
12. Bim Sherman - Awake The Slum
13. Bim Sherman - You Are The One
14. Bim Sherman - Golden Morning Star
15. Bim Sherman - Sit And Wonder

VA - Reggae Archive Vol. 2 (On-U Sound)
(192 kbps, cover art included)

Sonja Kehler - Dessau Lieder (Nova)


This is an album with songs by Paul Dessau and lyrics by Bertolt Brecht, in the interpretation of Sonja Kehler. The album was recorded in 1976 and released in 1977 on the NOVA label in the GDR.

Paul Dessau, (born Dec. 19, 1894, Hamburg, Ger.—died June 28, 1979, East Berlin, GDR) was a German composer and conductor best known for his operas and other vocal works written in collaboration with Bertolt Brecht. Dessau’s conducting career included posts in Cologne (1919–23) and Berlin (1925–33). His long collaboration with Brecht began in 1942 in the United States, where he wrote the music (1946) for Brecht’s play Mutter Courage und ihre Kinder (Mother Courage and Her Children), the most popular of the Brecht-Dessau works. From 1948, they continued their partnership in East Germany, where Dessau composed his most successful opera, Die Verurteilung des Lukullus (1949; “The Sentencing of Lucullus”; also called Das Verhör des Lukullus [“The Trial of Lucullus”]), with libretto by Brecht. Dessau’s other works include the opera Einstein (1971–73).
His opera "Die Verurteilung des Lukullus" drew sharp criticism from the Party. Still, Dessau was highly respected: in 1952, he was voted membership into the Academy of Arts in East Berlin, then was appointed its vice president in 1957, serving until 1962. From 1962 to 1975, he taught at a primary school in the Berlin suburb of Zeuthen, where he lived since 1954. He remained active in composition in his last years and never acquiesced to Party officials, who often condemned his works.        

Sonja Kehler was born on February 2, 1933 in Haldersleben near Magdeburg. After graduating from the College of Drama in Leipzig she was given engagements at several theatres in the GDR, before launching on an international career as a freelance singer and actress. Sonja Kehler made a name for herself above all as a performer of works by Bertolt Brecht, whether as Shen Te in “The Good Person of Sezuan”, as Jenny in “The Threepenny Opera” or as Grusche in “The Caucasian Chalk Circle”.
Nevertheless in the 80s she was barely alowed to perform in the GDR. The repression started when one of her musicians didn´t come back to GDR after a concert “in the West”. Sonja Kehler told about that time in an interview: “I couldn´t get work in the GDR, no concerts, no recordings, but I was allowed to tour abroad again because it brought in foreign currency. I had of course done a lot in the GDR before that: concerts, theatre, shows, television work. But at a particular point that all stopped and I was only allowed to perform abroad. At that time Bernd Wefelmeyer was already my accompanist. In 1978 I made a very accomplished Brecht recording with hi but it was never released in the GDR, although WERGO did market it in the West”.


Das Zukunftslied
Zwei Lieder aus Der Kaukasische Kreidekreis"
Bei den Hochgestellten
Zwei Kinderlieder
Drei Lieder aus "Mutter Courage und ihre Kinder"
Historie vom verliebten Schwein Malchus
Kampflied der schwarzen Strohhüte
Drei Lieder aus"Der gute Mensch von Sezuan"
Bitte der Kinder aus Herrnburger Bericht"

Sonja Kehler - Dessau Lieder (Nova)
(ca. 224 kbps, cover art included)

Lipstick Traces - A Secret History Of The 20th Century (1928-92)

This is a soundtrack or audio companion to Greil Marcus' book 'Lipstick Traces: A Secret History of the 20th Century' (1989), originally published in the US by Harvard University Press, in the UK by Penguin Books, in Germany by Rogner & Bernhard (Zweitausendeins), in Italy (as 'Tracce di Rossetto') by Leonardo Editore, and in Spain (as 'Rastros de Carmin') by Anagrama - a book of comparative history by rock-music critic Greil Marcus that examines popular music and art as a social critique of Western culture.

From the liner notes:

"It happens. You feel alien. You are other. Nothing in your culture, in your experience gets near to what you feel. You want to be elsewhere. If you can't be elsewhere, you want to see everything brought down. These thoughts explode in your head. You can't sleep, you grind your teeth. You get migraines. You shake.

Then you walk into a room. You see or hear four people making a noise, playing the limits of electricity and the room's ambient space: like a switch tripping, your life is changed forever. Out of nowhere, the terrain is cleared and the possibilities stretch before you.

This will only happen once, with that certainty. It may happen before and afterwards, in precognitions, aftershocks, conscious attempts to recapture that first shock of recognition: when you find the piper that calls your tune.

This collection exists for many reasons: for fun, to be played alongside a book with words and pictures, to rewrite Punk in terms of a still hidden female history. Most of all, it solves a perceptual problem: how to recapture that first hearing of the Sex Pistols' 'Anarchy in the UK'.

