Samstag, 30. März 2019

Clifton Chenier, Mance Lipscomb, Lightning Hopkins - Live! At The 1966 Berkeley Blues Festival (1966)

In 1966, Chris Strachwitz, the force behind Arhoolie Records, brought these amazing Texas-Louisiana legends to an appreciative West Coast audience. Chenier, the father of modern zydeco, plays red-hot accordion with some drum support, while bluesman Hopkins is cool and witty, twanging and sliding on his electric guitar. But the most amazing performance is by the transcendent Texas songster Mance Lipscomb, the oldest musician of the three. His thumb thumps the bass line on his acoustic guitar, while his index and middle fingers pick out syncopated phrases. On "Take Your Arms From Around My Neck, Sugar Babe," he seethes with irony and veiled malice.

Recorded live on KAL radio in Berkeley, CA on April 15, 1966, this presents roughly equal shares of material from Mance Lipscomb, Clifton Chenier, and Lightnin' Hopkins, performing at the 1966 Berkeley Blues Festival. The sound is not state-of-the-art, but decent considering the vintage. The material is not going to surprise anyone familiar with the artists, which is good news if you're in love with their music and want typical excerpts of their sets, but bad news if you think you might have enough of them and you're considering whether to investigate further. Lipscomb does good-natured, rhythmic country blues, both of his own composition and otherwise, covering "When the Saints Go Marching In," "I Ain't Got Nobody," and "The Sinking of the Titanic," which has slide guitar and is perhaps the most interesting of his songs on the CD. Chenier's performance might be of the greatest historical interest of the three artists on this disc, since it was his first appearance before a "a mostly young, white, relatively sophisticated concert audience," as Chris Strachwitz writes in the liner notes. It's just him, his accordion, and drummer Francis Clay, mostly on original tunes, as well as zydeco arrangements of Slim Harpo's "Baby Scratch My Back" and Ray Charles' "What'd I Say?." Clay also plays drums as the sole other musician on Lightnin' Hopkins' portion which, with its electric guitar, has a nice, mild electric R&B-rock feel.  Half of this album was previously available on Arhoolie LP 1030, but 11 of the 23 songs on the CD were previously unreleased.


       1. Stop Time - Mance Lipscomb
2. I Ain't Got Nobody - Mance Lipscomb
3. Downtown Blues - Mance Lipscomb
4. Shake, Shake, Mama - Mance Lipscomb
5. The Sinking Of The Titanic (God Moves On The Water) - Mance Lipscomb
6. Take Your Arms From Around My Neck, Sugar Babe - Mance Lipscomb
7. When The Saints Go Marching In - Mance Lipscomb
8. Intro & Louisiana Shuffle - Clifton Chenier
9. French Zydeco - Clifton Chenier
10. Clifton's After Hours - Clifton Chenier
11. Scratch My Back - Clifton Chenier
12. Everybody Calls Me Crazy - Clifton Chenier
13. What'd I Say? - Clifton Chenier
14. Old Country Waltz - Clifton Chenier
15. Louisiana Rock - Clifton Chenier
16. Clifton's Boogie Woogie - Clifton Chenier
17. If You Don't Want Me - Lightning Hopkins
18. I Feel So Good - Lightning Hopkins
19. Last Night - Lightning Hopkins
20. Goin' To Louisiana (Mojo Hand) - Lightning Hopkins
21. Black Cadillac - Lightning Hopkins
22. Short Haired Woman - Lightning Hopkins
23. Lightning's Boogie - Lightning Hopkins

(320 kbps, cover art included) 

Lightnin Hopkins - Mojo Hand (1960)

Sam John "Lightnin'" Hopkins (March 15, 1912 – January 30, 1982) was an American country blues singer, songwriter, guitarist, and occasional pianist, from Centerville, Texas. Rolling Stone magazine ranked him number 71 on its list of the 100 greatest guitarists of all time.
The musicologist Robert "Mack" McCormick opined that Hopkins is "the embodiment of the jazz-and-poetry spirit, representing its ancient form in the single creator whose words and music are one act".

This album, recorded for Fire Records, is especially interesting because it casts Hopkins in a more R&B-flavored environment. This obvious effort to get a hit makes for some excellent blues; moody and powerful performances play throughout. There's even a charming novelty Christmas blues, "Santa."                


1Mojo Hand
2Coffee For Mama
3Awful Dreams
4Black Mare Trot
5Have You Ever Loved A Woman
6Glory Be
7Sometimes She Will
9Shine On, Moon!
10Shake That Thing
11Walk A Long Time
12Last Night
13Just Pickin'
14Bring Me My Shotgun
15Mojo Hand (Live At 1965 Newport Folk Festival)

Lightnin Hopkins - Mojo Hand (1960)
(320 kbps, cover art included)

Floh De Cologne - Fließbandbabys Beat-Show (1970)

Floh de Cologne were formed in 1966 as a political and anarchic collective of students from the University of Cologne. The group is composed by Gerd Wollschon (voices, keyboards), Markus Schmidt (violin, bass), Hans-Jorg "Hansi" Frank (drums & keyboards) and Britta Baltruschat (voices). They recorded their first album "Vietnam" (Pläne) in 1968 - a fierce criticism of the war in Vietnam.

The famous, but very controversial, Rolf Ulrich Kaiser, impressed by their music and especially their lyrics, decided to produce their next two albums: "Rockoper Profitgeier" (1971) and "Lucky Streik" (1972). All albums contain provocative and humorous sketches about political and social facts. Musically their style can be considered as a mixture between avant-folk, sound experimentations, free rock and narratives. Recorded in 1973, "Geier Symphonie" punctuates Floh de Cologne's original style to demonstrative, semi theatrical and symphonic rock attacks. In 1974, after the split of ohr label, the formation go back to "Pläne" for several recordings until the end of the 70's.
The band separated in 1983.

(320 kbps, cover art included)

Dakar Sound Volume 6 - Number One de Dakar - No. 1 de No. 1

In 1976, Yakhya Fall, who had joined Star Band (Star Band de Dakar) in 1970 but had a falling out with founder Ibra Kassé, started the group Starbund Numero Un along with other disgruntled former Star Band members. The new group was forced to drop the Star Band reference from its name. They kept the Numero Un, but changed it to English, initially releasing albums as Star Number One. Subsequent albums brought slight name changes to the group: Orchesta Number One de Dakar, Number One du Senegal, Number One, No. 1 De Dakar, and Starband Number One. Each of these variations may appear with abbreviated forms of "Number One" on different releases.

