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)

Mittwoch, 27. Februar 2019

Kurt Weill - The Threepenny Opera (Off-Broadway Cast, Theatre de Lys, NY, 1954)

"Die Dreigroschenoper", Kurt Weill and Bertolt Brecht's radical reinterpretation of John Gay's 18th century operetta "The Beggar's Opera", was a sensation in Europe after its German premiere in 1928. But the show, with its decadent portrait of the underworld, was less appealing to Americans when it appeared as "The Threepenny Opera" on Broadway in 1933 and became a quick flop. It took another 21 years and a new English adaptation by Marc Blitzstein for "The Threepenny Opera" to succeed in New York.

Playing at a small Greenwich Village theater, the new version ran 2,611 performances (longer than any Broadway musical up to that time), meanwhile establishing off-Broadway as a legitimate extension of the theater. The cast album, the first such recording ever made of an off-Broadway show, suggests what it was that packed them in downtown. The music is played by an eight-piece band - keyboards, two clarinets, two trumpets, trombone, percussion, and banjo or guitar - making for spare arrangements that support the heavily literate songs in which Brecht comments sardonically on the world. The cast is led by a strong Polly Peachum, sung by soprano Jo Sullivan, and by Lotte Lenya (Weill's widow) in the role of Jenny Towler, here given the revenge fantasy "Pirate Jenny." Gerald Price confidently handles "The Ballad of Mack the Knife," soon to become a surprising pop hit.

Lotte Lenya (Jenny)
Bea Arthur (Lucy Brown)
Charlotte Rae (Mrs. Peachum)
Jo Sullivan (Polly Peachum)
Scott Merrill (Macheath "Mack The Knife")
Martin Wolfson (Mr. J.J. Peachum)
Gerald Price (The Streetsinger)
George Tyne (Tiger Brown).

Theatre de Lys, Greenwich Village, NY 03/10/1954

01. Prologue (Spoken)
02. Overture
03. The Ballad of Mac the Knife
04. Morning Anthem
05. Instead-Of-Song
06. Army Song
07. Wedding Song
08. Love Song
09. Ballad of Dependency
10. The World Is Mean
11. Melodrama and Polly's Song
12. Pirate Jenny
13. Tango Ballad
14. Ballad of the Easy Life
15. Barbara Song
16. Jealousy Duet
17. How to Survive
18. Useless Song
19. Solomon Song
20. Call from the Grave
21. Death Message
22. Finale The Mounted Messanger
23. Ballad of Mac the Knife

Marc Blitzstein, the son of a wealthy banker, was born in Philadelphia on 2nd March, 1905. His father was a socialist, but Blitzstein later recalled that he was "as modern in social thinking as he was conservative in musical taste". A child prodigy, he performed as a soloist with the Philadelphia Orchestra when he was only fifteen. He studied at the Curtis Institute of Music and later trained with Nadia Boulanger in Paris and Arnold Schonberg in Berlin.

Blitzstein wrote plays as well as music and joined the Group Theatre in New York City where he worked with Harold Clurman, Lee Strasberg, Elia Kazan and Clifford Odets. Members of the group tended to hold left-wing political views and wanted to produce plays that dealt with important social issues.

In 1932 Blitzstein wrote "Condemned", a play about the execution of Sacco and Vanzetti. The following year he married the novelist, Eva Goldbeck. Blitzstein was openly homosexual and the couple had no children. Eva introduced her husband to the work of Bertolt Brecht, a German writer who she had translated into English. Blitzstein wrote in 1935: “It is clear to me that the conception of music in society… is dying of acute anachronism; and that a fresh idea, overwhelming in its implications and promise, is taking hold. Music must have a social as well as artistic base; it should broaden its scope and reach not only the select few but the masses”. Soon afterwards he joined the American Communist Party. He also contributed to left-wing journals such as "New Masses".

Like other former members of the American Communist Party who worked in the entertainment industry, Blitzstein's name appeared in "Red Channels". In 1958, Blitzstein received a subpoena to appear before the "House Committee on Un-American Activities". Blitzstein admitted his membership of the Communist Party but refused either to name names, or co-operate any further. As a result he was blacklisted.

Kurt Weill - The Threepenny Opera (Off-Broadway Cast, 1954)
(192 kbps, front cover included)

Tom Robinson - Cabaret `79: Glad To Be Gay

Although his career had pretty much flamed out by the start of the '80s, there were few punk-era major-label performers as intensely controversial as Tom Robinson.