Nearly seventeen years after its first release, 'Anarchy in the UK' sounds, well, tired. If not quite a generally recognised 'rock classic', then its familiarity, and indeed supersession by generations of Punk and Rap groups, has meant that the song, and the time which it heralded, have lost their immediate potency. How to hear them in a new way?

In this particular example, to hear and see the Sex Pistols/the Clash/the Saints (among others) in 1978 was to feel this: 'Everything that is normally taken for granted as the way God planned it, as the way human beings were meant to be, is suddenly refuted, loses its reality, loses its pull. And people glimpse two things: they glimpse that the world they've been raised to accept is a fraud and a sham, and that another world is possible.'

This is a sensation at once galvanising and terrifying: you will hear it on most of the selections here. Just jump into the tunnel with the Slits, like Alice after the rabbit: by the end of this sixty minute journey, you'll have a composite picture that takes you right back to Punk's original, primal alienation.

I'd love to hear this collection condensed into a six minute rap tune, or a twelve minute techno mantra, but in the meantime we begin, with a giggle...

1. The Slits "A Boring Life"
A 1977 demo, recorded by Ari Up (vocals), Tessa Pollitt (bass), Viv Albertine (guitar), and Palmolive (drums). One of the few documents of that 1977 sound. (Originally released on 'Once Upon a Time in a Living Room', Y/Rough Trade, 1980, UK).

2. The Orioles "It's Too Soon To Know"
A No. 1 R&B hit in the USA in 1948, and also a more spectral hit among whites, the sort the chart couldn't fully register: 'a meeting of cultures' in a segregated society. Composed by a white Jewish songwriter named Deborah Chessler, performed by a black Baltimore group at first called the Vibra-Naires: Sonny Til (lead), George Nelson (second lead), Alexander Sharp (tenor), Johnny Reed (bass), and Tommy Gaither (guitar). (Originally released on It's-a-Natural, 1948, US).

3. Trio Exvoco "L'amiral cherche une maison à louer" (Tristan Tzara, Marcel Janco, Richard Huelsenbeck)
Composed 1916, performed in the same year at the Cabaret Voltaire in Zürich, recreated here by Trio Exvoco (Hanna Aurbacher, Theophil Maier, and Ewald Liska). Written, sung, and chanted in German (Huelsenbeck), French (Tzara), and English (Janco): 'proto rock 'n' roll'. (Recorded 1980; from 'Dada For Now', Ark, 1985, UK).

4. Jonathan Richman "Road Runner"
Accept no substitutes. (Originally released on Beserkley, 1975, US).

5. Guy Debord - Excerpt from soundtrack to 'Hurlements en faveur de Sade'
A film first shown in Paris in 1952 at the Ciné-Club Avant-Garde. See Debord, 'Society of the Spectacle and Other Films' (London: Rebel Press, 1992), for a translation of the screenplay ("Howlings in favour of Sade").

6. The Roxy, London - Ambience
From the two nights at the end of April 1977, recorded by Mike Thorne for the album 'The Roxy London WC2 (Jan-Apr 77)' (EMI, 1977, UK) - an accurate reflection of English Punk's early gamut, with X-Ray Spex, Wire, Buzzcocks, Slaughter & The Dogs, Eater, Johnny Moped, and the Unwanted).

7. Jean-Louis Brau "Instrumentation Verbale (Face 2)"
A 1963 recording in the style of 1950 ultra-lettrist Paris sound poetry. (Originally released on Achèle, 1965, France).

8. Buzzcocks "Boredom"
Recorded by the late Martin Hannett in Manchester, 12/76. Mostly put down in one take by Howard Devoto (vocals), Pete Shelley (guitar), Steve Diggle (bass), and John Maher (drums). (Originally released on New Hormones, 1/77, UK).

9. The Adverts "One Chord Wonders"
Second version, recorded by T. V. Smith (vocals), Howard Pickup (guitar), Gaye Advert (bass), and Laurie Driver (drums) for 'Crossing the Red Sea with the Adverts'. (Originally released on Bright Records, 1978, UK).

10. Raoul Hausmann "phonème bbbb"
Berlin dada sound poetry, composed 1918, performed 1956/57. (From 'Poèmes phonetiques complètes', S Press Tapes, 1978, W. Germany).

11. Gang of Four "At Home He's a Tourist"
Recorded as the band's second single by Jon King (vocals, melodica), Andy Gill (guitar, vocals), Dave Allen (bass), and Hugo Burnham (drums). (Originally released on EMI, 1979, UK, and on 'Entertainment!', EMI, 1979, UK / Warner Bros., 1980, US).

