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

Mercedes Sosa - Cantata Sudamericana (1972)

Well, long before political correctness and the plethora of female artists there was Mercedes Sosa. She is the perennial female artist who sings of Latin America as one. This album is a nice showcase of her extensive vocal talents. Mercedes Sosa laments and sings songs of joy and hope. Her music is filled with a vision of common causes throughout Latin America.

Listening carefully to this album you can hear the echoes and roots of such diverse contemporary female artists as Lila Downs and Alejandra Guzman. Sosa projects the voice of the indigeneous population of America without borders. Her universal appeal has made her legendary to indigenous populations throughout Latin America.

This is a beautiful conceptual album, a classic piece of music that celebrates the common ethnic and spiritual characteristics of South America. The Argentine composers of the music Ariel Ramirez (who also plays piano and clavecin on the album) and Felix Luna studied extensively to create these authentic manifestations of ancient cultures. On "Oracion al Sol" ("Prayer to the Sun") Luna is studiing the remnants of Quichua literature and their religious beliefs to create his compositon. This coupled with the use of authentic instruments, such as the Quena (Indian flute), Cuatro (four stringed guitar), the Requinto (small guitar), Charango (small guitar made the hide of an armadillo), maracas and various percussion intruments, create a magnificent piece of timeless music.

Although the instruments used are beautiful it is Sosa 's voice that solidifies and projects the music deep into your soul. Her voice is full of emotion, gentle but firm, demanding your attention soaring from high and low notes with her feet firmly on the ground. She has a range that can rest on the deep end but the feeling you get from listening to her is the strength of women and in particular the indigeous woman. All eight tracks are beautiful and different. "Canta tu Cancion" is a bossa nova type number that swings in a manner unlike the other songs because the others are more "indigenous sounding" because of the instruments used. More typical fare represenative of the album is "Alcen La Bandera" where Sosa sings to a beat that carries a tune similar to "Guantamera". Mercedes Sosa's wonderful vibe is projected as the earth mother crying out for peace, justice and respect between men and women. She sings of the common roots of South Americans, the Spanish and Indigenous past and the bridge to the future. She is a visionary who uses her voice to reach out to the multitudes. Her utopian vision of Latin America is heartfelt as her soulful vocals testify. Recommended for those that like music that has a message of unity, peace and justice for all.


A1 Es Sudamerica Mi Voz
A2 Canta Tu Cancion
A3 Antiguos Duenos De Flechas
A4 Pampas Del Sur
B1 Acercate Cholito
B2 Oracion Al Sol
B3 Sudamericano En Nueva York
B4 Alcen La Bandera

Mercedes Sosa - Cantata Sudamericana (1972)
(256 kbps, cover art included)

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)

Quilapayun - Por Vietnam (1968)

Originally posted in February, 2013:

Tomorrow I will have the chance to see Quilapayun in a concert honouring Victor Jara. This is a good occasion for posting some of their wonderful music.

The Chilean group formed in 1965 writing lyrics inspired by social issues related to its country and combining them with autochthonous musical arrangements. In 1966, the band came in first place at the Festival de Festivales, releasing its first album that same year. Folk singer and songwriter Victor Jara helped the band by promoting Quilapayun's music and making the record "Canciones Folkloricas de America" together. As Chilean New Song's ambassador, Quilapayun went on its first European tour in 1968. Due to Chilean political and social changes in the early '70s, the group settled in foreign countries for more than a decade.
"X Vietnam" or "Por Vietnam" was Quilapayún's third official album, first published in 1968 in the context of opposition to the Vietnam War.

Quilapayun - Por Vietnam (1968)
(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)

Georg Trakl - Ich bin eine Welt - Briefe und Gedichte (Interpret: Ulrich Mühe)

Photobucket "Confiteor

Die bunten Bilder, die das Leben malt

Seh’ ich umdüstert nur von Dämmerungen,
Wie kraus verzerrte Schatten, trüb und kalt,
Die kaum geboren schon der Tod bezwungen.

Und da von jedem Ding die Maske fiel,
Seh’ ich nur Angst, Verzweiflung, Schmach und Seuchen,
Der Menschheit heldenloses Trauerspiel,
Ein schlechtes Stück, gespielt auf Gräbern, Leichen.

Mich ekelt dieses wüste Traumgesicht.
Doch will ein Machtgebot, daß ich verweile,
Ein Komödiant, der seine Rolle spricht,
Gezwungen, voll Verzweiflung - Langeweile!"
- Georg Trakl

He played the role of Hauptmann (Captain) Gerd Wiesler in the Oscar-winning film "Das Leben der Anderen" ("The Lives of Others", 2006), for which he received the award for Best Performance by an Actor in a Leading Role, Gold, at Germany's most prestigious film awards, the "Deutscher Filmpreis" ("German Film Awards)"; and the Best Actor Award at the 2006 European Film Awards.