Founding members include Pape Seck, trumpeter Ali Penda N'Doye, and vocalists Mar Seck and Nicolas Menheim. The group's sound is heavily influenced by Cuban music.

This album contains six songs of the orchestra in full bloom recorded in yet another Dakar night-club The Sahel (tracks 1,2, 3) and in the Barclay Studio in Paris (tracks 4,5,6). The rest (7,8 & 9) were taped during an unknown session. Included is the original "Maccaki", which was a dance-samsh and was later recorded on the Stern´s production "Africando". The lanst song on this album is "Walo". Despite the poor sound quality, it´s on the album, because it was Papa Seck´s favorite. Papa Seck died in the winter of 1994/95 in a middle-class quarter of Dakar.


(1) YORO 6:33
(4) GUAJIRA VEN 5:13
(5) YAYE BOYE 5:12
(6) FARAN TAMBA 4:38
(7) MACAKKI 5:16
(8) YANGAAKE 5:38
(9) PARA VILLAS 5:44
(10) WALO 5:46

Dakar Sound Volume 6 - No. 1 de No. 1
(192 kbps, front cover included)

Gary Clail - Another Hard Man EP

Gary Clail began his career in Bristol where he worked improvising raps on tapes released by On-U artists.

He was taken in by the label to work with Tackhead and the On U Sound System in the late '80s, resulting in a series of 12" releases from 1985-87 before his first full-length split release for Nettwerk, "Tackhead Tape Time" by Gary Clail & Tackhead.

In 1989, he had his true debut album in "Gary Clail & On-U Sound System", released by the On U Sound label. The album helped forge him a place in the Bristol electronic underground, and paved the way for his later releases on RCA, which feature a number of singles and EPs as well as one full-length, 1991's "Emotional Hooligan". He also released another full-length for Yelen Records in 1996, "Keep the Faith".
Here´s the "Another Hard Man EP", released  in 1996, produced by Adrian Sherwood. It was the first single from the "Keep The Faith" Album.

1. another hard man (radio version)
2. another hard man (album version)
3. another hard dub
4. sparse mix
5. what's that sound mix
6. what's that sound dub mix

Tracks 3 & 4 were remixed by Adrian Sherwood, tracks 5 & 6 were remixed by Gary Clail and Andy Montgomery.

Gary Clail - Another Hard Man EP
(320 kbps, front cover included)

Donnerstag, 28. März 2019

Lightnin Hopkins - How Many More Years I Got

Though he had been performing since the 1920s, Texas bluesman Lightnin' Hopkins was a fresh face to the majority of the young folk audiences of the 1960s.

On the verge of drifting into obscurity, the singer had been rediscovered by enthusiast Mack McCormick and promoted to college crowds as a singer/guitarist in the folk-blues mold. What followed was a series of albums cut both solo and with session musicians for a variety of labels. "How Many More Years I Got" was one of the earliest. The players here are extremely loose, betraying a casual interest in the task at hand. They sound like a group of borrowed session men, but were in fact a small combo familiar both with each other and Hopkins himself. Bassist Donald Cooks, pianist Buster Pickens, drummer "Spider" Kilpatrick, and Hopkins' harp-playing cousin, Billy Bizor, all played on a number of the guitarist's dates during the early '60s. Hopkins was apparently reluctant to do second takes, however, and these recordings show it. The singer leads the group with his relaxed lines and Kilpatrick follows, further defining the tempo with the light, stiff patter of his drums. Bizor occasionally plays the role of catalyst, though his moans, hollers, and vocal/harmonica dialogues do little to increase the interest of his partners. Things pick up slightly during the album's second half, though even then the performances hardly approach the level of Hopkins' solo sides from the period, let alone his best work.        

A1How Many More Years I Got2:58
A2Walkin' This Road By Myself4:48
A3The Devil Jumped The Black Man4:09
A4My Baby Don't Stand No Cheatin'2:05
A5Black Cadillac3:37
B1You Is One Black Rat2:29
B2The Fox Chase3:18
B3Mojo Hand3:30
B4Mama Blues5:16
B5My Black Name3:59
C1Prison Farm Blues4:35
C2Ida Mae5:25
C3I Got A Leak In This Old Building5:19
C4Happy Blues For John Glenn5:20
D1Worried Life Blues2:53
D2Sinner's Prayer3:45
D3Angel Child3:30
D4Pneumonia Blues3:30
D5Have You Ever Been Mistreated4:04

Lightnin Hopkins - How Many More Years I Got
(192 kbps, cover art included)

Harry Mudie Meet King Tubby's - Dub Conference Volume 2 (1977)

Here´s the second volume of sweet, soulful dubs, with Harry Mudie turning over the choicest pieces from his catalog of rhythms to the great King Tubby to dub up, and he does so in fine, fine form.

Tubby's respectful but still radical reworking of these numbers is one of our favorite, though lesser known dub sets. 

1World Dub Conference3:18
2Marijuana Dub2:50
3Heart Leap Dub3:43
4Dub Inside Out2:46
5Melody In Dub2:37
6Jungle Walk Dub2:57
7Maga Back Dub2:43
8Don't Play With Dub3:21
9Planet Dub3:29
10Drifting Dub3:07

Harry Mudie Meet King Tubby's - Dub Conference Volume 2 (1977)
(320 kbps, cover art included)

The Hopkins Brothers - Joel, Lightning & John Henry (1964)

A once-in-a-lifetime meeting of the three Hopkins brothers in Waxahatchie, TX in 1964 produced this marvelous brace of field recordings. The oldest brother was considered the best songster in the family, and certainly his performances here are throwbacks to a more archaic style, although he's an amazingly energetic performer. Middle brother Joel is the crudest of the three, surprising since he's the one of the three who spent the most time around mentor Blind Lemon Jefferson. These are loose, conversational recordings made with a single microphone. They capture three brothers enjoying each other's company immensely.

Sam Hopkins was a Texas country bluesman of the highest caliber whose career began in the 1920s and stretched all the way into the 1980s. Along the way, Hopkins watched the genre change remarkably, but he never appreciably altered his mournful Lone Star sound, which translated onto both acoustic and electric guitar. Hopkins' nimble dexterity made intricate boogie riffs seem easy, and his fascinating penchant for improvising lyrics to fit whatever situation might arise made him a beloved blues troubadour.