Cutting his teeth with folk-rockers Café Society (who released a Ray Davies-produced record on the head Kinks' Konk label in 1975), Robinson roared into the spotlight in 1978 with a great single ("2-4-6-8 Motorway") and a much-ballyhooed contract with EMI. What was remarkable about this was that Robinson was the kind of politically conscious, confrontational performer that major labels generally ignored: he was openly gay and sang about it ("Glad to Be Gay"), vociferous in his hatred for then-British Prime Minister Margaret Thatcher, helped form Rock Against Racism, and generally spoke in favor of any leftist political tract that would embarrass the ruling ultraconservative Tory government. His debut album, 1978's "Power in the Darkness", was an occasionally stunning piece of punk/hard rock agitprop that, along with being ferociously direct, was politicized rock that focused more on songs than slogans.

"Cabaret `79 - Glad To Be Gay" is a live album recorded at a series of Gay Pride shows in 1979 marking the 10th anniversary of the Stonewall riots.

It includes four bonus tracks: a rare indie single "Glad To Be Gay Part I" (renamed here 'Good To Be Gay'). Also a live cover of Carlton Edwards' AIDS classic "Last Rites" and the 1997 version of "Glad To Be Gay" by the present Tom Robinson Band, with updated lyrics.

1Pub Hassle
2Coldharbour Lane
3Baby You're An Angel
4Glad To Be Gay 1979
5Stand Together
6Easy Street
8Closing A Door
91967 (So Long Ago)
10Even Steven
11Sartorial Eloquence
12Mad About The Boy
13Good To Be Gay (AKA Glad To Be Gay Part 1)
14Glad To Be Gay (1997)
15Last Rites
16Gay Switchboard Jingle

Tom Robinson - Cabaret `79: Glad To Be Gay
(256 kbps, front cover included)

Kurt Weill - Symphonies 1 & 2 (1974, Gewandhausorchester Leipzig, Edo De Waart)

ImageYes, Kurt Weill wrote more than the "Threepennies opera" and Broadway songs. Symphonies for example.
Some of you may want to check these out and discover another side of Kurt 'September song' Weill.

These symphonies were performed by the Gewandhausorchester Leipzig and conducted by Edo de Waart. They were recorded in December 1973 at the Paul Gerhard Kirche, Leipzig, Germany, and originally released on LP in 1974.


Sinfonie Nr. 1 'in einem Satz' (1921)
1. Sinfonie Nr. 1 'in einem Satz' (25:41)

Sinfonie Nr. 2 (1933-34)
2. I. Sostenuto - Allegro molto (9:22)
3. II. Largo (12:03)
4. III. Allegro vivace (6:29)

Kurt Weill - Symphonies 1 & 2 (1974, Gewandhausorchester Leipzig, Edo De Waart)
(192 kbps, small front cover included)

Dienstag, 26. Februar 2019

Pete Seeger - Frontier Ballads, Vol. 1 (1954)

Pete Seeger's "Frontier Ballads" collection of 19th century American songs tracing rural life and the development of the American West was released both as a double-length LP and in two separate volumes on 10" discs.

Seeger accompanies himself on the banjo (with the occasional a cappella song thrown in) on material divided into three thematic sections, the first two of which appear on this first volume. Immigrants contains seven songs referring to those who came to the U.S., their experiences explored in such lyrics as "No Irish Need Apply." The next seven songs, The Trek, concern the movement west with special attention paid to the "Cumberland Gap" and the "Erie Canal," as well as encounters with "Sioux Indians." The album's extensive liner notes put the songs into historical context, and Seeger's spirited performances bring to life a panorama of American experiences during the 19th century when the country was being discovered and settled. (The second volume recounts the experiences of The Settlers as they hunt, farm, build railroads, distill liquor, and just live.) 

A1Fare You Well, Polly
A2No Irish Need Apply
A3Johnny Gray
A4Greer County Bachelor
A5Cowboy Yodel
A6The Trail To Mexico
A7Joe Bowers

The Trek
B1Wake Up, Jacob
B2Cumberland Gap
B3Erie Canal
B4Blow The Man Down
B5Ox Driver's Song
B6Texian Boys
B7Sioux Indians

Pete Seeger - Frontier Ballads, Vol. 1 (1954)
(256 kbps, cover art 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)

Perlen der Kleinkunst - Hans Söhnker

07 November 2018, Berlin: Honorary medals for Hans Söhnker (1903-1981) and Heinz Gützlaff (1905-1961), who were recognized by the Holocaust memorial Yad Vashem as "righteous among the nations", lie at the ceremony in the Berlin memorial "Silent Heroes". "Righteous among the Nations" is a title of honour for gentile people who used their lives under the Nazi regime to save Jews from murder. The title is awarded by a commission under the auspices of the Israeli Holocaust Memorial "Yad Vashem".