12. The Adverts "Gary Gilmore's Eyes"
Personnel as on "One Chord Wonders." (Originally released on Anchor, 1977, UK).

13. Kleenex "Ü (angry side)"
Recorded in London by by Regula Sing (vocals), Marlene Marder (guitar), Klaudia Schiff (bass), Lislot Ha (drums) from Switzerland. (Originally released on Rough Trade, 1979, UK). [liner notes erroneously states this to be recorded in Switzerland]

14. Guy Debord - Excerpt from the soundtrack to 'Critique de la séparation' (Dansk-Fransk Experimentalfilmskompagni, 1961)
Music: Bodin de Boismortier, 'Allegro movement, Op. 37 - Concerto in E Minor in five parts'. Narration: (Debord): "The sectors of a city are, at a certain level, legible. But the meaning they have had for us, personally, is incommunicable. like the clandestinity of private life. of which we possess nothing but pitiful documents." See Debord, 'Society of the Spectacle and Other Films', as above, for a translation of the screenplay ("Critique of Separation").

15. The Clash - Stage talk, Roundhouse, London, September 23, 1976
Joe Strummer recorded while supporting Crazy Avan and the Rhythm Rockers. (From the Jon Savage Archive).

16. Mekons "Never Been in a Riot"
Recorded 1977 with Andy Corrigan and Mark White (vocals), Ken and Tong (guitars), Ros Allen (bass), Jon Langford (drums and vocals). (Originally released on Fast Product, 1978, UK).

17. LiLiPUT "Split"
Kleenex after a name change; as above, with Chrigel Freund replacing Regula Sing on vocals, plus Angie Barrack, saxophone. (Originally released on Rough Trade, 1980, UK).

18. Roman Bunka, Holger Czukay, Raymond Federman etc. "röhrenhose-rokoko-neger-rhythmus"
from 'dr. huelsenbecks mentale heilmethode' ("Dr. Huelsenbeck's Psychological Salvation System"). Written and produced by Herbert Kapfer and Regina Moths as a radio play for Bayerischer Rundfunk, Munich, Germany, 1992 - an aural biography/autobiography of Huelsenbeck, but on this track the all-night argument over "Negro poetry,", aesthetic dictatorship, and untrammelled desire that was Berlin dada. (Originally released on Rough Trade Rec., 1992, Germany).

19. Essential Logic "Wake Up"
Recorded by Lora Logic (alto/tenor saxes, vocals), David (tenor sax), Phil Lip (guitar), William Bennett (guitar), Mark Turner (bass), Rich Tea (drums). (Originally released on Virgin, 1979, UK).

20. Kleenex "You (friendly side)"
Details as on "angry side" above.

21. Gil J. Wolman "Megapneumies, 24 Mars 1963 (Face 1)"
In the invention of ultra-lettrist sound poetry, Wolman was Braque to Jean-Louis Brau's Picasso, or vice versa. (Originally released on Achèle, 1965, France).

22. The Raincoats "In Love"
Recorded by Ana da Silva (vocals, guitar), Vicki Aspinall (vocals, violin), Gina Birch (vocals, bass), and Palmolive (drums). (Originally released on Rough Trade, 1979, UK).

23. Guy Debord - Excerpt from soundtrack to 'Hurlements en faveur de Sade'
Details as above.

24. Marie Osmond "Karawane"
Dada sound poem composed and first performed by Hugo Ball in Zürich in 1916, performed by Osmond on the syndicated US television program "Ripley's Believe It Or Not", c. 1984. As host of a special show on sound poetry, Osmond was asked by the producer to recite only the first line of Ball's work; incensed at being thought too dumb for art, she memorized the lot and delivered it whole in a rare 'glimpse of freedom'.

25. Bascam Lamar Lunsford "I Wish I was a Mole in the Ground"
A traditional Appalachian ballad: 'one little mole is enough to bring a whole mountain down.' (Originally released on Brunswick, 1928, US - taken from 'The Anthology of American Folk Music', compiled by Harry Smith and released by Folkway Records, 1952).

26. Mekons "The Building"
Performed by Mark White (vocals, foot). (Originally released on 'it falleth like the gentle rain from heaven - The Mekons Story, 1977-1982', CNT, 1982, UK).

27. Benny Spellman "Lipstick Traces (On a Cigarette)"
Composed by Allen Toussaint. (Originally released on Minit, 1962, US)."

Thanks again to Mr. Lucky!

Lipstick Traces - A Secret History Of The 20th Century
(192 kbps, cover art included)

Freitag, 23. November 2018

Eddie Gale ‎– Black Rhythm Happening (1969)

Love it or hate it, trumpeter Eddie Gale's second Blue Note outing as a leader is one of the most adventurous recordings to come out of the 1960s. "Black Rhythm Happening" picks up where "Ghetto Music" left off, in that it takes the soul and free jazz elements of his debut and adds to them the sound of the church in all its guises - from joyous call and response celebration on the title track (and album opener), to the mournful funeral sounds of "Song of Will," to the determined Afro-Latin-style chanting on "Mexico Thing" that brings the pre-Thomas Dorsey gospel to the revolutionary song style prevalent in Zapata's Mexico - all thanks to the Eddie Gale Singers. 

