Donnerstag, 28. Februar 2019

Aufwind - Gassn Singer - Jiddische Lieder & Klesmermusik

The main focus for Aufwind (Up-current) is Eastern European Jewish and Yiddish music.Their repertoire reveals considerable originality, remarkable disquisition and inspiring musicianship.

The current line-up comprises Jan Hermerschmidt (vocals, clarinet), Claudia Koch (vocals, violin, viola), Hardy Reich (vocals, mandolin, guitar), Andreas Rohde (vocals, bandoneon, guitar) - the last three of whom fouded Aufwind in 1984 - and Heiko Rötzscher (bass).

The album "Gassn Singer" was recorded an mixed in September 1991 at Funkhaus Nalepastraße, Berlin.



Aufwind - Gassn Singer - Jiddische Lieder & Klesmermusik
(320 kbps, front cover included)

Montag, 25. Februar 2019

Lightnin' Hopkins & Sonny Terry - Last Night Blues (1960)

Outside of Blind Lemon Jefferson, Lightnin' Hopkins may be Texas's most distinctive and influential blues export. His easy, fluid fingerpicking and witty, extemporaneous storytelling are always a delight, and his performances on "Last Night Blues" are no exception. The album is spare and acoustic, with Hopkins's voice and guitar accompanied by minimal percussion and Sonny Terry's harmonica.

Terry's contributions really add a lot to these tunes, threading a high, lonesome whine on the downtempo tunes and a chugging, propulsive shuffle on the faster ones. Hopkins is, of course, one of the kings of the blues boogie, but he's equally compelling on the slow blues, and he never missteps throughout this fine set. All told, this dynamite disc represents what the blues should be: stripped-down, soulful, and full of truth.

"...there's a relaxed intimacy and trust here born of musicians sharing a similar vision and experience in the blues....lyrically, Hopkins' ability to poetically improvise without noticeable limits keeps each song interesting..." ~ Living Blues - Jan/Feb 93, pp.84-85

A1Rocky Mountain
A2Got To Move You Baby
A3So Sorry To Leave You
A4Take A Trip With Me
B1Last Night Blues
B2Lightnin's Stroke
B3Hard To Love A Woman
B4Conversation Blues

Lightnin' Hopkins & Sonny Terry - Last Night Blues (1960)
(320 kbps, cover art included)

Otto Reutter - In 50 Jahres ist alles vorbei

Otto Reutter was born on April 24th in 1870 in a poor Catholic family in Gardelegen, Germany, as a son of the Ex-Ulan Andreas Pfützenreuter who was not at home, visited the Catholic primary school, absolved afterwards an education in and out of Gardelegen as a commercial assistant, ran away after finishing this and went to Berlin, earned money as a Charge at quite simple theaters, tried to be an actor and commedian at little theaters in Berlin.

His father took him away from Berlin and then he ended up being in Karlsruhe, where he joined a group of pub-singers and pub-commedians. In 1895 he dared to have his first performance as a "Salonhumorist", first performance was probably in Bern in Switzerland. In 1896 he got hired for the first time in Berlin, he really convinced the audience with his talent to recite the funny-pointed verses with easy melodies in a kind of spoken song and to be ironically funny even with his appearance. Reutter rose up to a popular star since his first performance in the "Wintergarten-Variete" of the Central-Hotel in Berlin. In the following years Reutter was able to remain on the financial and artistic top of the German little-theater-artists with the help of his huge talent and his hard work.

In 1919 after 30 years of hard work and marked by personal blows Reutter was very tired and he wanted to retire with an account that recorded millions and go back to Gardelegen. Driven on by his own ambition and the need to earn money in insecure times because he was now husband Reutter created his „work of his old times“ from the year 1919 on and by doing this he suffered from indefatigable helplessness. This work consisted of Couplets that were on humor and melancholy, worldly wisdom and mild old-age cheekyness and these Couplets are still part of the German humor for higher demands. Ill and tired of life Reutter died on March 3rd in 1931 in Düsseldorf and was buried in Gardelegen.

Otto Reutter - In 50 Jahres ist alles vorbei (192 kbps)

Lightnin´ Hopkins - Lightnin´ In New York (1960)

Rolling Stone (12/2/70) - "...Lightnin' is one of the most powerful bluesmen going, and this is probably his finest album..."

This album features the classic bluesman Lightnin' Hopkins on eight unaccompanied solos, not only singing and playing guitar but taking some rare solos on piano (including on "Lightnin's Piano Boogie"). Hopkins recorded a lot of albums in the 1960s and all are quite listenable even if most are not essential; he did tend to ramble at times! This Candid release is one of his better sets of the period, highlighted by "Take It Easy," "Mighty Crazy," and "Mister Charlie."  

The tantalizing thing is, there's so much more from this session. "Lightnin' in New York" features tremendously fun and entertaining tracks like "Mighty Crazy" and the definitive version of "Mister Charlie", as well as "Trouble Blues," a searingly painful blues that is among the best songs Lightnin' ever recorded. The problem? There are six songs from this Nov. 15, 1960 session that are not here. These cuts (all good) appeared on Mosaic's "The Complete Candid Otis Spann/Lightnin' Hopkins Sessions" a three-disc masterpiece that features two prime discs of blues pianist Spann and one of Hopkins (14 tracks!). That Hopkins disc in its entirety might be his absolute finest. That limited-edition box set is no longer available, but if you find it used or up for auction, jump at it. Anyway, it would have been nice if, on this "Lightnin' in New York" reissue, they had been able to add those bonus cuts. Why not? Anyway, pretend you're not missing anything and enjoy some fabulous Lightnin' Hopkins music.