Hans Albert Edmund Söhnker was born in Kiel on October 11th 1903. His father was a carpenter and an active member of the Social Democratic Party. After finishing school, Hans Söhnker took up an apprenticeship in a warehouse and at the same time started taking acting lessons from Clemens Schubert and Gustaf Gründgens. In 1922, he made his stage debut at the Stadttheater Kiel, and subsequently played in theatres in Frankfurt/Oder, Danzig, Chemnitz and Bremen.

While visiting Germany, Ernst Lubitsch recommended Söhnker to Paramount in Berlin, and Söhnker applied at the company in 1933. He made screen tests for Ufa, and was finally cast as Marta Eggerth's partner in "Der Zarewitsch". After reprising the role of the young and careless lover for "Schwarzwaldmädel" and "Die Csardasfürstin", Söhnker avoided being typecast again and instead proved his ability to play more serious characters with "Arzt aus Leidenschaft". The understatement and elegance of his acting was reminiscent of American movie stars and made him an extraordinary presence in German cinema.

He excelled as the romantic rival of both Heinz Rühmann in "Der Mustergatte" and Hans Albers in "Große Freiheit Nr. 7". The latter was directed by Helmut Käutner, who frequently cast Söhnker and put his natural charm to its best use, for instance in "Frau nach Maß".

Hans Söhnker was on the Gestapo's black list in Nazi Germany because he often helped and hid Jews.

After the war, Söhnker, who had always continued to work as a stage actor, returned to the theatre. He re-emerged as a movie actor with "Film ohne Titel", which was produced by Käutner and directed by Rudolf Jugert. Jugert also cast Söhnker in the comedies "Hallo Fräulein" and "1 x 1 der Ehe". His dramatic performances in "Nur eine Nacht" and "Weiße Schatten" again proved his ability to shift effortlessly between genres, and the well aged Söhnker remained an elegant presence in the German Post-War cinema of the 1950s. From the 1960s on, he starred in several successful TV series like "Der Forellenhof", "Salto Mortale" and "Meine Schwiegersöhne und ich", which sustained Söhnker's popularity up to his old age. Hans Söhnker passed away in Berlin on April 20th 1981.

Perlen der Kleinkunst - Hans Söhnker
(192 kbps, front cover 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)

Lokomotive Kreuzberg - Gesammelte Werke

Lokomotive Kreuzberg was a Berlin based polit-rock band, who were launched onto the scene in early 1972 with enthusiastic help from Floh De Cologne.

They played funky krautrock with a lot of folk rock included. Gong and Mother Gong is a very good reference. The music is mainly built around the lyrics and their message to the left wing scene. The band breaks out into gospel and Canterbury prog at the twenty minutes long "Mountain Town" epic.

This "best of" compilation was released in 1994 on the Pläne label.


1. Frühmorgens (3:42)
2. Leise Sohlen (3:35)
3. Fette Jahre (5:34)
4. Come Back (2:44)
5. Verfassungslied (3:00)
6. Tempo Mann (4:03)
7. Hand in Hand im Park (3:51)
8. Hey Mr. Amerika (4:46)
9. (a) Mountain Town, (b) Mountain Town Song (20:35)
10. Requiem (3:17)

Lokomotive Kreuzberg - Gesammelte Werke
(320 kbps, cover art 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)

Liederjan - Drei Gesellen

"It is nigh-impossible to over-estimate the way the north German group Liederjan shook up the scene. Along with Zupfgeigenhansel, pre-Reunification they were one of the few Wessi acts who caused Ossi ears to prick up. Simply too original to ignore with a succession of unapologetically German repertoires they have no need to court foreign audiences. A catalogue of national traits as riddled with wordplay as Jörg Ermisch´s "Brigitte" renders translation pointless. Either one speaks German or is damned to have no Liederjan in one´s life." - Ken Hunt