Elsewhere, wild smatterings of hard and post-bop ("Ghetto Love Night") and angular modal music ("Ghetto Summertime," featuring Elvin Jones on drums and Joann Stevens-Gale on guitar), turn the jazz paradigm of the era inside out, simultaneously admitting everything in a coherent, wonderfully ambitious whole. There is no doubt that Archie Shepp listened to both "Ghetto Music" and "Black Rhythm Happening" before setting out to assemble his "Attica Blues" project. The album closes with "Look at Teyonda," a sprawling exercise in the deep melding of African and Latin folk musics with the folk-blues, flamenco, and jazz rhythms. Funky horns (courtesy of Gale, Russell Lyle, and Roland Alexander) moan toward Fulumi Prince's startlingly beautiful vocal. Stevens-Gale's guitar whispers the tune into the field before the saxophones and brass come to get it, and when they do, long open lines are offered slowly and deliberately, as Jones' shimmering ride cymbals triple-time the beat into something wholly Other. 

"Black Rhythm Happening" is a timeless, breathtaking recording, one that sounds as forward-thinking and militant in the 21st century as it did in 1969.


Black Rhythm Happening 2:57
The Gleeker 2:16
Song Of Will 3:08
Ghetto Love Night 5:30
Mexico Thing 5:08
Ghetto Summertime 3:13
It Must Be You 5:44
Look At Teyonda 9:31

Eddie Gale ‎– Black Rhythm Happening (1969)
(192 kbps, cover art included)

Donnerstag, 22. November 2018

Prince Far I - Under Heavy Manners (1977)

A fairly obscure figure even by reggae standards, Prince Far I was one of the sternest of the "cultural" DJs that proliferated on the Jamaican scene in the late '70s; he rarely toasted (or, as he preferred, "chanted") about the joys of dancing or romantic love; his message was always focused on matters spiritual and political. This didn't mean he couldn't be whimsical at times: He once used his musical pulpit make fun of neo-Nazis for the clothes they wore and sometimes (as on this album's title track) lectured the youth on matters of etiquette, and he once recorded an entire album of Old Testament psalms.

"Under Heavy Manners", which he recorded for the great producer Joe Gibbs, is one of his finest albums, but until the Rocky One label was revived in the late '90s as Joe Gibbs Music, it was almost impossible to find.  It is a classic late seventies deejay album, featuring frog-throated mic chanter Prince Far I and featuring his monster 1977 Joe Gibbs hit "Under Heavy Manners" plus nine other tracks, some featuring the interjections of Joseph Hill of Culture, utilising riddims such as Dennis Brown’s Ghetto Girl, Junior Byles’ Heart & Soul and Gibbs’ second cut of Satta. Mixed by the great Errol T.


"Rain a Fall"
"Big Fight"
"You I Love and Not Another"
"Young Generation"
"Shine Eye Gal"
"Boz Rock"
"Show Me Mine Enemy"
"Deck of Cards"
"Heavy Manners"

Prince Far I - Under Heavy Manners (1977)
(320 kbps, cover art included)

Mittwoch, 21. November 2018

Sun Ra - United World In Outer Space (1975)

Decades before his time, political and musical revolutionary, Sun Ra, developed a new plane of cultural existence where black people were all-powerful beings from outer space, sending their intergalactic message through jazz music.

Recorded live in 1975 at Cleveland's legendary jazz club, the Smiling Dog Saloon, when Sun Ra and his Arkestra descended on the city for a week-long residency. You can imagine how the uninitiated's jaw must have dropped when Ra and his 15 musicians marched out onto the stage decked in glittery space costumes, playing percussion instruments and chanting. This high quality live performance is top-shelf Ra playing a kind of spaced out world music with hints of disco. Ra sings, plays the Moog, piano and organ, while everyone else plays alternately some kind of percussion or reed instrument, sings, dances, and claps hands. Check out his other-worldly version of Duke Ellington's 'Sophisticated Lady', featuring John Gilmore on sax, and his extended Moog solo!


A1 Astro Nation (Of The United World In Outer Space) 11:01
A2 Enlightenment 2:10
A3 Friendly Galaxy 12:49
B1 Theme Of The Stargazers / The Satellites Are Spinning 2:32
B2 Synthesizer Solo 8:34
B3 Sophisticated Lady 14:09

Sun Ra - United World In Outer Space (1975)
(320 kbps, cover art included)

Dienstag, 20. November 2018

VA - Bluegrass Breakdown - Newport Folk Festival

This recording documents live Newport Folk Festival performances by many of the greatest bluegrass artists of the Sixties, an era in which bluegrass was to see some radical changes. Younger artists were discovering the music with great enthusiasm, and were carrying on the tradition established by the music´s originators with tremendous vitality.