Hopkins' brothers John Henry and Joel were also talented bluesmen, but it was Sam who became a star. In 1920, he met the legendary Blind Lemon Jefferson at a social function, and even got a chance to play with him. Later, Hopkins served as Jefferson's guide. In his teens, Hopkins began working with another pre-war great, singer Texas Alexander, who was his cousin. A mid-'30s stretch in Houston's County Prison Farm for the young guitarist interrupted their partnership for a time, but when he was freed, Hopkins hooked back up with the older bluesman.

The pair was dishing out their lowdown brand of blues in Houston's Third Ward in 1946 when talent scout Lola Anne Cullum came across them. She had already engineered a pact with Los Angeles-based Aladdin Records for another of her charges, pianist Amos Milburn, and Cullum saw the same sort of opportunity within Hopkins' dusty country blues. Alexander wasn't part of the deal; instead, Cullum paired Hopkins with pianist Wilson "Thunder" Smith, sensibly re-christened the guitarist "Lightnin'," and presto! Hopkins was very soon an Aladdin recording artist.

"Katie May," cut on November 9, 1946, in L.A. with Smith lending a hand on the 88s, was Lightnin' Hopkins' first regional seller of note. He recorded prolifically for Aladdin in both L.A. and Houston into 1948, scoring a national R&B hit for the firm with his "Shotgun Blues." "Short Haired Woman," "Abilene," and "Big Mama Jump," among many Aladdin gems, were evocative Texas blues rooted in an earlier era.

A load of other labels recorded the wily Hopkins after that, both in a solo context and with a small rhythm section: Modern/RPM (his uncompromising "Tim Moore's Farm" was an R&B hit in 1949); Gold Star (where he hit with "T-Model Blues" that same year); Sittin' in With ("Give Me Central 209" and "Coffee Blues" were national chart entries in 1952) and its Jax subsidiary; the major labels Mercury and Decca; and, in 1954, a remarkable batch of sides for Herald where Hopkins played blistering electric guitar on a series of blasting rockers ("Lightnin's Boogie," "Lightnin's Special," and the amazing "Hopkins' Sky Hop") in front of drummer Ben Turner and bassist Donald Cooks (who must have had bleeding fingers, so torrid were some of the tempos).

But Hopkins' style was apparently too rustic and old-fashioned for the new generation of rock & roll enthusiasts (they should have checked out "Hopkins' Sky Hop"). He was back on the Houston scene by 1959, largely forgotten. Fortunately, folklorist Mack McCormick rediscovered the guitarist, who was dusted off and presented as a folk-blues artist; a role that Hopkins was born to play. Pioneering musicologist Sam Charters produced Hopkins in a solo context for Folkways Records that same year, cutting an entire LP in Hopkins' tiny apartment (on a borrowed guitar). The results helped introduced his music to an entirely new audience.

Lightnin' Hopkins went from gigging at back-alley gin joints to starring at collegiate coffeehouses, appearing on TV programs, and touring Europe to boot. His once-flagging recording career went right through the roof, with albums for World Pacific; Vee-Jay; Bluesville; Bobby Robinson's Fire label (where he cut his classic "Mojo Hand" in 1960); Candid; Arhoolie; Prestige; Verve; and, in 1965, the first of several LPs for Stan Lewis' Shreveport-based Jewel logo.
Hopkins generally demanded full payment before he'd deign to sit down and record, and seldom indulged a producer's desire for more than one take of any song. His singular sense of country time befuddled more than a few unseasoned musicians; from the 1960s on, his solo work is usually preferable to band-backed material.

Filmmaker Les Blank captured the Texas troubadour's informal lifestyle most vividly in his acclaimed 1967 documentary, "The Blues Accordin' to Lightnin' Hopkins". As one of the last great country bluesmen, Hopkins was a fascinating figure who bridged the gap between rural and urban styles. - AMG


1. See About My Brother John Henry
2. Hot Blooded Woman
3. Black Hannah
4. I Want To Go Fishing
5. Doin' Little Heiffer
6. Hey, Baby Hey
7. Saddle Up My Grey Mare
8. Tell Me, Tell Me
9. Little Girl
10. I Got A Brother in Waxahachie
11. Matchbox Blues
12. Home With Mama
13. Come Down To My House
14. Grosebeck Blues
15. The Dice Game
16. I Walked From Dallas
17. Two Brothers Playing (Going Back To Baden-Baden)

The Hopkins Brothers - Joel, Lightning & John Henry (1964)
(320 kbps, cover art included)

Lightnin Hopkins - Got To Move Your Baby (1965)

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 "Got To Move Your Baby" (aka 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.

A1Rocky Mountain
A2Got To Move Your 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 - Got To Move Your Baby (1965)
(320 kbps, cover art included)

Lightnin Hopkins - Live At Newport 1965

There's something affecting about Lightnin' Hopkins' off-the-cuff approach. Whether he's in the studio or before an audience, he gives the impression of a guitar player and singer who's just doing his own thing. When he breaks out a signature piece like "Mojo Hand," he isn't really trying to impress the listener as much as do what he does best: just play a little blues.

Recorded in 1965, "Live at Newport" captures Hopkins in a loose mood communing with an appreciative audience. The mostly solo electric set apparently didn't cause any controversy (as Dylan's electric set with the Paul Butterfield Blues Band would in 1965). The nice thing about the album is that all the material seems to have come from the same set, giving the listener a taste of what seeing Hopkins at Newport might have been like.

Good versions of "Baby Please Don't Go," "Trouble in Mind," and "Where Can I Find My Baby?" show up early in the set, and feature an intimate interplay between Hopkins and the audience. The latter part of the set rocks a bit harder by adding drums. The percussion pushes the energy level up a notch on "Jealous of My Wife" and "Shake That Thing," pieces that probably had old-timers boogying in the aisles. "Live at Newport" also includes several unreleased versions, making it a good album to add to one's Hopkins collection.