Lightnin´ Hopkins - Lightnin´ In New York (1960)
(320 kbps, cover art included)

Claire Waldoff - Wer schmeißt denn da mit Lehm

PhotobucketClaire Waldoff, the chanson and cabaret singer with the snappish voice, has been an entertainment star for more than three decades. She never made a secret of her love to Olga von Roeder - they were inseparable for 40 years. Even today, her hits like ”Hermann heeßt er“ (His name is Hermann), “Wer schmeißt denn da mit Lehm?“ (Who’s throwing clay?) or “Hannelore“ are a pleasure to listen to - and worth (re-) discovering.

Being the 11th child out of sixteen made it financially impossible for Claire Waldoff to study medicine, which was her wish. So she decided to go for drama instead. At the age of 19, she got her first role in Bad Pyrmont and Kattowitz. In 1907 she went to Berlin, and focused on cabaret, where she became a star. Claire characterized the last decade of the German Emperor Wilhelm II and the beginning roaring '20s in Berlin. She specialized herself in German "Gassenhauer", "Schlager" and chansons. Her stage performance was characterized by her maverick appearance in wearing a tie, shirt and a rust red bob. She also smoked and cursed on stage. Her most famous songs in the early part of her career were "Morgens willste nicht und abends kannste nicht" [At Morning You Won't, and in the Evening You Can't] (1910), "’ne dufte Stadt ist mein Berlin" [A Groovy City is My Berlin], "Nach meine Beene is ja janz Berlin verrückt" [Entire Berlin Is Crazy 'bout My Legs] (both 1911), "Hermann heeßt er" [He's Called Hermann] (1913) or "Jott, wat sind die Männer dumm" [Gee, How Stupid Men Can Be] (1917). These titles became favorite turns of expression for the following decades. Her height of popularity was in the mid 1920s. She appeared on stage at two of the biggest cabarets in town: Scala and Wintergarten. She toured through Germany and stood on stage with young Marlene Dietrich.

But another fact made her a role model for modern people these times: together with her partner in life she was the epicenter of lesbian Berlin. In political songs she postulated "Raus mir den Männern aus dem Reichstag" [Get Men Out of the Reichstag] (1926) and played a central role in "Zille's Berlin" performing songs like "Das Lied vom Vater Zille (= Sein Milljöh)" [Song of Father Zille (= His Milieu)](1930).

In 1933, the rising National Socialism created hard times for Claire Waldoff. First, she was banned because she performed in front of communists. Parting the "Reichskulturkammer" (an institution founded by Joseph Goebbels to bring German culture into line with national socialistic aspects) ended it. In 1936, the minister of propaganda, Joseph Goebbels, prohibited Waldoff to perform at The Scala. She performed in front of German soldiers but found less and less engagements.

After the war she couldn't continue her career in Germany. The monetary reform of 1948 cost her all her savings and she was impoverished. The magistrate of Berlin granted a pension of honor to Waldoff for her 70th bitrhday. Claire Waldoff died in 1957 due to an apoplexy. It was her last wish to get buried together with her life companion Olga von Roeder. Her wish was fulfilled, and she lies in von Roeder's family grave at Pragfriedhof in Stuttgart.

Claire Waldoff - Wer scmeißt denn da mit Lehm
(192 kbps, full cover artwork included)

African Renaissance - Volume 3 - South Sotoh - Tswana

Here´s volume 3 of this wonderful series of historic recordings from the archives of the South African Broadcasting Corporation, recorded between 1959 and 1994.


The mus of Basotho is as diverse as that of the Batswana, with whom they share a similar language. The difference is slight, especially the pronunciation of words. The traditions are motly similar, as are the styles both traditional and modern. Like all african music Basotho were affected by urbanisation as well as the church. The school system also introduced choral music and Basotho went on to produce some of the best composers of this genre.

Tswana music is pretty close to that of the Basotho since the languages are virtually the same. Like Zulu and Sotho music, the Tswana also depeloped their music with the advent of urbanisation and christianity. Traditional music was the main force until the missionaries came to South Africa.

African Renaissance - Volume 3 - pt.1
African Renaissance - Volume 3 - pt. 2
(192 kbps, mp3)

Samstag, 23. Februar 2019

Nina Simone - Little Girl Blue (1957)

"Little Girl Blue", released in 1957, was Nina Simone's first recording, originally issued on the Bethlehem label. Backed by bassist Jimmy Bond and Albert "Tootie" Heath, it showcases her ballad voice as one of mystery and sensuality and showcases her up-tempo jazz style with authority and an enigmatic down-home feel that is nonetheless elegant. The album also introduced a fine jazz pianist.