Here can be heard the roots of bluegrass, in the od-timey fiddle styles of Lue Berline, Clayton McMichen and Fiddling Arthur Smith; the bluegrass bands that were legends in their time, Bill Monroe and The Bluegrass Boys, The Stanley Brothers and The Dillards; and of course the next generation, citybillies who eagerly embraced the older styles and embellished them with their own imaginations and talents: Byron Berline, The New York City Ramblers and the Greenbriar Boys.

This album was recorded at the Newport Folk Festival in 1963 - 1965. It ends with "Bluegrass Breakdown", which gives this collection its name, another Bill Monroe original that always left the audience hollering for more.

1Lue Berline And Byron Berline New Broom
2Lue Berline And Byron Berline Old Logan
3Lue Berline And Byron Berline Crazy Creek
4Lue Berline And Byron Berline Dusty Miller
5Stanley Brothers, The How Mountain Girls Can Love
6Stanley Brothers, The A Man Of Constant Sorrow
7Stanley Brothers, The Big Tildy
8Stanley Brothers, The Orange Blossom Special
9Fiddling Arthur Smith                                        Leather Britches
10Fiddling Arthur Smith                                        Blackberry Blossom
11–Greenbriar Boys, The                                        Levee Breakin' Blues
12–Greenbriar Boys, The                                        At The End Of A Long Lonley Day
13Dillards, The Old Joe Clark
14Dillards, The Ground Hog
15Dillards, The Banjo In The Hollow
16Dillards, The Polly Vaughn
17Dillards, The Dueling Banjos
18Clayton McMichen Alabama Jubilee
19Clayton McMichen Sourwood Mountain
20New York City Ramblers, The You Better Get Right Little Darlin'
21New York City Ramblers, The I'm Coming Back But I Don't Know When
22New York City Ramblers, The Cedar Hill
23New York City Ramblers, The Tell It To Me
24Bill Monroe And The Bluegrass Boys* Muleskinner Blues
25Bill Monroe And The Bluegrass Boys* Blue Moon Of Kentucky
26Bill Monroe And The Bluegrass Boys* Walls Of Time
27Bill Monroe And The Bluegrass Boys* Somebody Touched Me
28Bill Monroe And The Bluegrass Boys* Bluegrass Breakdown

VA - Bluegrass Breakdown - Newport Folk Festival
(256 kbps, front cover included)

Joan & José ‎– Guanyarem! Wir werden siegen! Ganaremos! (1967)

Joan & José was a duet playing and singing the song of the Spanish resistance in exile.
Joan Esteller (Alcanar, Tarragona, 1939) met José Suarez (Cedeira, A Coruña, 1943) in Heldelberg, Germany, where both worked, back in 1963.

They released two albums with important songs of resistance and were well known in Germany.

"Guanyarem! - Wir werden siegen! - Ganaremos!" was their first album, sung in Catalan and an important contribution to the New Song movement.

A1 El Vent (Aizea) / Der Wind / El Viento
A2 Ja Sé / Ich weiß schon / Ya Sé
A3 Fins Quan Durarà Tanta Nit / Bis wann wird diese lange Nacht dauern / Hasta Quando Durará Tanta Noche
A4 Què És El Que Fem, Amics? / Was tun wir, Freunde? / Qué Es Lo Que Hacemos, Amigos?
A5 La LLuna (Illargui) / Der Mond / La Luna
B1 Volem / Wir wollen / Queremos
B2 Plany / Klage / Lamento
B3 El Meu Jardí / Mein Garten / Mi Jardín
B4 La Meva T'Estranya / Mein Schmerz ist dir fremd / Te Extraña Mi Pena
B5 Amnistia / Amnestie / Amnistía
B6 Guanyarem / Wir werden siegen / Ganaremos

 Joan & José ‎– Guanyarem! Wir werden siegen! Ganaremos!  (1967) 
(320 kbps, cover art included)

Nina Simone - Nina´s Choice (Colpix, 1963)

The now-legendary Nina Simone began her recording career in 1959, after briefly studying classical piano at Juilliard and performing at an Atlantic City nightclub where the club's owner allegedly ordered her to sing as she played.
Simone specializes in the eclectic, and her personal variety of musical magic is without equal. With her androgynous, deeply burnished vocals and her extraordinary, classically influenced piano technique, Simone refashions any song to fit her own fiercely artistic vision. Always cutting edge, her sound has influenced and continues to influence other artists.

NINA'S CHOICE is a fine 1963 compilation of favorite tracks that Simone selected from her five prior albums on the Colpix label. Every song is a stunner. The insanely quirky "Rags and Old Iron" sounds like something off a Tom Waits album. The strange, slow tango of "Just Say I Love Him" features the brilliantly haunting guitar work of Al Shackman, Simone's longtime guitarist. Also included here is a rollicking version of the traditional "Little Liza Jane," a highpoint of Simone's appearance at Newport in 1960. This thoughtfully selected compilation is well worth owning.