Lightnin Hopkins - Live At Newport 1965
(320 kbps, cover art included)

1Introduction By Michael Bloomfield
2Where Can I Find My Baby?
3Baby Please Don't Go
4Mojo Hand
5Trouble In Mind
6The Woman I'm Loving, She's Taken My Appetite
7Come On Baby
8Cotton Patch Blues
10Jealous Of My Wife
11Every Day About This Time (Instrumental)
12Shake That Thing

Bertolt Brecht - Before the House Un-American Activities Committee (1947)

"I have written a number of poems, songs, and plays, in the fight against Hitler, and, of course, they can be considered, therefore, as revolutionary, cause, I, of course, was for the overthrow, of that government."

Bertolt Brecht, at the HUAC, 30. Oktober 1947

A historical document, presented by Eric Bentley: Like Gerhart and Hanns Eisler, also Bertolt Brecht had to answer the questions of the Members of the House Committee on Un-American Activities (HCUA), that was built to opress communist tendencies, which apparently infiltred the american society. After the Second World War and in aftermath of the first big wave of pursuit against communists, the HUAC get propagandistic importance and prepared some legal proceedings against communist expatriates. Hereafter we offer the recording of the interrogation of Bertolt Brecht in octobre 1947. The listeners get an impression of Bertolt Brechts bad, but self-confident spoken English (the exile-friends of Brecht laugh about and learned to like that pronunciation) and also of the trick of Brecht’s answers. The most interesting and surely absurd part of the questioning begins, when Brecht and the questioners quarrel about the interpretation of Brecht’s play »Die Maßnahme« (The Decision). The original recordings are introduced and commented by Eric Bentley. An important and interesting document of communist and anti-communist history.
The liner notes include an introduction by Bentley and complete transcript of the recording.

(128 kbps, cover included)

Lightnin Hopkins - Blues Train

Sam "Lightnin" Hopkins was a Texas country bluesman of the highest caliber whose career began in the 1920s and stretched all the way into the 1980s. Along the way, Hopkins watched the genre change remarkably, but he never appreciably altered his mournful Lone Star sound, which translated onto both acoustic and electric guitar. Hopkins' nimble dexterity made intricate boogie riffs seem easy, and his fascinating penchant for improvising lyrics to fit whatever situation might arise made him a beloved blues troubadour.

This album collects classic sides from Hopkins’ 1950-1951 stint with Bobby Shad’s "Sittin’-in-With" logo. The disc’s 15 selections include two of his biggest hits, “Hello Central” and “Coffee Blues.”

Lightnin Hopkins - Blues Train
(192 kbps, front cover included)

Mittwoch, 27. März 2019

Hanns Eisler - Kammermusik - Chamber Music (Berlin Classics)

Berlin Classics' "Hanns Eisler: Kammermusik" represents a gathering of chamber music from 1920 to 1947, recorded between 1965 and 1973 as part of a comprehensive recording of all of Eisler's music as undertaken by the East German Eterna label.

It ranges from the pithy, discordant but tonally concluded Scherzo for string trio of 1920 to the elegant and witty music Eisler composed for Charlie Chaplin's film "The Circus", a commission interrupted by Eisler's enforced departure from the United States courtesy of the House of Un-American Activities Committee. It also includes some lieder; Eisler's deliciously funny cycle "Newspaper Clippings" (1925-1927), sung with character and an innate understanding of Second Vienna School songcraft by soprano Roswitha Trexler. Eisler deliberately picked texts out of the daily newspaper in direct retaliation to the conservative, symbolist poets - such as Stefan George - favored by Eisler's colleagues in the Second Vienna School. As these texts are drawn from non-standard literary sources, it would have been wonderful if Berlin Classics could have included them -- even in German only - in the booklet, but they do not. Ditto for the deliberately silly Christian Morgenstern text used in Eisler's "Palmström", really not so much a formal song setting as an experimental twelve-tone composition with an added part for voice.

Among the purely instrumental pieces heard here are another string trio; a sonata for flute, oboe, and harp; a violin and piano sonata; a nonet; and the aforementioned Circus. Of these, the last-named work is decidedly the most ingratiating and immediate, but the others begin to grow on one as well. Even though Eisler's language in some of these pieces is technically atonal, he utilizes gestures and sequences that sound familiar and some passages can even be described as "catchy." The Eterna Eisler recording project had the support of the East German government - Eisler was considered a cultural figurehead in that regime, even though when he lived there, they provided Eisler little opportunity to work - and no expenses were spared in this project. The performances here are all top-drawer and the 1960s- and '70s-era recordings don't sound in the least dated.

All of these pieces included here also appear on the Hanns Eisler six-CD box set on Berlin Classics of his instrumental music, though not on the same disc, nor in the same sequence. If six CDs are simply too much and one only desires a sample of Eisler's chamber music, this is an excellent choice.

 Hanns Eisler - Kammermusik - Chamber Music (Berlin Classics)
(192 kbps, cover art included)

Giora Feidman - In Jerusalem

Argentine-born and Israeli-based, Giora Feidman has become the leading interpreter and performer of Eastern European klezmer. Despite his classical training with the Israel Philharmonic Orchestra, Feidman's clarinet playing is unrestrainedly and emphatically eclectic.
Here´s his album "Feidman in Jerusalem" from 1994 with the Jerusalem Symphony Orchestra conducted by David Shallon.

Giora Feidman - In Jerusalem 
(192 kbps, cover art included)

Montag, 25. März 2019

Nina Simone - In Concert (1964)

"Nina Simone in Concert"  was her first album for the record label Philips and was made up of three live recordings in Carnegie Hall, New York City in March and April 1964 (previously, she had recorded "Nina Simone at Carnegie Hall" in 1963 for Colpix Records). This album marks the beginning of "Nina Simone, the Civil Rights singer" in her recording career (she had already incorporated the civil rights message in her performances). Included on the album are politically laden songs, most notably the self-written "Mississippi Goddam".

This is probably the most personal album that Simone issued during her stay on Philips in the mid-'60s. On most of her studio sessions, she worked with orchestration that either enhanced her material tastefully or smothered her, and she tackled an astonishingly wide range of material that, while admirably eclectic, made for uneven listening. Here, the singer and pianist is backed by a spare, jazzy quartet, and some of the songs rank among her most socially conscious declarations of African-American pride: "Old Jim Crow," "Pirate Jenny," "Go Limp," and, especially, "Mississippi Goddam" were some of the most forthright musical reflections of the Civil Rights movement to be found at the time. In a more traditional vein, she also reprises her hit "I Loves You, Porgy" and the jazz ballad "Don't Smoke in Bed."