Simone was a solid improviser who never strayed far from the blues. Check the opener, her reading of Duke Ellington's "Mood Indigo," which finger-pops and swings while keeping the phrasing deep-blue. It is contrasted immediately with one of the - if not the - definitive reads of Willard Robison's steamy leave-your-lover ballad "Don't Smoke in Bed." The title track, written by Rodgers & Hart, features "Good King Wenceslas" as a classical prelude to one of the most beautiful pop ballads ever written. It is followed immediately by the funky swing in "Love Me or Leave Me" with a smoking little piano solo in the bridge where Bach meets Horace Silver and Bobby Timmons.

It's also interesting to note that while this was her first recording, the record's grooves evidence an artist who arrives fully formed; many of the traits Simone displayed throughout her career as not only a vocalist and pianist but as an arranger are put on first notice here. "My Baby Just Cares for Me" has a stride shuffle that is extrapolated on in the piano break. Her instrumental and improvising skills are put to good use on Tadd Dameron's "Good Bait," which is transformed into something classical from its original bebop intent. "You'll Never Walk Alone" feels more like some regal gospel song than the Rodgers & Hammerstein show tune it was. Of course, one of Simone's signature tunes was her version of "I Loves You, Porgy," which appears here for the first time and was released as a single.

Her own "Central Park Blues" is one of the finest jazz tunes here, and it is followed with yet another side of Simone's diversity in her beautiful take on the folk-gospel tune "He's Got the Whole World in His Hands," with quiet and determined dignity and drama. Another of her instrumentals compositions, "African Mailman," struts proud with deep Afro-Caribbean roots and rhythms.

01.  Mood Indigo
02.  Don't Smoke In Bed
03.  He Needs Me
04.  Little Girl Blue
05.  Love Me Or Leave
06.  My Baby Just Cares For Me
07.  Good Bait
08.  Plain Old Ring
09.  You'll Never Walk Alone
10.  I Loves You Porgy
11.  Central Park Blues
Bonus tracks:
12.  He's Got The Whole World In His Hands
13.  For All We Know
14.  African Mailman

Nina Simone - Little Girl Blue (1957)
(320 kbps, cover art included)                                   

Twinkle Brothers - Free Africa

The Twinkle Brothers have been in existence since the 1960s, and although bandleader Norman Grant continues to record under the Twinkle Brothers name, the three Frontline LPs from 1979 and 1980 probably mark the high point of their work.
Those albums (Love, Praise Jah, and Countrymen) are selectively represented on this 16-track compilation, which swings back and forth between songs that show a heavy gospel influence (the almost hymnlike "Solid as a Rock" and "Free Us") and others that betray a clear debt to vintage American R&B ("Shu Be Dup" and "Since I Threw the Comb Away").

Grant plays drums and sings from deep in his chest in a clear, resonant baritone voice, while various other band members contribute tight, soaring harmonies. During this period, the Twinkle Brothers had one of the few truly unique ensemble sounds in reggae music, and this collection is an excellent introduction to their art.            

I Don't Want To Be Lonely Anymore4:10
Free Africa4:46
I Love You So3:28
Gone Already3:03
Solid As A Rock4:40
Come Home3:29
Shu Be Dup3:05
Never Get Burn3:24
Dread In The Ghetto3:48
Watch The Hypocrites3:35
Since I Through Away The Comb2:58
One Head3:44
Free Us3:44

Twinkle Brothers - Free Africa
(192 kbps, cover art included)  

Fela Kuti & The Africa 70 - Gentleman (1973)

"Gentleman" is both an Africa 70 and Afro-beat masterpiece. High marks go to the scathing commentary that Fela Anikulapo Kuti lets loose but also to the instrumentation and the overall arrangements, as they prove to be some of the most interesting and innovative of Fela's '70s material.

When the great tenor saxophone player Igo Chico left the Africa 70 organization in 1973, Fela Kuti declared he would be the replacement. So in addition to bandleader, soothsayer, and organ player, Fela picked up the horn and learned to play it quite quickly - even developing a certain personal voice with it. To show off that fact, "Gentleman" gets rolling with a loose improvisatory solo saxophone performance that Tony Allen eventually pats along with before the entire band drops in with classic Afro-beat magnificence.

"Gentleman" is also a great example of Fela's directed wit at the post-colonial West African sociopolitical state of affairs. His focus is on the Africans that still had a colonial mentality after the Brits were gone and then parallels that life with his own. He wonders why his fellow Africans would wear so much clothing in the African heat: "I know what to wear but my friend don't know" and also points out that "I am not a gentleman like that!/I be Africa man original." To support "Gentleman," the B-side features equally hot jazzy numbers, "Fefe Naa Efe" and "Igbe," making this an absolute must-have release.


A1 Gentleman
B1 Igbe
B2 Fe Fe Ne Eye Fe

Fela Kuti - Gentleman (1973)
(320 kbps, cover art included)

Bewegte Zeiten - Neue Musik in der Weimarer Republik 1919 - 1933

"Bewegte Zeiten - Neue Musik in der Weimarer Republik 1919 - 1933" is a great 2-cd-set compilation, released only in Germany. The compilation includes excerpts from works by such composers as Feruccio Busoni, Heinz Tiessen, Alban Berg, Franz Schreker, Paul Hindemith, Ernst Krenek, Erwin Schulhoff, Kurt Weill, Alexander von Zemlinsky, Wilhelm Kempff, Emil Bohnke and Arnold Schönberg.