A1Trouble In Mind
A2Memphis In June
A3Cotton Eyed Joe
A4Work Song
A5Forbidden Fruit
B1Little Liza Jane
B2Rags And Old Iron
B3You Can Have Him
B4Just Say I Love Him

Nina Simone - Nina´s Choice (Colpix, 1963)
(320 kbps, cover art included)

Montag, 19. November 2018

Dresden Theaterplatz, 19. November 1989

The Monday demonstrations in East Germany in 1989 to 1991 (German: Montagsdemonstrationen) were a series of peaceful political protests against the government of the German Democratic Republic (GDR) that took place every Monday evening. Because the church played a big role in them, the Monday demonstrations are also sometimes called the Religious Protest. The protests that occurred between 1989 and 1991 can be separated into five cycles. The Monday demonstrations started in Leipzig and were spontaneous, meaning that the demonstrations were not planned beforehand.

These two CDs are featuring the complete and restaured recordings from the demonstration on November, 19, 1989, in Dresden on the "Theaterplatz" against the GDR governement.

(320 kbps, small front cover included)

Cochise - Die Erde war nicht immer so (1984)

Maybe this is another great "Volksmusik" recording in the literal sense: Simple, but always nice melodies, uncomplicated lyrics, refrains you can sing along and all in all songs that tell us stories about real life in a certain society and time, about the social struggles and everyday fights. Thanks, Jenny Bauer, for bringing our attention to this topic (see Staff Benda Bilili concert review).

Cochise from Dortmund played folk music with mostly political lyrics inspired by left wing perspective.

Cochise were founded in 1979 and became one of the musical voices of the alternative movement in Germany.

They developed an unique lyrical and musical language connecting the political contents of the 70s and 80s with powerfull, delightfull music and the rebellious attitude of a whole generation.

A1Die Erde war nicht immer so5:11
A21, 2, 3, laßt die Leute frei4:16
A3Lacht mich ruhig aus3:50
A4Raus, raus, raus3:00
B1Komm zu uns4:02
B2Der Staat ist doof und stinkt3:43
B4Schnee zu Ostern5:28
B5Die Nacht nach der Heidehof-Räumung1:45

Cochise - Die Erde war nicht immer so (1984)
(192 kbps, cover art inlcuded)

Samstag, 17. November 2018

Katja Ebstein - Laßt euch nicht verführen (Bertolt Brecht)

Katja Ebstein is a german pop vocalist, most famous in the 70s with a lot of popular german pop songs.

She was activ in the 60s student movement and began performing in the Berlin cabaret scene at the end of the 60s with Insterburg & Co.
In the 70s she was married with her manager and producer Christian Bruhn, who wrote a lot of german pop hits for her.

Today she is performing chansons and poems by Heinrich Heine, Kurt Tucholsky and Bertolt Brecht. She was and is active in social movements, for example against nucelar weapons and for the rights of children and women.

Here is a programm by Katja Ebstein singing and reciting songs and poems by Bertolt Brecht.

Jetzt wachen nur noch Mond und Katz
Der Bilbao Song
Die Auswanderung der Dichter
Über die Bezeichnung Emigranten
Das Lied von der Moldau
Vom armen B.B.
Gegen Verführung (Vers. 1)
Mögen andere von ihrer Schande sprechen
Das Lied vom SA Mann
Gegen Verführung (Vers. 2)
Lied einer deutschen Mutter
Gegen Verführung (Vers. 3)
Kälbermarsch -Kindermarsch
Gegen Verführung (Vers. 4)
Bitten der Kinder
Das Lied von der Judenhure Maria Sanders
Das Lied von der Unzulänglichkeit menschlichen Strebens
Lob des Lernens
Das Lied von der harten Nuss
Das Lied von der Suppe
Surabaya Johnny
Der Nachgeborene
Ein bitteres Liebeslied
Wechsel der Dinge
Erinnerungen an Marie A
Ih möchte mit dem gehen
Der Pflaumenbaum
Die Liebenden
Die Kellerassel
Wenn ich auf zuberischen Karussellen
Das Pferd
An die Nachgeborenen
Das Lied der Seeräuber Jenny
Ich benötige keinen Grastein
Alles wandelt sich

Katja Ebstein - Laßt euch nicht verführen (Bertolt Brecht)
(256 kbps, small front cover included) 

Helmut Eisel & JEM - Klezm´n Soul

From the world of mathematics to the realm of music, from Germany to Israel, from classic to Klezmer, the journey of Helmut Eisel through the Clarinet Klezmer is quite unique.

Born In Germany in 1955 he graduated in Mathematics in 1985 and began to work as business consultant.

Those days Giora Feidman, the famous clarinet Klezmer player, was conducting masters classes in Germany and Helmut Eisel began to take part to them.