After leaving school, Mühe was employed as a construction worker and a border guard at the Berlin Wall. He then turned to acting, and from the late 1970s into the 1980s appeared in numerous plays, becoming a star of the Deutsches Theater in East Berlin. He was active in politics and denounced "Communist" rule in East Germany in a memorable address at Alexanderplatz on 4 November 1989 shortly before the fall of the Berlin Wall. After German reunification he continued to appear in a large number of films, television programmes and theatre productions. In Germany he was particularly known for playing the lead role of Dr. Robert Kolmaar in the long-running forensic crime series "Der letzte Zeuge".

Ulrich Mühe, who sadly died July, 2007, was a German film, television and theatre actor.

In the last years he also became a popular reader of audio books, for example ""Der kleine Prinz" by Antoine de Saint-Exupery and "Ich bin eine Welt" by Georg Trakl.

The poet and writer Georg Trakl was born as the son of the ironmonger Tobias Trakl and his wife Maria Catharina, nee Halik, on February 3, 1887 in Salzburg. At the age of 13, Georg Trakl began writing poetry. He studied pharmacy in Vienna and simultaneously began to publish his first poems.

Trakl was also interested in literature, music, painting and architecture. Between 1910 and 1914 Georg Trakl wrote his most important works. In 1912 Trakl temporarily worked as a military pharmacist in Innsbruck. His search for stability in life was fruitless, and following excessive drug use, Trakl fell into deep depression. In 1912 Georg Trakl's poem "Vorstadt im Föhn" was published in the Innsbruck cultural and political journal "Der Brenner", whose editor was his friend and benefactor Ludwig von Ficker. All subsequent poetic work by Trakl appeared in the monthly issues of this journal.

Karl Kraus also published poems by Georg Trakl in the journal "Die Fackel". During this time, Trakl met Oskar Kokoschka and Else Lasker-Schüler. In 1913, the publisher Kurt Wolff published Georg Trakl's book of poetry "Der jüngste Tag".

Georg Trakl volunteered for World War I, where he served on the Eastern Front in the Galician town of Grodek as a medical officer. As a consequence of his traumatic experiences of the war, Georg Trakl suffered a nervous breakdown and was admitted to a military hospital in Krakow. During his convalescence in the Krakow hospital, Trakl wrote his poems "Grodek", "Im Osten" and "Klage". Georg Trakl committed suicide on November 3, 1914 in Krakow. Today, Georg Trakl is considered one of the most extraordinary poets and most important exponents of Austrian Expressionism.

"Trakl creates pure compositions of autonomous metaphors. Each metaphor has a more-or-less definite emotional tonality and combines with the other a incoherent sequence of images. Yet each poem has an inner coherence, not the coherence of logical thought, but of a musical composition. The metaphoric image acts somewhat like a note in a musical score indicating that a cerain tone or chord is to be played." (Sokel)
The tone and progression of Trakls poetry is often dreamlike, but the imagery is more likely found in a nightmare: decay, death, twilight, nature (in decay), religious symbolism. The verses are bleak but with a certain warmth, somber with a hint of transcendence.

Georg Trakl - "Ich bin eine Welt" (Ulrich Mühe)
(192 kbps, front cover included)

For more informations about Georg Trakls and english translations of his poetry, please check out

Odetta - Ballad for Americans and Other American Ballads (1960)

Odetta's (and probably the folk music world's) most ambitious album up to this point in time - and for some years to come - "Ballad for Americans and Other American Ballads" could only have come from Vanguard Records. The New York-based classical and folk label had already displayed the courage - in the midst of the era of the Red Scare - to sign and record the re-formed Weavers, Paul Robeson, and any number of other blacklistees, and here they were offering a provocative new recording, aimed at a new generation of listeners, of a piece well known as the work of a blacklisted performer and composer (Earl Robinson). The rendition of "Ballad for Americans" on this album is more sophisticated than the original by Robeson (which Vanguard also licensed for reissue). Music director Robert DeCormier carefully and ever-so-slightly smoothed out some of the more arch moments in the original work, so that it sounds less like late Depression-era agitprop than a more timeless mix of history, art-song, and folk music, but no less moving. In fact, where Robeson's original, from the period of the run-up to the Second World War, seems like a historical artifact, Odetta's rendition has a vitality and immediacy that puts it squarely in the thick of 1960, in the middle of the civil rights movement's heyday, at a time when Robeson, because of age and infirmity, and years of fighting the government's efforts to silence him, was in eclipse as an artist.