The compilations features performances by András Schiff, Dietrich Fischer-Dieskau, Anne Sofie von Otter, Hagen Quartett. Staatskapelle Dresden, Royal Concertgebouw Orchestra, London Sinfonietta,
Deutsches Symphonie Orchester Berlin, Berliner Philharmoniker et al. The conductors are Giuseppe Sinopoli, Karl Böhm, David Atherton, Herbert von Karajan, John Eliot Gardiner, Paul Hindemith.

Bewegte Zeiten - Neue Musik in der Weimarer Republik 1919 - 1933 - CD 1
Bewegte Zeiten - Neue Musik in der Weimarer Republik 1919 - 1933 - CD 2
(256 kbps, front cover included)

Freitag, 22. Februar 2019

Paul Robeson – Ol’ Man River (1990)

Paul Leroy Robeson (April 9, 1898 – January 23, 1976) was an African-American concert singer (bass-baritone), recording artist, athlete and actor who became noted for his political radicalism and activism in the civil rights movement. The son of an escaped slave, Robeson was the first major concert star to popularize the performance of Negro spirituals and was the first black actor of the 20th century to portray Shakespeare's Othello in a production with an all white cast.

A nationally renowned football player from 1917 to the early 1920s, Robeson was an All-American athlete, and Phi Beta Kappa Society laureate during his years at Rutgers University. In 1923, Robeson drifted into amateur theater work and within a decade he had become an international star of stage, screen, radio and film. Robeson went on to be a recipient of the NAACP's Spingarn Medal, the Stalin Peace Prize and of honorary memberships in over half a dozen trade unions. James Earl Jones, Sidney Poitier and Harry Belafonte have cited Robeson's lead film roles as being the first to display dignity for black actors and pride in African heritage. Though one of the most internationally famous people of the 20th century, blacklisting during the Cold War, has nearly erased Robeson from mainstream interpretations of history.

At the height of his career, Paul Robeson chose to become primarily a political artist. In 1950, Robeson's passport was revoked under the McCarran Act over his work in the anti-imperialism movement and what the U.S. State Department called Robeson's "frequent criticism while abroad of the treatment of blacks in the US." Under heavy and daily surveillance by both the FBI and the CIA and publicly condemned for his beliefs, Robeson's income fell dramatically and he was blacklisted from performing on stage, screen, radio and television. Robeson's right to travel was restored in 1958, but his already faltering health broke down under controversial circumstances in 1963. By 1965, he was forced into permanent retirement. He spent his final years in Philadelphia, Pennsylvania, unapologetic about his political views and career. Advocates of Robeson's legacy have restored his name to history books and sports records, honoring his memory with posthumous recognitions.

Here´s a compilation named after one of his most famous songs, "Ol´ Man River", released in 1990.

01 – Carry Me Back To Old Virginny/Round The Bend Of The Road/River, Stay ‘Way From My Door
02 – Swing Low, Sweet Chariot
03 – Blue Prelude
04 – My Old Kentucky Home
05 – The Old Ark’s A-Moving
06 – Got The South In My Soul
07 – Go Down, Moses
08 – I Stood On The River
09 – The Folks I Used To Know
10 – Scarecrow
11 – Piccaninny Shoes
12 – Shenandoa’
13 – I Want To Be Ready
14 – Wagon Wheels
15 – Joshua Fit The Battle Of Jericho
16 – So Shy
17 – Peter, Go Ring-A Dem Bells
18 – I Ain’t Lazy, I’m Just Dreamin’
19 – Mammy’s Little Kinky Headed Boy
20 – Roll The Chariot Along
21 – Hail The Crown/I Got A Robe/Oh Lord, I Done What You Told Me To Do/The Gospel Train/The Heaven Bells Are Ringin’/I’ll Hear The Trumpet Sound/Walk Together, Children
22 – Ol’ Man River

Paul Robeson - Ol´ Man River (1990)
(320 kbps, small front cover included)

Albert Ayler ‎- Goin' Home (1964)

Albert Ayler was confronted with a spiritual anxiety that both plagued and comforted him throughout his life. This is frighteningly clear listening to the highly intense musical yin and yang that was present February 24, 1964, when the tracks for "Goin' Home" and "Witches and Devils" were recorded.

Ayler plays tenor and soprano saxophones on "Swing Low, Sweet Chariot," "Deep River," "Goin Home," "Down by the Riverside," "When the Saints Go Marchin In," and "Nobody Knows the Trouble I've Seen." These traditional compositions are treated with reverence and a lack of improvisation, played in a quietly passionate but respectful manner. They reveal a sensitivity that was obscured with the emotionally charged tenor screeching of the Ayler originals that were also recorded at this session: "Witches and Devils," "Spirits," "Holy, Holy," and "Saints."

Black Lion reissued "Goin' Home" with double takes of "Down by the Riverside," "Ol' Man River," and "Swing Low, Sweet Chariot." The "Goin' Home" rhythm section is held together by the gospel-influenced piano style of Call Cobbs. This was the first time the saxophonist had played with Cobbs, who, like Ayler, was from Cleveland and had recently moved to New York. Free jazz stalwarts Henry Grimes' bass and Sunny Murray's drums rounded out the proceedings, following Ayler and Cobbs lead, sounding more accessible than they had on previous recordings.