A1 I Loves You, Porgy
A2 Plain Gold Ring
A3 Pirate Jenny
A4 Old Jim Crow

B1 Don't Smoke In Bed
B2 Go Limp
B3 Mississippi Goddam

Nina Simone - In Concert (1964)
(320 kbps, cover art included)

Lightnin Hopkins - Double Blues (1973)

Lightnin' Hopkins' plaintive, soft-rolling blues style is exemplified on "Let's Go Sit on the Lawn," "Just a Wristwatch on My Arm," "I'm a Crawling Black Snake," Willie Dixon's "My Babe," and others.

Accompanied only by himself on guitar (and oh what a guitar he plays), Leonard Gaskin (bass), and Herb Lovelle (drums), Hopkins' seductive, intricate guitar picks and strums will dance around in your head long after this album has played.

His voice, which sounds like it's aged in Camels and Jim Beam, conveys his heartfelt sagas to the fullest. A prolific songwriter, Hopkins wrote every song except the Dixon tune.

All tracks were recorded May 4 - 5, 1964. Tracks 1 - 7 were originally released on the "Down Home Blues" album, tracks 8 - 17 on the "Soul Blues" album.

  1. Let's Go Sit On The Lawn
  2. I'm Taking A Devil Of A Chance
  3. I Got Tired
  4. I Asked The Bossman
  5. Just A Wristwatch On My Arm
  6. I Woke Up This Morning
  7. I Was Standing On 75 Highway
  8. I'm Going To Build Me A Heaven Of My Own
  9. My Babe
  10. Too Many Drivers
  11. I'm A Crawling Black Snake
  12. Rocky Mountain Blues
  13. I Mean Goodbye
  14. Howling Wolf
  15. Black Ghost Blues
  16. Darling, Do You Remember Me?
  17. Lonesome Graveyard

Lightnin Hopkins - Double Blues
(320 kbps, cover art included)

Samstag, 23. März 2019

Paul Dessau - Orchesterwerke - Works For Orchestra (P. Dessau, H. Kegel, G. Herbig)

"This disc of orchestral works does in many ways display the more than slight tension between Dessau's commitment to social realism and his avant-garde inclinations - a tension between conformity and defiance to the highly politicized art of Eastern Germany (conformity through the choice of themes, defiance in terms of musical voice); "Meer der Stürme", for instance, strongly suggests that Dessau sought an excuse in purported pictorialism for deploying radical compositional techniques.

Keeping the biographical and political background in mind certainly helps in appreciating the four orchestral works on this disc. Im Memoriam Bertold Brecht was written in 1956-57 and uses themes from their previous collaborations. The outer movements contain grief-laden funeral music based on a minor second played as a descending motif. The middle movement, on the other hand - with the subtitle "War shall be damned" is a cantus firmus stridently asserted by the brass gradually choked by almost scarily calculated contrapuntal patterns. It is overall an interesting and emotionally striking work.

The Bach-variations was the most performed orchestral work by the composer in his lifetime, built on a respectful but casual treatment of themes by CPE and JS Bach incorporating the often-used B-A-C-H theme intervowen with the musical letters of Arnold Schönberg's name (A-D-E flat-C-B-B flat-E-G). While immediately appealing on the surface, the work is also contrapuntally ingenious fascinatingly combining and recombining various themes and figures. Two of the variations were also, in fact, not composed by Dessau, but by Goldmann (no. 7) and Wagner-Régeny (no.9). It is probably the most immediately attractive work on the disc, and if not quite a masterpiece at least quite enjoyable and fascinatingly rich.

The last two works are in many ways more difficult nuts to crack. The Meer der Stürme is a hugely dramatic work inspired by the landing of the second Russian moon probe and the 50 years anniversary of the revolution; it is a cataclysmic sounding work incorporating and heavily transforming the revolutionary work `Warszawianka', culminating in a high E maintained by 30 violins in an intensive crescendo. The Orchestral Music no. 4 is perhaps a little more traditional, a solemn work based on a Bach theme and, in some sense, seeming to try to underline the importance of Bach to the modern world while at the same time transforming those influences into a thoroughly contemporary statement.

The first two works are conducted by the composer himself; the Meer der Stürme by the Leipzig Radio Symphony Orchestra under Herbert Kegel and the Orchestral Music no. 4 by the Berlin Staatskapelle under Günther Herbig. All performances are good, although sometimes a little rough, and the sound quality is decent if not exactly spacious and brilliant (it might be interesting to hear the Meer der Stürme in a modern, more dynamic recording). All in all, this is a rewarding and rather fascinating disc, well worth your acquaintance."
- G.D @


01. Gewandhausorchester Leipzig - Paul Dessau / In memoriam Bertolt Brecht: I. Lamento [0:03:21.67]
02. Gewandhausorchester Leipzig - Paul Dessau / II. Marcia [0:07:14.58]
03. Gewandhausorchester Leipzig - Paul Dessau / III. Epitaph [0:03:16.17]
04. Gewandhausorchester Leipzig - Paul Dessau / Bach-Variationen: I. Einleitung [0:02:38.63]
05. Gewandhausorchester Leipzig - Paul Dessau / II. Thema [0:01:12.57]
06. Gewandhausorchester Leipzig - Paul Dessau / III. Veränderung 1 [0:01:06.35]
07. Gewandhausorchester Leipzig - Paul Dessau / IV. Veränderung 2 [0:01:23.03]
08. Gewandhausorchester Leipzig - Paul Dessau / V. Veränderung 3 [0:00:52.20]
09. Gewandhausorchester Leipzig - Paul Dessau / VI. Veränderung 4 [0:02:25.07]
10. Gewandhausorchester Leipzig - Paul Dessau / VII. Veränderung 5 [0:01:36.23]
11. Gewandhausorchester Leipzig - Paul Dessau / VIII. Veränderung 6 [0:01:33.07]
12. Gewandhausorchester Leipzig - Paul Dessau / IX. Veränderung 7 [0:01:35.55]
13. Gewandhausorchester Leipzig - Paul Dessau / X. Veränderung 8 [0:01:18.20]
14. Gewandhausorchester Leipzig - Paul Dessau / XI. Veränderung 9 [0:01:40.15]
15. Gewandhausorchester Leipzig - Paul Dessau / XII. Veränderung 10 [0:01:22.45]
16. Gewandhausorchester Leipzig - Paul Dessau / XIII. Veränderung 11 [0:01:06.10]
17. Rundfunk-Sinfonie Orchester Leipzig - Herbert Kegel / Meer der Stürme (Orchestermusik Nr. 2) [0:14:46.63]
18. Staatskapelle Berlin - Gunther Herbig / Orchestermusik Nr. 4 [0:16:36.17]

Paul Dessau - Orchesterwerke - Works For Orchestra (P. Dessau, H. Kegel, G. Herbig)
(320 kbps, cover art included)

The Slits - Man Next Door (Single, 1980)

Along with the Raincoats and Liliput, the Slits are one of the most significant female punk rock bands of the late '70s.