1 Drei Gesellen 3:19 
2 O König von Preussen 3:20
3 Abendlust 3:21
4 Herr und Knecht 3:48
5 Die Moorsoldaten 5:07
6 Schlemmerlied 3:11
7 Bauer und Kalb 3:16
8 Schnitter Tod 3:54
9 Tripp - Trapp 3:00
10 Das Kassler Verschüttlied 3:18
11 Ballade von der Unzulänglichkeit menschlichen Seins 1:44
12 Es brennt 2:45
13 Hoch Lebe Der Mann Mit Dem Hut 3:30
14 Das erwachte Bewusstsein 2:08
15 Lustig, lustig ihr lieben Brüder 3:04
16 Mönch im Nonnenkloster 4:27
17 Die Weber 4:29
18 Fünf Söhne 4:08

(192 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)       

Hanns Eisler - Vokalsinfonik - Vocal Symphonic Music

One of the best of the Berlin Classics line of reissued East German recordings, "Hanns Eisler - Vocal Symphonic Music" includes the only recording available of Eisler's "Lenin Requiem" - a remarkable example of Eisler's communicative twelve-tone style set to a plain text by Bertolt Brecht. Also includes the striking "Pictures from the Guide to War" - a series of miniature compositions set to captions from Brecht's antiwar picture book "Kriegsfibel" - and Eisler's "farewell to music", his 1962 "Ernste Gesänge" (Serious Songs).

Hanns Eisler's "Lenin Requiem" has never been performed in the United States - and may never be. Eisler was nothing if not a contextual composer, and here the context is Eisler's identification with Lenin and the Russian Revolution. But this is no example of quasi-religious bombast in the style of "socialist realism" - Eisler uses advanced compositional techniques, including atonality, and for this reason the "Lenin Requiem" was never performed in the Soviet Union! It did reach the concert stage in the German Democratic Republic (East Germany), where Eisler settled after his deportation from the United States as a suspected Communist subversive in the Hollywood film industry. This is one of the rare performances - a collector's item of enduring musical worth.
The "Lenin Requiem" is perhaps one of Eisler's most satisfying works: both the music and the text by Bertolt Brecht are free of hero worship (another reason the work was disliked by the Soviet cultural apparatus), but nevertheless communicate a sense of concentrated emotive power. It is also one of Eisler's more engaging attempts to write compositions that used the most progessive techniques of his day - including the 12-tone method of his teacher Arnold Schoenberg - but in a particularly simplified form so that the untrained ear would still hear the music as music.


01 - 09 Lenin-Requiem
10 Glückliche Fahrt
11 - 15 Mitte des Jahrhunderts
16 - 18 Das Vorbild
19 - 25 Die Teppichweber von Kujan-Bulak
26 - 40 Bilder aus der Kriegsfibel
41 - 48 Ernste Gesange

Hanns Eisler - Vokalsinfonik - Vocal Symphonic Music
(256 kbps, front cover included)

Nuria Espert - Canta Bertolt Brecht (1967)

Núria Espert (born Hospitalet de Llobregat, Barcelona, Spain June 11, 1935) is a Spanish theatre and television actress, theatre and opera director.

She visited the Institut Maragall, a high school in Barcelona, and she started to study theatre while she was taking some courses of music and languages.
When she was 17 years old, she had to substitute the actress Elvira Noriega in the play Medea - her first great success.

When she was 19 years old, she married the actor Armando Moreno, who would become her manager later. They both founded a theatre company in 1959, which started in the Teatro Recoletos in Madrid. In the 1960s the company won permission to stage the first Spanish productions of plays by Brecht and Sartre.

The single "Canta Bertolt Brecht" was released in 1967.
ASurabaia, Johnny
B1Cancó Del Vuit Elefants = Lied Vom Achten Elefanten
B2Cançó Del Fum = Das Lied Vom Rauch
(ca. 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)

Mittwoch, 20. Februar 2019

Linton Kwesi Johnson - Forces Of Victory (1979)

Having exploded onto the UK scene in 1978 with the dark, angry masterpiece, "Dread Beat & Blood", Brixton Dub Poet Linton Kwesi Johnson returned the following year with second album, "Forces Of Victory". Calling, again, on the talents of the Dennis Bovell Band, this was a calmer, more measured work, packed with both wry observation and political conviction.

Johnson's poetry, with its emphasis on rhythm, was ideally suited to the sparse, jazz-tinged backings of UK dub. Opener "Want Fi Go Rave" is as cool and confident as anything by Gregory Isaacs or Prince Buster, while "It Noh Funny", a homage to the realities of youth, gives Bovell plenty of room for the interaction of drum and delay.