While "Goin' Home" and "Witches and Devils" haven't been released together on one compact disc, obtaining both and playing them back to back makes for an amazing comparison in moods and styles.                

1Goin' Home4:26
2Ol' Man River (Take 2)5:25
3Down By The Riverside (Take 6)4:39
4Swing Low, Sweet Chariot (Take 3)4:30
5Deep River4:15
6When The Saints Go Marchin' In4:12
7Nobody Knows The Trouble I've Seen4:44
8Ol' Man River (Take 1)3:58
9Swing Low, Sweet Chariot (Take 1)4:49
10Down By The Riverside (Take 5)4:28

Albert Ayler ‎- Goin' Home
(192 kbps, cover art included)

The Chambers Brothers - New Generation (1971)

Like their West Coast contemporaries Sly and the Family Stone, the Chambers Brothers shattered racial and musical divides to forge an incendiary fusion of funk, gospel, blues, and psychedelia which reached its apex with the perennial 1968 song "Time Has Come Today."

Eschewing their normal frenzied mix of soul and rock, the brothers package their socially uplifting messages more in James Brown-style funk than usual.

They produce the album themselves and their ambition often exceeds their grasp. String orchestrations by band members Brian Keenan and Joe Chambers clutter an already-busy mix.

The title track is the kind of extended rave-up that seems to be on every one of their albums. "Going to the Mill" closes the session with a straightforward, and welcome, shot of gospel.

A1Are You Ready
A2Young Girl
A4When The Evening Comes
A5Practice What You Preach
B3New Generation
B4Going To The Mill

The Chambers Brothers - New Generation (1971)
(320 kbps, cover art included)

Donnerstag, 21. Februar 2019

VA - Old Time DJ Come Back ... Again!

From the vaults of RAS records come this solid roundup of classic reggae DJ sides. At the zenith of his fame, producer and toaster Tapper Zukie cut these tracks on both veteran and relatively new mic masters.

Spanning the roots reggae era and early dancehall days, the likes of U-Roy, Big Youth, Dennis Alcapone, Dillinger, and Prince Jazzbo made their musical trade respectable while the work of vocal soloists and groups dominated the charts. Along the way, their innovations would have a great influence on both the course of reggae music and once seemingly distant orbits as hip-hop.

This collection provides 15 prime examples of their art, including cuts by both the aforementioned toasters and other expert chatters like U-Brown, Brigadier Jerry, Trinity, and Jah Stitch. A fine primer for Jamaican DJ newcomers.      

1Brigadier JerryRaggamuffin3:54
3U BrownBits Of Paper3:34
4Massive DreadAction3:36
5Tappa ZukieJudge I Oh Lord3:38
6Trinity Trinty Is My Name3:40
7Big YouthBack In Time4:02
8I RoyA Fi Talk4:02
9U Roy & J.C. Lodge Satisfy My Soul4:00
10Dennis AlcaponeTeacher Teacher2:50
11Scotty Information3:50
12Rankin JoeKings Time4:00
13Jah StitchHow Long3:59
14Jah MickyIt's Of The Pass3:49
15Prince JazzboSo The West Was Won3:12

VA - Old Time DJ Come Back ... Again!
(192 kbps, cover art included)       

VA - It´s Rockin´ Time - Duke Reid´s Rocksteady 1967 - 1968 (Trojan)

"It´s Rockin´ Time" features sixteen rock steady cuts, produced by Duke Reid at the Treasure Isle Studios in 1967 and 1968. Whether instrumental or vocal, this is good Jamaican beach music, relaxed and seductively melodious. 

Tommy McCook & the Supersonics weigh in with four instrumental tracks, highlighted by "Indian Love Call," with its snake-charming horns. Their makeover of the New Vaudeville Band's "Winchester Cathedral" into "Train to Ska-thedral" is a good blow to the funnybone. The Techniques and the Melodians sing some tight, soulful harmonies; Phyllis Dillon's rendition of the Shirelles' "Things of the Past" is a real goodie. 

It's not one of the more prominent rock steady comps, but it's a fine collection for enthusiasts of the style, and one of the better entries into the genre if you're unfamiliar with the music.


1. Lloyd & Glen - Jezebel
2. Eric "Monty" Morris - If I Didn't Love You
3. Justin Hinds & The Dominoes - Fight Too Much
4. Tommy McCook & The Supersonics - Indian Love Call
5. Phyllis Dillon - It's Rocking Time
6. The Techniques - Day-O
7. The Conquerors - I Fall In Love
8. Tommy McCook & The Supersonics - Jam Session
9. Phyllis Dillon - Things Of The Past
10. The Conquerors - Lonely Street
11. The Techniques - Drink Wine
12. Tommy McCook & The Supersonics - Train To Ska-Thedral
13. The Three Tops - The Sound Of Music
14. The Melodians - I Know Just How She Feels
15. The Silvertones - Slow And Easy
16. Lynn Taitt With Tommy Mccook & The Supersonics - Spanish Eyes

VA - It´s Rockin´ Time - Duke Reid´s Rocksteady 1967 - 1968 (Trojan)
(320 kbps, cover art included)

Montag, 18. Februar 2019

Fela Kuti - Fela Fela Fela (1969)

It's almost impossible to overstate the impact and importance of Fela Anikulapo (Ransome) Kuti (or just Fela as he's more commonly known) to the global musical village: producer, arranger, musician, political radical, outlaw. He was all that, as well as showman par excellence, inventor of Afro-beat, an unredeemable sexist, and a moody megalomaniac.