"Man Next Door" (also known as Quiet Place or I've Got to Get Away) is a song based on Paul Witt's 1964 American hit 'A Quiet Place' and originally recorded by John Holt with his group The Paragons in 1968.

The Paragons version was produced by Duke Reid and first released on his Duke label as the B-side of "Left with a Broken Heart".

The song has been covered by numerous other reggae artists including Dennis Brown, UB40 and Horace Andy who also sang in a more electronic version of the song for the Massive Attack album "Mezzanine", with a sample of the drum riff from Led Zeppelin's cover of "When the Levee Breaks".

The song was released as a single by The Slits in 1980, when it reached number 5 on the UK Indie Chart, staying on the chart for 13 weeks.


1 - Man Next Door
2 - Man Next Door (Version)

The Slits - Man Next Door (Single, 1980)
(ca. 220 kbps, cover art included)

Sister Carol - Liberation For Africa (vinyl rip, 1983)

One of the dancehall era's few successful female DJs, Sister Carol was something like reggae's answer to Queen Latifah: a strong, positive feminist voice who was inspired by her faith and never resorted to sexual posturing to win an audience. Leaning heavily on socially conscious material, Sister Carol delivered uplifting and cautionary messages drawn from her Rastafarian principles, while always urging respect for women.

She was more of a singjay than a full-time toaster, capable of melodic vocals as well as solid rhymes. Never quite a commercial powerhouse, she nonetheless enjoyed a lengthy career and general critical approval.

Sister Carol was born Carol East in Kingston, Jamaica, in 1959, and grew up in the city's Denham Town ghetto. Her father worked in the music industry as a radio engineer, and in 1973, he moved the family to Brooklyn in search of work. Carol got involved in New York's thriving Jamaican music scene, and tried her hand at singing; however, music wasn't a career prospect yet, as Carol earned a degree in education from CCNY and gave birth to the first of four children in 1981. Not long before the latter event, she met Jamaican DJ Brigadier Jerry, who inspired her to try her hand at dancehall-style DJ chatting rather than singing. She developed rapidly under Jerry's mentorship, winning talent competitions in both New York and Jamaica, and toured as an opening act for the Meditations. Her first album, "Liberation for Africa", was released in limited quantities on a small label the following year. Recorded for the Jah Life label, 1984's "Black Cinderella" was the album that established Sister Carol in the international reggae community, featuring the title track (her signature song) and "Oh Jah (Mi Ready)."

Carol subsequently formed her own Black Cinderella label, which gave her an immediate outlet for single releases in the years to come. Most notably, she cut a cover of Bob Marley´s "Screwface" in tandem with onetime I-Three Judy Mowatt, who issued the single on her own Ashandan label. It took Carol several years to come up with another LP, however, as she briefly turned to an acting career; she earned supporting roles in two Jonathan Demme comedies, 1986's "Something Wild" (which included her soundtrack cut "Wild Thing") and 1988's "Married to the Mob".

Sister Carol -Liberation For Africa (1983)
(160 kbps, front cover included)

Donnerstag, 21. März 2019

Mulatu Astatke - Mulatu of Ethiopia (1972, vinyl rip)

Mulatu Astatke (surname also spelled Astatqé) is an Ethiopian musician and arranger. He is known as the father of Ethio-jazz.

Born in 1943 in the western Ethiopian city of Jimma, Mulatu was musically trained in London, New York City, and Boston, where he was the first African student at Berklee College of Music. He would later combine his jazz and Latin music influences with traditional Ethiopian music.

"Mulatu of Ethiopia" was released in 1972 on Worthy Records. Mulatu Astatke does some pretty amazing work on this album with it's unique "Roy Ayers meets Sun Ra with a hot dose of African funk" sound.


A1 Mulatu 5:00
A2 Mascaram Setaba 2:40
A3 Dewel 4:00
B1 Kulunmanqueleshi 2:05
B2 Kasalefkut-Hulu 2:25
B3 Munaye 3:15
B4 Chifara 7:00

Mulatu Astatke - Mulatu of Ethiopia (1972, vinyl rip)
(192 kbps, cover art included)

Male - Clever & Smart (7´´, 1979)

The german punk band Male was found in December, 1976 in Düsseldorf by Jürgen Engler, Bernward Malaka and Stefan Schwaab.

Male was one of the first punk rock bands with german lyrics and a prototype of the arising "Neue Deutsche Welle".

Here´s their single "Clever & Smart", recorded in 1979 at Rondo studio in Düsseldorf.

Male - Clever & Smart (1979)
(192 kbps, complete cover art included)

Mittwoch, 20. März 2019

Donny Hathaway - Live (1972)

Donny Hathaway was one of the brightest new voices in soul music at the dawn of the '70s, possessed of a smooth, gospel-inflected romantic croon that was also at home on fiery protest material. Hathaway achieved his greatest commercial success as Roberta Flack's duet partner of choice, but sadly he's equally remembered for the tragic circumstances of his death — an apparent suicide at age 33.

His 1972 "Live" album is one of the most glorious of his career, an uncomplicated, energetic set with a heavy focus on audience response as well as the potent jazz chops of his group.

The results of shows recorded at the Troubadour in Hollywood and the Bitter End in New York, the record begins with Hathaway's version of the instant soul classic "What's Going On," Marvin Gaye's original not even a year old when Hathaway recorded this version. His own classic "The Ghetto" follows in short order, but stretches out past ten minutes with revelatory solos from Hathaway on electric piano. "Voices Inside (Everything Is Everything)" is another epic (14-minute) jam, with plenty of room for solos and some of the most sizzling bass work ever heard on record by Willie Weeks.