Soon he became Giora Feidman's assistant and then he was at a crossroad, having to choose between a business career or a full time job playing clarinet. Fortunately for us he chose the musical career and since then, he dedicated himself entirely to music. Since 1993 he is conducting workshops "Klezmer Improvisation" in Germany and each summer in Tsfat (Safed-Israel) at Clarinet and Klezmer in Galilee's Seminars and Masters Classes.

Helmut Eisel founded several orchestras and ensembles, a clarinet quartet,"Helmut Eisel Clarinet Funtet", a duo "Clarinet Stories", a solo program, a quintet "Helmut Eisel and Band", and his trio, "Helmut Eisel and JEM" (JEM are the initials of the three founders of the group Herbert Jagst, Helmut Eisel und Michael Marx; Jagst, the double bass player deceased in 2000, Stefan Engelmann took over his place) .

He is also performing with Marina Baranova, a classical Ukrainian pianist, and they are playing masterpieces by Mussorgsky, Rachmaninoff, Bela Bartok together with traditional Klezmer melodies. The chemistry between Helmut and Marina is absolute, their virtuosity is phenomenal still full of sensibility, emotion and expressiveness.This exceptional chamber music duo program is called "Impromptu".

During one of the Clarinet and Klezmer in the Galilee workshops Helmut jammed with some talented youg musicians and together they founded the "Klezmer All Star Clarinet Gang" (David Orlowsky Clarinet, Avi Avital Mandolin, Michal Beit Halachmi Bass Clarinet, Moran Katz Clarinet, Stefan Engelmann Bass...).

Helmut is performing all around Germany and Europe as well as in Israel where he has been awarded by The Israel Music Society for his contribution to the Klezmer music.

Helmut Eisel is also a composer, he wrote film scores, theater music and appeared on numerous radio and TV shows. He composed a symphonic fairy tale "Naftule and the King" for symphonic orchestra and Klezmer trio.

He played together with Giora Feidman an original composition dedicated to the musicians murdered during the Holocaust at Yad Vashem Memorial in Jerusalem.

Each of his performances is quite unique, his ability to invent and to improvize is infinite, always imagining new incredible sounds, new harmonies, new paths to emotion, stirring the soul, reaching the inner voice. His fingers are running on the clarinet, the air is blowing through the mouthpiece, from silence, almost inaudible pianissimo to a roaring fortissimo, from altissimo to lower register, the audience is ecstatic, deeply moved by the power of his music.


1.Blindroter Chor Und Wirtshaust Chter3:28
2.Bulja, Bulja4:07
3.Jonny And Chris Awake5:21
4.Uv' Yom Hashabbat3:54
5.Cousins Jump Suite: Prelude/The Big And The Quick/Waltz Of The Princes8:11
6.Black Curly Kids4:16
7.The Ballad Of A Lonesome Maestro4:08
8.The King Of The Sitz4:31
10.Beyond The Blue3:44

Helmut Eisel & JEM - Klezm´n Soul
(256 kbps, cover art included

VA - Mischa Spoliansky - Es liegt in der Luft - Ein Komponistenportrait

Mischa Spoliansky was born in the eastern part of Poland which was then ruled by Russia. When he was a child the family moved to Vienna; later he improved his abilities as a pianist and a composer in Dresden. At the outbreak of WW I he moved to Berlin. There he did further studies and earned himself a living by playing in coffee houses. 1919 he was invited by Friedrich Hollaender and Werner Richard Heymann to join them in the famous Berlin cabaret "Schall und Rauch".

Spoliansky's pieces were performed widely, especially those on texts by Marcellus Schiffer: Alles Schwindel, Es liegt in der Luft, Wie werde ich reich und glücklich, Zwei Krawatten ... just to mention a few. 1933 he went into exile in England. He acquired British citizenship and never returned to Germany.

This portrait features interpretations of his songs by artist like Margo Lion, Marlene Dietrich, Marek Weber, Max Hansen, Paul O´Montins, Curt Bois, Willy Prager, Dajos Béla and Richard Tauber.

VA - Mischa Spoliansky - Es liegt in der Luft - Ein Komponistenportrait
(256 kbps, cover art included)

Freitag, 16. November 2018

Dave Van Ronk And The Hudson Dusters - Same (1967)

The Hudson Dusters was a band put together by legendary folksinger Dave Van Ronk in a short-lived attempt to buy into the folk-rock craze that hit the States in the mid-sixties. Though Van Ronk was one of the founding fathers of the original Greenwich Village revival, he had never really conformed to any of the stereotypes which were so quick to develop among his contemporaries. Thus, the music which developed out his “going electric” was far more eccentric than most people’s. This was no attempt to simply copycat (and thus capitalize on) Dylan’s new aesthetics, this was an artist expanding his sonic palate on his own terms.