The album "Fela Fela Fela", a Duke Lumumba recording, is is the original LA Session album released in Nigeria on EMI Nigeria. Lonnie Bolden plays tenor sax, jacket design by Ebele and Chinye.

1. My Lady Frustration
2. Viva Nigeria
3. Obe
4. Ako
5. Witchcraft
6. Wayo
7. Lover
8. Funky Horn
9. Eko
10. This is Sad

Fela Kuti - Fela Fela Fela (1969, EMI Nigeria)
(192 kbps, cover art included)

Sonntag, 17. Februar 2019

VA - Celebration - The Big Sur Folk Festival 1970

This album contains otherwise unavailable live performances taken from the October 3, 1970, Big Sur Folk Festival held in Monterey, CA, at the same fairgrounds that hosted the Monterey International Pop Festival three years earlier. Although the titles are undeniably similar, this disc should not be confused for the soundtrack to the "Celebration at Big Sur" (1971), documenting the 1969 event. 

With the exception of the Beach Boys -- who were rumored to be releasing their entire set at one point -- each artist donated a pair of performances to this package. According to the original LP jacket, "With this record, the money that ordinarily goes to the artists and producer, will go to the institute for the study of non-violence, Palo Alto, CA, to be shared with the united farm workers and war resisters international." Joan Baez -- one of the coordinators of the gathering -- is accompanied by an uncredited group of backing vocalists and acoustic guitar players on both "The Night They Drove Old Dixie Down" -- which is given a ragtag singalong reading -- as well as an exceedingly affective and hopeful version of the Beatles' "Let It Be." Linda Ronstadt's countrified rocker readings of "The Only Mama That'll Walk the Line" and "Lovesick Blues" are among the high points, recalling her post-Stone Ponies' work. It also stands as a reminder of the influence that groups such as the Flying Burrito Brothers and Nashville-informed the Byrds had on the vocalist prior to her more familiar status as a mid-'70s rocker. Fittingly, Merry Clayton's soulful and show-stopping versions of "The Times They Are A-Changin'" and the emotionally charged "Bridge Over Troubled Water" are at the heart of this release. Although primarily known for her backing vocals -- most notably on the Rolling Stones' "Gimme Shelter" -- Clayton also issued a handful of solo platters in the early '70s. By comparison, the Beach Boys' might as well have stayed home. Their half-baked attempt at "Wouldn't It Be Nice" is one of this effort's few disappointments. Luckily, both Country Joe McDonaldand Kris Kristofferson -- who are the only artists playing their own compositions -- counter with some incisive and profound contributions. McDonald's self-effacing showbiz parody "Entertainment Is My Business" can be found on his then yet-to-be issued "Incredible! Live" (1972), while "Air Algiers" hails from his concurrent long player "Hold on It's Coming" (1971). Amazingly, Kristofferson was probably one of the least-known names on the bill at the time. However, the politically charged "The Law Is for the Protection of the People" and the sublime rendering of "To Beat the Devil" are considered primal entries from his self-titled debut. Initial vinyl pressings also included a four-panel insert with passages from Leo Tolstoy's Working Classes of All Nations, as well as "The Teeth-Mother Naked at Last" by Robert Bly. Sadly, this folio is not replicated on the CD reissue.


1 –Joan Baez The Night They Drove Old Dixie Down
2 –Joan Baez Let It Be
3 –Linda Ronstadt Zhe Only Mama That'll Walk The Line
4 –Linda Ronstadt Lovesick Blues
5 –Merry Clayton The Times They Are A Changin'
6 –Merry Clayton Bridge Over Troubled Water
7 –The Beach Boys Wouldn't It Be Nice
8 –Country Joe McDonald Entertainment Is My Business
9 –Country Joe McDonald Air Algiers
10 –Kris Kristofferson The Law Is For The Protection Of The People
11 –Kris Kristofferson To Beat The Devil

(320 kbps, cover art included)

Samstag, 16. Februar 2019

Maria Muldaur - Sweet Harmony (1976)

The title track reveals just about everything a listener will need to know about Maria Muldaur's third time around on the big-label recording scene. The first few moments of instrumental interplay between guitarists Amos Garrett and David Wilcox and electric bassist Bill Dickinson will make old-timers nod in the delight of recalling an era when musicians actually jammed on pop records, and bass players were not just listening to click tracks. Once the song itself starts, it won't take long before the urge to take the album off will also begin, but it is a smarter move to simply move ahead. "Sweet Harmony" the song is overdone, and dated in its sanctimonious hippie white-gospel feel, but "Sweet Harmony" the album clicks at times with some of the finest productions ever created around a Maria Muldaur vocal. "Sad Eyes" would have been a better choice for an opener. The unbeatable rhythm team of bassist Willie Weeks and guitarist Waddy Wachtel -- who, a decade later, would get the nod to back Keith Richards up on solo projects -- really set up a delicious shuffle here, and once the superbly recorded band sound is established, it turns out to be a perfect spotlight for Muldaur's vocal talents.