Any new Donny Hathaway record worth its salt also has to include a radical cover, and "Live" obliges nicely with his deft, loping version of John Lennon's "Jealous Guy."

The audience is as much a participant as the band here, immediately taking over with staccato handclaps to introduce "The Ghetto" and basically taking over the chorus on "You've Got a Friend." They also contribute some of the most frenzied screaming heard in response to any Chicago soul singer of the time (excepting only Jackie Wilson and Gene Chandler, of course). Hardly the obligatory live workout of most early-'70s concert LPs, "Live" solidified Hathaway's importance at the forefront of soul music.

Donny Hathaway - Live (1972)
(ca. 200 kbps, cover art included)

No link.

Calypso War - Black Music In Britain 1956-1958

Calypso was considered the people's newspaper in Trinidad, and these mid-'50s recordings chronicle the adaptation of Caribbean immigrants to the U.K. during the mid- to late '50s.
The excellent liner notes provide much detailed information on artists and the social context, the last batch of songs before Jamaican sounds took over and the next generation went dreadlocks Rasta in the '70s.

Homesickness is part of that equation, and a fair number of these tracks are remakes of older calypsos popular in Trinidad. "Not Me" is thinly veiled rewrite of "Man Smart, Woman Smarter," (the melody recalls a revved-up take on "Meet Da Boys on De Battlefront" by the Wild Tchoupitoulas) given a jivey reading by the dismissible, exaggerated crooner Ben Bowers — luckily he only has three tracks.

The Mighty Terror tightropes along the dodgy divide of sexism and machismo — the stay-home-and-mind-the-baby-while-I-go-off-in-the-world theme of "Brownskin Gal" is pretty irredeemable, but "Woman Police in England" is funny as hell in its own way. It's pretty revealing of cultural differences in attitude, and so is "Patricia Gone With Millicent," where Terror gets abandoned for another woman but seems more puzzled than vindictive about it. Terror is a strong singer who cuts through crisp, clean arrangements built around jazz guitar and bongos.

The "Heading North" commentary on racism (South African apartheid and U.S. civil rights heating up are the focus) sound naïve in retrospect, not the least for ignoring the U.K. But "T.V. Calypso" is a great social snapshot of the moment television became a fixture in modern life, s well as a source of status and family pressure. Lord Invader wrote "Rum and Coca Cola," and was fresh from a victorious, ten-year battle for royalties from the songs when he began recording in Britain. His calypsos are gently mellow, featuring flute and bongos, and at first seem confined to lightweight themes like "Prince Rainier" (the famous wedding to actress Grace Kelly) or "Mahalia, I Want Back My Dollar." "My Experience on the Rieperbahn" is a hilarious cultural collision as our innocent Invader gets confused by a transvestite encounter in Hamburg's red-light district. But "I'm Going Back to Africa" is a surprisingly pointed repatriation song with jazzy guitar and bongos, and Invader sounds genuinely angry singing "Teddy Boy Calypso," updating his own 1945 calypso to 1958 U.K. street violence.

It's Lord Ivanhoe who delves most often into hard social commentary here. "Africa Here I Come" is a pointed statement of pan-African consciousness (the end of the European colonial era in Africa looming on the horizon in the late '50s), while "New York Subway" is a deceptively mild-mannered critique about getting lost and cabdriver racism. "Lift the Iron Curtain" is a sincere plea with a sly dig at Britain ("I think the Russians are selfish/In a way, they are like the British/For no man can get inside/To see what Moscow has got to hide") and a chorus referencing Khrushchev and satellites.

It's an interesting, if not essential, collection, and valuable for documenting the last round of U.K. calypso creators before Jamaican sounds took over in the Caribbean community there.

(192 kbps, front & back cover included)

Dienstag, 19. März 2019

Aparcoa - Chile (1975, Amiga, vinyl rip)

Aparcoa was a Chilean folk band founded in 1966.
Members were Julio Alegría, Felipe Canales, Miguel Córdova, Jaime Miqueles, Leonardo Parma, Rodrigo Zorrilla, Hugo Pirovic, Marcelo Fortín, Juan Carvajal, Juan Palomo.

The album "Chile" with political songs was released in 1975 on Amiga records.

01 - Chile
02 - Grandola, Vila Morena
03 - Los Jilgueros
04 - Alla Lejos Y Hace Tiempo
05 - El Banderon Americano
06 - Cuecas
07 - Los Machetes
08 - Mis Llamitas
09 - Plegaria Del Labrador
10 - Guitarra Enlunarada
11 - Las Ultimas Palabras

Aparcoa - Chile (Amiga, 1975)
(32o kbps, cover art included)

Sonntag, 17. März 2019

Lee Wiley - Sings Songs By Rodgers & Hart (1940)

Her husky, surprisingly sensual voice and exquisitely cool readings of pop standards distinguished her singing, but Lee Wiley earns notice as one of the best early jazz singers by recognizing the superiority of American popular song and organizing a set of songs around a common composer or theme - later popularized as the songbook or concept LP. She was also a songwriter in her own right, and one of the few white vocalists with more respect in the jazz community than the popular one. Even more tragic then, that while dozens of inferior vocalists recorded LPs during the late '50s and '60s, Wiley appeared on record just once between 1957 and her death in 1975.

Lee Wiley pioneered the "songbook" concept, for which a singer exclusively interpreted the work of one composer.

Her Gershwin and Cole Porter projects of 1939-40 were major successes, as is the music on this album with songs by Rodgrs & Hart. In a fairly straight but strangely sensuous manner, Wiley sings eight songs by Rodgers & Hart while backed by a variety of all-star players associated with Eddie Condon, including pianist Joe Bushkin, trumpeters Max Kaminsky, Billy Butterfield and Bobb Hackett, tenor saxophonist Bud Freeman, and Ernie Caceres on baritone and clarinet.

Although many of these songs have been interpreted countless times since, few singers have reached the emotional peaks that Lee Wiley scaled in her versions of "A Ship Without a Sail," "Let's Fall In Love," "I've Got the World On a String," "Down With Love" and especially "Glad to Be Unhappy." This set belongs in every serious jazz collection.