Odetta herself is a less mannered singer than Robeson, and calls less attention to herself and her persona than he ever did to his, thus leaving room for the song to be felt and enjoyed as a contemporary statement. The piece will always "belong" to Robeson, who made it famous on radio, record, and in movies, but Odetta's version is a successful effort at extending its appeal to a new generation of listeners and perhaps setting it in a wider context, all while paying tribute to the original. And if that one work were all that this album had to offer, it would be enough, but the rest of the album is not filler by any means - accompanying herself on guitar (with Bill Lee on upright bass), her renditions of Woody Guthrie's "This Land," "Great Historical Bum," and, especially, "Pastures of Plenty," Merle Travis' "Dark as a Dungeon," and the traditional "On Top of Old Smokey," "Hush Little Baby," and more are all beautifully stripped-down performances, as minimalist in their sensibilities as "Ballad for Americans" is lushly produced and orchestrated. "Payday at Coal Creek" gives the singer a good workout in the holding of notes, and is a dazzling display of her vocal dexterity, and her adaptation of the Dvorák-derived "Going Home" would have made a perfect closer, a minimalist spiritual of intense delicacy and poignance - but then she is back, finishing with "Pastures of Plenty," one of Guthrie's finest creations, stretched out to four minutes in a rendition so ominous and provocative that it rates with the best this reviewer has ever heard (which are Guthrie's own and Dylan's early-'60s officially unreleased version).


A Ballad For Americans
B1 This Land
B2 Old Smoky
B3 Hush Little Baby
B4 Dark As A Dungeon
B5 Great Historical Bum
B6 Payday At Coal Creek
B7 Going Home
B8 Pastures Of Plenty

Odetta - Ballad For Americans And Other American Ballads (1960)
(320 kbps, front cover 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)

Lotte Lenya Sings Kurt Weill - American Theatre Songs

The voice of Lotte Lenya - filled with a bittersweet tone, slight imperfections, and that unmistakable accent - is something you either love or hate. But decades later, the former wife of Kurt Weill still has a voice we can't forget. Simply put, nothing compares to Lenya. This reissue gathers her English-language "September Song and Other American Theater Songs" album from 1958 (for the first time here, heard in its stereo version) as well as her tunes from 1957's "Cabaret"; "Song of a German Mother" from the Broadway show Brecht on Brecht; and even a collaboration with Louis Armstrong on "Mack the Knife."

These recordings were the cornerstone of Lenya's American career, and even with pop orchestration - "Saga of Jenny," "Green Up Time," "Speak Low" - these are infectious numbers. Like the previously released Sony Masterworks reissue of "Lotte Lenya Sings Kurt Weill's Seven Deadly Sins", this is simply a great package. The sound quality is excellent and the eight-minute-long session outtake from "Mack the Knife" with Armstrong is truly fascinating.

According to the usual view, Kurt Weill had a double career - first composing provocative theatrical collaborations with Brecht in Weimar Germany, later writing for commercial Broadway stages. The continuities before and after 1935 are equally striking, however. Chief among them was his wife, Lotte Lenya, the foremost interpreter of his music, who single-handedly passed her style down to singers who have championed Weill more recently, notably Ute Lemper. Of course, another continuity is Weill's always-remarkable way with a tune, and this disc features Lenya in some of the best-loved songs from their American years - even if you've never heard of Weill, 'September Song' will be familiar - along with some lesser-known gems.Recorded in the late 1950s, Lenya's voice is actually less gruff and declamatory, more of an actual 'singing voice' in these American songs than in Weill's German songs. One thing Lenya could never do was swing - a rehearsal excerpt here features Louis Armstrong trying to teach her how - but the originality and authenticity of her style more than make up for that. Among the bonuses on this re-issue are some of the post-Weill songs best suited to Lenya: excerpts from Kander and Ebb's 'Cabaret,' indebted equally to Weill's German and American styles.

"Last, although hardly least, the CD includes three versions of Lenya singing Mack the Knife, although the word "version" doesn't do justice to the third, which is an eight-minute transcription of the studio takes of Lenya's duet with Louis Armstrong. The first of the three versions is sung by Lenya in German, accompanied by the Turk Murphy jazz band. Notwithstanding its abrupt coda, this great recording has, to my knowledge, never been released. The second Mack the Knife version is the final take of the Lenya-Armstrong duet. And the third, as noted, are the session takes, including Armstrong’s attempts to instruct Lenya how to get the rhythms right, especially on the final three eighth notes, which she never quite manages. It's a delightful and fascinating look at the great Lenya being instructed in how to sing American jazz by the equally great Louis Armstrong, who is in complete and total control of the session."

Thanks to, which provides more infos about this release)

Lotte Lenya Sings Kurt Weill - American Theatre Songs
(192 kbps, front cover inlcuded).