A sort of encyclopedia of country, old-time, boogie, and Memphis jug band influences rolls out in her vocal like a barbecue chef in Kansas City spreading out the evening's offerings. For a musician of her intelligence and savvy, aspects of this session must have surely felt like arrival at some kind of professional nirvana. To be singing a Hoagy Carmichael tune -- "Rockin' Chair," an astute choice that the songstress pulls off with great comic flair -- with orchestral backup arranged and conducted by the great alto saxophonist Benny Carter, for example. Does it get any better than that? Not really, and the Carter tracks are some of the best in Muldaur's entire discography, especially "We Just Couldn't Say Goodbye." The way Muldaur goes for a high note on the word "go" -- and gets it, practically yodelling -- is one of her most enjoyable vocal tricks. There are many influences involved in this project, however -- not just master musicians such as Carter, baritone saxophonist Sahib Shihab, and guitarist Kenny Burrell.

Maria Muldauer - Sweet Harmony (1976)
(320 kbps, cover art included)


"Sweet Harmony" (Smokey Robinson) – 4:45
"Sad Eyes" (Neil Sedaka, Phil Cody) – 4:30
"Lying Song" (Kate McGarrigle) – 4:07
"Rockin' Chair" (Hoagy Carmichael) – 3:42
"I Can't Stand It" (Smokey McAllister) – 3:37
"We Just Couldn't Say Goodbye" (Harry Woods) – 3:35
"Back by Fall" (Wendy Waldman) – 3:55
"Jon the Generator" (John Herald) – 3:20
"Wild Bird" (Wendy Waldman) – 4:45
"As an Eagle Stirreth in Her Nest" (William Herbert Brewster) – 4:11

Mittwoch, 13. Februar 2019

Lokomotive Kreuzberg - Kollege Klatt (1972)

Lokomotive Kreuzberg was a Berlin polit-rock band founded in early 1972. The group performed in various formations touring extensively through Germany until 1977 at the dissolution of the group when finances became an issue.

The group consisted of founding member Andreas Brauer (vocals, keyboards, violin, flute, guitar, percussion), lyricist Kalle Scherfling (vocals), Volker Hiemann (vocals, guitar) and Uwe Holz (drums, vocals, harmonica, percussion). Later they were joined by Uve Müllrich (Guitars, Bass) and he also played bass in Embryo, and was founder of the Dissidenten. He was replaced from 1973 by Bernhard Potschka, Manfred Praeker and Herwig Mitteregger from 1976. Members later played in the Nina Hagen Band and later founded German rockers Spliff.

The band released a number of albums; "Kollege Klatt" (1972), "James Blond - Den Lohnräubern auf der Spur" (1973), "Fette Jahre" (1975), "Mountain Town" (1977).

Lokomotive Kreuzberg played funky krautrock, with some folk rock, sounding similar to Gong and Mother Gong. The lyrics are left wing with a direct political message. Here´s their debut "Kollege Klatt" from 1972.


A2Ein Mann geht die Straße lang I4:56
A3Was glaubst du was du bist5:02
A4Wenn ick nach de Arbeit5:08
B1Ich könnt' ein Kommunist wohl sein5:12
B2Ein Mann geht die Straße lang II2:52

Lokomotive Kreuzberg - Kollege Klatt (1972)
(192 kbps, cover art included)

Ihre Kinder - Anfang ohne Ende (1972)

"Ihre Kinder" can be placed at the roots of the so-called "Krautrock". As the first rock band at all they produced in their mother-tongue German and published five main albums between 1969 and 1972.

The core of "Ihre Kinder" were the keyboarder and singer Sonny Hennig, the guitarist Ernst Schultz and the producer Jonas Porst. Their music combined influences from the American protest song (Bob Dylan), white blues music from England and - in a cautious way - the typical German electronic rock music of the early 70s to a progressive und unique mixture. Their most impressive songs are about political topics like nuclear armament ("Toter Soldat") or social problems like drugs ("Weißer Schnee, Schwarze Nacht"). At their early time the phrase "progressive" was yet to be born. Lacking other definitions they were elected the best German "Blues band" by the readers of "Express" in 1970. Key albums were "Leere Hände" (1970) - also published in the UK as "Empty Hands" - "2375 004" (1970) - also known as "Jeanscover" - and "Werdohl" (1971), by which Ernst Schultz had substituted Jonas Porst as producer.

Sonny Henning published the solo album "Tränengas" in 1971, in which he discussed the political situation in Germany from a left-wing view, and in the same year Ernst Schultz recorded his opus "Paranoia Picknick", which excelled with a blend of serious lyrics and sophisticated guitar work. The best of the latter was "Synthetischer Orient No. 1".

After the break-up in 1972 every now and then band members came together to play at festivals and recorded some albums.