The inside cover reads" " This little musicale was a lot of frolic in the making. Dick Rodgers, in the breathless middle of two new scores, dropped everything to help us work it out. Paul Whiteman lent us the best two man rhythm section in the business, Artie Shapiro and Stud Wettling, better known as the Rider. Bradford Gowans, who was building a rotor boat on the shores of an estuary near North Reading, Mass. forgot all about that and caught the Merchants back to write four of the orchestrations. For the other four Tommy Dorsey kindly lent us the services of Paul Wetstein, Jr., his brilliant young arranger. Lee sang the songs over and over. And finally we went to the studio and made the records. Let me tell you we had a good time I'm Sure you're going to enjoy it too. Ernie Anderson February, 1940."

These eight songs were published in 1940 on the Gala label on four 78 RPM discs.


1A Here in My Arms
1B Baby's Awake Now
2A I've Got Five Dollars
2B Glad To Be Unhappy
3A You Took Advantage of Me
3B A Little Bird Told Me So
4A As Though You Were There
4B Ship Without A Sale

Lee Wiley - Sings Songs By Rodgers & Hart (1940)
(320 kbps, front cover included)

Neil Young & The Gate Crashers - Macky Auditorium, Boulder, 27th January 1971

"Neil Young & The Gate Crashers" is a bootleg of his 1971 "Journey Through The Past" solo tour, recorded in Boulder, Colorado, Macky Auditorium, University of Colorado, 27th January, 1971. It is a typical acoustic set with 11 tracks. This is Pprobably not the complete show (complete setlist is uncertain). This one is clearly from vinyl because there's the typical scratching you hear from those old fashioned albums. This acoustic (piano/guitar) concert was released on different bootlegs, for example "Rocky Mountain Review".

Tracklist: Ohio, See The Sky About To Rain, Don't Let It Bring You Down, Dance, Dance, Dance, Sugar Mountain, Old Man, Journey Through The Past, Heart Of Gold, A Man Needs A Maid, Love In Mind, The Needle And The Damage Done

Here´s a review from that lifts the secret about the Gate Crashers:

"This show was in the beautiful Mackey Auditorium on the University of Colorado campus. (I ended up going to college there, and I took my chemistry exams there, too. Ugh!) I went with my friend, Charlie Stice (see Passion For Radio), who was a big Neil fan -- he turned me on to Buffalo Springfield.

Neil played solo -- acoustic guitar and piano. This was over a year before "Harvest" was released, but Neil played several songs from that upcoming album. There was no warm-up act.

During the show, we couldn't figure out why there were so many dishes being broken out in the lobby. At the end of the show, we were asked to leave through the side doors. We found out then that those "breaking dishes" were actually breaking windows -- there was a riot by those who didn't have tickets. So much for peace, love and tie-dye."

Neil Young & The Gate Crashers - Macky Auditorium, Boulder, 27th January 1971
(224 kbps, cover art included)

Samstag, 16. März 2019

Nico - Camera Obscuara (1985)

One of the most fascinating figures of rock's fringes, Nico hobnobbed, worked, and was romantically linked with an incredible assortment of the most legendary entertainers of the '60s.

The most noticeable thing about "Camera Obscura", only Nico's sixth solo album in almost 20 years, is how relaxed she seems. Maybe it was a result of the security that now enveloped her, following her rediscovery and total reinvention in the arms of the British post-punk/goth scene - people say that artists do their best work while they're living on the edge, and Nico's canon was living proof of that. But it was all behind her now and, if "Camera Obscura" does not sound positively comfortable, it's at least less despairing than its predecessors. Not that she had changed her stance too much - listening to Nico remains a cathartic, solitary experience. But the claustrophobia that was so essential to each of her albums as far as "Drama of Exile" has given way to vistas that, aided by John Cale's wide-open production, render "Camera Obscura" an easy listen by comparison.

Indeed, the reliance on the studio is so pronounced that there are moments when the album's closest antecedent lies in Cale's own past albums, with Nico's voice buried so deeply inside the mix that it's almost unnoticeable. Both the (studio improvised?) title cut and the lengthy "Fearfully in Danger" are absolutely Cale territory and, if Nico is allowed to shine at all, it's on "My Funny Valentine," executed precisely as one would hope she'd do it - all sad and dark, with just a faint smile playing around her lips - and "Das Lied vom einsamen Mädchen", a strident Teutonic ballad that, were its source better known, would doubtless be as universally effective as her rendition of "Deutschlandlied" proved a decade before. The title, incidentally, translates as "the song of the lonely girls," a subject about which Nico certainly knew a thing or two.

"Camera Obscura" is not classic Nico, but it's by no means disposable. Indeed, accepting that Cale's overwhelming presence should at least earn him a co-billing in the credits, there really is no one else who could have made a record like this.

(320 kbps, cover art included)

Lightnin Hopkins - Country Blues (1959)

While Hopkins in his prime could crank out as many albums as there were days in the week (and sometimes more), some dates were more inspired than others and this casual recording is happily one of those times.

In 1959, armed with nothing more than a single microphone mono tape recorder, folklorist Mack McCormick recorded Hopkins in an informal setting in hopes of catching some rough-edged performances that he felt were lacking from the bluesman's then-recent studio efforts. That he succeeded mightily is evidenced in this 15-song collection, almost casual in the way Lightnin' tosses off themes, lyrics, and emotion in a most cavalier fashion.

Even with a thorough Sonic Solution No Noise process cleansing, these tapes still contain vocal and instrument distortion in spots where Hopkins got too close to the microphone. But none of it matters in the end, for here is Lightnin' truly in his element, playing for his friends and his own enjoyment, minus the comercial overlay of the times or the imposed "folk blues" posturing of his later acoustic recordings. Not the place to start, but a real good place to visit along the way.


A1Long Time
A2Rainy Day Blues
A4Long Gone Like A Turkey Thru The Corn (Long John)
A5Prison Blues Come Down On Me
A6Backwater Blues (That Mean Old Twister)
A7Gonna Pull A Party
B1Bluebird, Bluebird
B2See See Rider
B3Worrying My Mind
B4Till The Gin Gets Here
B5Bunion Stew
B6You Got To Work To Get Your Pay
B7Go Down Old Hannah
B8Hear My Black Dog Bark

Lightnin Hopkins - Country Blues (1959)
(320 kbps, cover art included)