"Sonny's Lettah - a deeply affecting tale of injustice - is a favourite among veteran activists, but "Independent Intavenshan"'s bouncing bassline and scornful lyrics (bemoaning the abundance of right-minded organisations attempting to speak for the black community) make the more resonant statement. "Fight Dem Back" rallies against the racists behind a mocking sing-song refrain, while "Reality Poem", with its haunting chorus-drenched guitar motif, advocates sober atheism at a time when such viewpoints were far from welcome.

Some have criticised Johnson for making Caribbean culture palatable to a predominantly white left-wing audience, but such criticism is to be expected by any artist who transcends their genre. And while the clean understated Bovell production is more suitable for the coffee bar than the sound system, it marks one of many high points in a distinguished career. "Forces of Victory" is not simply one of the most important reggae records of its time, it's one of the most important reggae records ever recorded.


"Want Fi Goh Rave" – 4:20
"It Noh Funny" – 3:42
"Sonny's Lettah (Anti-Sus Poem)" – 3:50
"Independent Intavenshan" – 4:20
"Fite Dem Back" – 4:27
"Reality Poem" – 4:44
"Forces of Viktry" – 4:56
"Time Come" – 3:28

(ca. 224 kbps, cover art included)

Dienstag, 19. Februar 2019

Helmut Qualtinger - Der Qualtinger - Ein kabarettistisches Porträt

Helmut Qualtinger (born October 8, 1928 in Vienna, Austria; died September 29, 1986 in Vienna) quit university to become a newspaper reporter and film critic for local press, while beginning to write texts for cabaret performances and theater plays. Qualtinger debuted as an actor at a student theater and attended the Max-Reinhardt-Seminar as a guest student.
Beginning in 1947, he appeared in cabaret performances. In 1949, Qualtinger's first theatrical play, "Jugend vor den Schranken", was staged in Graz. Up to 1960, he collaborated on various cabaret programmes with the nameless Ensemble (Gerhard Bronner, Carl Merz, Louise Martini, Peter Wehle, Georg Kreisler, Michael Kehlmann).

Qualtinger was famous for his practical jokes. In 1951, he managed to launch a false report in several newspapers announcing a visit to Vienna of a (fictional) famous Inuit poet named Kobuk. The reporters who assembled a the railroad station however were to witness Qualtinger, in fur coat and cap, stepping from the train. Asked about his "first impressions of Vienna", the "Inuit poet" commented in broad Viennese dialect, "It's hot here."

The album "Der Qualtinger - Ein kabarettistisches Porträt" is a good overview, presenting highlights by Helmut Qualtinger, often in colaboration with Gerhard Bronner and Carl Merz, recorded between 1956 and 1960.

(192 kbps, cover art included)

Montag, 18. Februar 2019

Ian & Sylvia - Live At Newport

Ian Tyson and Slyvia Fricker had first teamed up in the late 1950s in Toronto and had moved to the New York City folk scene at the start of the next decade where they were signed by Albert Grossman, who was better known as the manager of not only Bob Dyland and Peter, Paul, and Mary.
Besides their two-part harmonies, Ian & Sylvia were known for their wide ranging repertoire of songs, which included not only folk and country songs (e.g., "Some Day Soon"), but blues (e.g., "Maude's Blues (Losing Is An Easy Game"), bluegrass, spirituals, gospel, and even French-Canadian songs (e.g., "Un Canadien Errant").
Divided about equally between material from their appearances at the 1963 and 1965 Newport Folk Festivals, these 14 tracks present concert versions of many of the duo's best songs, including "You Were on My Mind," "Someday Soon," "Song for Canada," and "Four Strong Winds." Eric Hord adds lead acoustic guitar on the 1963 cuts; Rick Turner does the same on the ones from 1965.

Ian & Sylvia recorded studio versions of all of the songs on their '60s Vanguard albums, which makes this disc a sort of souvenir that's essential only for big fans, although the sound and performances are decent.

1. Introduction: Ed McCurdy
2. Oh Katy Dear
3. Un Canadien Errant
4. V'Le Le Bon Vent
5. The Greenwood Sidie (The Cruel Mother)
6. Royal Canal
7. C.C. Rider
8. Red Velvet
9. Song For Canada
10. Travelling Drummer
11. Someday Soon
12. Play One More
13. You Were On My Mind
14. Maude's Blues (Losing Is An Easy Game)
15. Four Strong Winds

Ian & Sylvia - Live At Newport
(ca. 192 kbps, cover art included)