"Dave Van Ronk and the Hudson Dusters", like any Van Ronk record, is an eclectic experience. Not only does the band draw from folk, blues, jazz and rock and roll traditions, but Van Ronk’s unique sense of humor and unmistakable whiskey-and-tobacco voice lend the music a surreal edge. In fact, I’d argue that the convoluted middle-class satire of “Mister Middle” almost lands the proceedings in Mothers of Invention territory. Though neither it nor “Keep Off The Grass” should be considered the era’s sharpest attempts at social commentary, the tongue-in-cheek approach and adventurous musical arrangements make them more entertaining than most such material.

I have to admit that I’ve never been wild about Joni Mitchell, but Dave Van Ronk’s back-to-back takes on “Chelsea Morning” and “Both Sides Now” are surprisingly successful. This is one of those instances where you wouldn’t expect the artist and the material to click, but somehow the deadpan earthiness of the interpreter lends new angles to what are otherwise rather spacey and introverted lyrics. Apparently Mitchell herself praised Van Ronk’s recording of “Both Sides Now” as being definitive, but I’ll leave that one up to the reader to decide.

The Hudson Dusters also run through a few numbers previously recorded by Van Ronk on his acoustic records, such as the Reverend Gary Davis’ “Cocaine Blues” – which has always been something of a signature song for the singer – and “Dink’s Song,” in which subtle strings underscore Van Ronk’s rough-yet-tender vocal performance. The goofy show tune “Swinging On A Star” would also become a Van Ronk standard in the years to come, though my own reaction to this one is lukewarm at best. I much prefer their psychedelic garage take on Dallas Frazier’s old rock and roll chestnut “Alley Oop” with it’s odd, echoplexed vocal chorus.

With a few notable exceptions, the majority of Van Ronk’s 1960s recordings remain unreleased or out-of-print on compact disc, and unfortunately this is one of the former. Don’t let this unfortunate detail deter you, though; "Hudson Dusters" may not be the definitive statement from Dave Van Ronk (he tended to stick to the acoustic guitar for a reason), but as a rare electric anomaly in his catalog, it is definitely worth checking out.  (from:

The sound on this album is reminiscent of the New York folk-rock band The Blues Project. It begins with a ragged rendition of The Hollywood Argyles' "Alley Oop" and ranges from that doo wop chestnut to Joni Mitchell's "Chelsea Morning and Clouds" to "Romping Through the Swamp." More familiar Van Ronk territory is covered, also with reprise performances of "Dink's Song" and "Cocaine." Dave Van Ronk always brings his enthusiastic roar to his material and makes it his own. His rendition of "Swing on a Star" is but one example. The Hudson Dusters seem to be a combination electric jugband, folk orchestra and bubblegum band, as on "Mr. Middle." A strange collection.


A1 Alley Oop 3:38
A2 Head Inspector 2:06
A3 Swing On A Star 2:37
A4 Mr. Middle 3:02
A5 Chelsea Morning 2:33
A6 Clouds (From Both Sides Now) 4:37
B1 Keep Off The Grass 2:08
B2 Dink's Song 3:34
B3 New Dreams 2:22
B4 Cocaine 4:58
B5 Romping Through The Swamp 1:58

Dave Van Ronk And The Hudson Dusters - Same (1967)
(320 kbps, cover art included)

39 Clocks - Subnarcotic (1982)

Here´s another 39 Clocks album: "Subnarcotic" was released in August, 1982 on the german Eigelstein label.

Enjoy it!


Heat Of Violence
Dom (Electricity Elects The Rain)
Psychotic Louie Louie
Past Tense Hope &
Instant Fears On 42nd Street
Virtous Girl
Three Floors Down
Rainy Night Insanities
A Touch Of Rot
Aspetando Godo

Fresh link:

39 Clocks - Subnarcotic (1982)
(256 kbps, front & back cover included)

Donnerstag, 15. November 2018

King Tubby Meets The Upsetter At The Grass Roots Of Dub (1975)

Seminal dub album produced by Winston Edwards. In 1974 Edwards left Jamaica to reside in the UK and through his strong connections with such reggae luminaries as Joe Gibbs, Lee Perry and King Tubby began to travel back and forth between London and Kingston (JA) to bring back recordings to issue on his Fay Music label here in the UK. 

In 1974 he released this controversial, seminal dub set, shunned by some at the time due to the spurious marketing device employed. The whole album appears in fact to have been mixed at Tubby’s, while the rhythms were possibly built at Perry’s Ark and maybe Gibbs’ studio, but at this length memories are stretched. Now of course, it sounds like what it is, a classic early Tubby’s dub album, musical, tuneful, heavy dubwise set with Vin Gordon’s unique trombone lines well to the fore. Essential dub.


A1Blood Of Africa
A2African Roots
A3Rain Roots
A4Wood Roots
A5Luke Lane Rock
B1People From The Grass Roots
B2Crime Wave
B3No Justice For The Poor
B4300 Years At The Grass Roots
B5King And The Upsetter At Spanish Town

King Tubby Meets The Upsetter At The Grass Roots Of Dub (1975)
(192 kbps, cover art included)