Ein Lied für Dich4:02
Für Dich und mich3:19
Auf dem Schachbrett4:41
In Ewigkeit Amen4:21
Unny Wersaal und seine Band4:06
Wer hat Angst vorm schwarzen Mann4:05
Anfang ohne Ende8:46

Ihre Kinder - Anfang ohne Ende (1972)
(192 kbps, cover art included)

Montag, 11. Februar 2019

Etoile De Dakar - Xalis (1978)

Etoile De Dakar was one of the most influential bands to come out of Senegal. Best known for its work with vocalist Yassour N'Dour, a member from 1975 to 1978, the group created a Latin-tinged style of African pop that influenced such western artists as Peter Gabriel, Paul Simon and David Byrne.

The roots of the Etoile De Dakar were planted in 1960 when Ibra Kasse, owner of the Miami Club in Dakar, assembled members of two bands — Guinea Band De Dakar and Star Band De Senui — and created a supergroup, known initially as The Star Band. Although it reached its apex with the arrival of N'Dour in 1975, The Star Band splintered three years later when several members left with N'Dour to form Etoile De Dakar. Relocating to Paris in 1983, the group changed its name to Super Etoile.

"Xalis" was recorded in a Dakar nightclub in 1978.

Tracks (transl.):

1. Money
2. Eagle
3. Thoughts About Life and the World
4. Lay Is the Name of a Marabout
5. Hombre Misterioso Soy
6. Banana

Tracks (orig.):

1. Xalis (badou n'diaye) 4:00
2. Thiely (pape seck) 4:12
3. Sama xalatu aduna (el hadj faye) 5:40
4. Lay suma lay (fatou kasset) 4:11
5. Hombre misterioso soy (eric m'backé n'doye) 4:37
6. Banana (sallo dieye) 4:38


Abdou Fall - Timbales
Alla Seck - Vocals
Alpha Seyni Kante - Guitar (Rhythm)
Assane Thaim - Tama
Badou N'Diaye - Guitar, Bandleader
El Hadj Faye - Vocals
Eric M'Backe N'Doye - Vocals
Etoile de Dakar - Main Performer
Kabou Gueye - Bass
Matar Gueye - Conga
Youssou N'Dour - Vocals

Etoile De Dakar - Xalis
(ca. 320 kbps, small front cover inlcuded)

Theodore Bikel & Cynthia Gooding - A Young Man And A Maid (Love Songs of Many Lands, 1956)

Cynthia Gooding is a major interpreter of folk songs from around the world in their original language and translation.

A1 Where Does It Lead
A2 A Meidl In Di Yoren
A3 Sur La Route
A4 Laredo
A5 Greensleeves
A6 Ro'e Vero'a
A7 Aupres De Ma Blonde
A8 Mi Jacalito
B1 As I Roved Out
B2 Coplas
B3 Katherine Jaffrey
B4 Hej Pada Pada
B5 Well Met, Pretty Maid
B6 La Ballade Du Chercheur D'Or
B7 Western Wind
B8 Proschay

Theodore Bikel & Cynthia Gooding - A Young Man And A Maid (Love Songs of Many Lands, 1956)
(192 kbps, cover art included)

Sonntag, 10. Februar 2019

VA - Rare Schellacks - 1902-1948 - München - Volksänger

Bavaria has always been the heartland of traditional music in Germany. On this record you will find historic recordings of Bavarian vernacualr folksingers from the 78rpm-era playing their homegrown dances in a powerful style. Listen to the brass bands, string ensembles or zither solists and discover a musical world which is far removed from the oompah cliché.


1 August Junker Der Stolz von der Au 2:47
2 Jakob "Papa" Geis Das Bachstelzenlied (Travestie) 1:32
3 Weiß Ferdl Der Umgang 2:58
4 J. D. Westermair Münchener Schnaderhüpfl 1:19
5 D'Weinschütz - 1. Münchner Instrumental Terzett Oberbayrischer Gebirgsländler 1:49
6 August Junker & Alois Hönle Der Jackl und der Girgl! 2:53
7 Karl Valentin Die alten Rittersleut 3:35
8 Bally Prell Isarmärchen! 4:18
9 Weiß Ferdl I woaß net wia ma is! 3:00
10 Hans Blädel und Robert Lang  Schlierseer G'stanzln 2:43
11 August Junker A Bier will i hab'n 2:07
12 Liesl Karlstadt Der Pflastererlehrling 3:00
13 Hans Strassmeier und die erste Dachauer Blaskapelle Trompetenländler 2:49
14 Weiß Ferdl König Ludwig II. 3:01
15 August Junker So a Gauner hat a Leben 2:28
16 Xaver Terofal Weibl, Weibl, sei doch nicht so hart 2:45
17 Karl Valentin und Liesl Karlstadt Das Lied vom Sonntag 2:46
18 Weiß Ferdl Mei Loatal 2:32
19 Liesl Karlstadt Singt Chinesisch 3:00
20 Hans Blädel und Seine Bauernkapelle Klarinettenländler 2:29
21 Weiß Ferdl Übaschen Übaschen 2:53
22 August Junker Da werd's was hab'n 2:13
23 Karl Valentin In einem kühlen Grunde 3:19
24 Josef Ahndl Da Hans und's Bärbele 1:27

VA - Rare Schellacks - 1902-1948 - München - Volksänger
(192 kbps, cover art included)