Dienstag, 17. Dezember 2019

Franz-Josef Degenhardt - Da frierst du vor Gemütlichkeit (1967)

Learned and versatile, German poet, novelist, folksinger, and noted attorney Franz Josef Degenhardt was born December 3, 1931. He began releasing records in the early '60s and hasn't let up, with some 50 album titles in his personal discography, the most recent appearing in 2006. Degenhardt is also an accomplished novelist, with a half dozen largely autobiographical novels to his name.

This is a compilation of chansons by Franz-Josef Degenhardt.


A1 Tante Th'rese
A2 Horsti Schmandhoff
A3 Weintrinker
A4 Rumpelstilzchen
A5 Väterchen Franz
B1 Spiel nicht mit den Schmuddelkindern
B2 Armer Felix
B3 Tonio Schiavo
B4 Deutscher Sonntag
B5 Umleitung

(192 kbps, cover art included)

VA - Dig This - A Tribute To The Great Strike (1985)

This album was dedicated to the British miners who went on strike during 1984 and 1985. The album features a head-spinning stylistic variety; the driving folk-punk of The Men They Couldn't Hang, the twisted art-country of the Mekons, the loping reggae-punk of Omega Tribe, the frightening anglo-synth rap of Akimbo, the accusatory goth-rock of Leningrad Sandwich, the fierce noise-punk of The Ex, the anarcho-weirdness of The Posion Girls, the hard-to-classify Steve Lake and, of course, the only band on earth who can be described as both Crass' heirs and one-hit wonders, Chumabawamaba.
Side A features live recordings from Southbank Poly, side B has some studio recordings.

Musicians became involved in the strike in three basic ways. Firstly, some wrote and recorded songs dealing with issues related to the dispute. For example "Soul Deep" (Council Collective) was a call to action in the name of class solidarity with the miners. Others emphasized the physical and emotional hardship endured by the miners. Robert Calvert recorded "All the machines are quiet", in which a fictional miner delclared, "The winter´s coming / We need new shoes / I´m selling the car".

Secondly, some groups went one step further and gave the profits from songs or albums to striken miners or their supporters. The most significant example of this was "Soul Deep", 100.000 copies of which were sold. The raised money was donated to the Women Against Pit Closures organization and the wife of the taxi driver who had been accidentally killed while taking a working miner to his colliery. Other benefit songs were made by Chumbawamba, Robert Wyatt, Henry Cow or The Ex. Numerous compilation albums were released, including the featured "Dig This - A Tribute To The Great Strike". Many musicians also performed at benefit concerts, the proceeds from which were donated to striking miners or used to support them.  

Finally, a smaller number of artists attended picket lines and demonstrations in support of the miners. These included Paul Heaton of the Housemartins, Jimmy Somerville of Bronski Beat (later of the Communards), The Redskins, the Flying Pickets, Paul Weller and Billy Bragg.

Thanks a lot to http://musicruinedmylife.blogspot.de for inspiration and words.

A1 Poison Girls - Cry
A2 Poison Girls - Voodoo Pappadollar
A3 Mekons - Flitcraft
A4 Mekons - Trouble Down South
A5 Men They Couldn't Hang - Jack Dandy
A6 Men They Couldn't Hang - Rawhide

B1 Akimbo - The Rap
B2 Steve Lake - Turn Out The Lights
B3 Leningrad Sandwich - We Will Rise
B4 The Ex - We've Got Everything We Never Wanted
B5 Omega Tribe - Young John
B6 Chumbawamba - The Police Have Been Wonderful
B7 Chumbawamba -   Fitzwilliam

VA - Dig This - A Tribute To The Great Strike (1985)
(320 kbps, front cover included)

Hugh Masekela - I Am Not Afraid (1974)

In 1974, Hugh Masekela had already scored a chart-topping hit in the USA, where he’d been living in exile since the early 1960s. He was hanging out with jazz greats: John Coltrane, Miles Davis and Dizzie Gillepsie are names that pepper the pages of his biography Still Grazing - a nod to his Grammy-winning crossover hit ‘Grazin’ in the Grass’. He’d essentially ‘made it’ - he was living the American dream and no one could tell him otherwise. Suddenly, he found himself right in the middle of America’s high-brow society. With commercial success came the trappings of fame. He left a trail of bad decisions and broken promises, and these eventually caught up with him in the 70s. He was in need of an exit strategy, a remedy to the mounting distractions and dissatisfaction.
It was in the midst of this self-loathing that he walked to his piano and started playing the tune to what would straddle generations and continues to reverberate with music enthusiasts. ‘Stimela’, a staple in his live sets, appears as the last track on I Am Not Afraid. It was the impetus Hugh needed to wean himself off the trappings he’d grown to despise. Elsewhere on the album, every song demonstrates a stylistic leap in Masekela’s abilities, aided by his new backing band, Ghana’s Hedzoleh Sounds, who he’d met through his friend Fela Kuti. Congas set the tone on album opener ‘Night in Tunisia’. More percussive instruments follow - shakers, calabash, then a bassline groove and a crunchy, funky guitar lick. It’s a reworking of a Dizzy Gillepsie composition that infuses the original with refreshing ideas. ‘Been Such A Long Time’ is less psychedelic; more contained. Hugh’s raspy voice coasts atop Joe Sample’s piano. The result is a subtle tribute to his home, South Africa, a place he’d been absent from since leaving on a one-way ticket in the quest for creative and political freedom.

Masekela spent a considerable amount of time travelling and living in countries across Africa, from his palatial lifestyle in Liberia, to then-Zaire, where he was involved in the ‘Rumble in the Jungle’, the legendary stand-off between boxing greats Mohammed Ali and George Foreman. The result of these extended stays are songs that give accurate portraits of how people live across the continent - from women going about their duties (‘In the Market Place’) to insight into Liberian initiation rituals (‘African Secret Society’).

I Am Not Afraid is Masekela’s way of reclaiming his being, of charting new territory and not holding back. The album stands as a time-tested testament to the great things that result when artists push themselves to new heights. - http://musicinafrica.net


01. Night in Tunisia
02. Been such a long time gone
03. In the market place
04. Jungle Jim
05. African secret society
06. Nina
07. Stimela (Coaltrain)

Hugh Masekela - I Am Not Afraid (1974)
(320 kbps, cover art included)

Soledad Bravo‎ - Canciones De La Nueva Trova Cubana Vol. 2

Soledad Bravo is born in Logroño, La Rioja, Spain. Her father was a Spanish republican, moving to Venezuela with his family when his daughter was still at an early age. At 24, Soledad began studying architecture and philosophy at the Universidad Central de Venezuela, where she also began performing.

One year later, in 1968, she released her debut titled Soledad Bravo Canta (Soledad Bravo Sings), which made her a star in Venezuela and other parts of South America. In the years that followed, she cooperated with Atahualpa Yupanqui, Gilberto Gil and others, having lived and performed in Europe and the Americas.

Her repertoire is a vivid mixture of fiery, vivid Caribbean and Latin rhythms, Sephardic elegies and heartwarming ballads.

Considered to be one of the best voices in Latin America, one of her most popular and best known songs is Hasta Siempre, a cover of a Cuban hymn by Carlos Puebla to Ernesto "Che" Guevara.


La Vida No Vale Nada3:05
Ya Pisaré Las Calles Nuevamente3:43
A Salvador Allende En Su Combate Por La Vida4:02
Sueño Con Serpientes4:45
Campo De Amor3:04
El Tiempo El Implacable2:20
El Colibrí3:00
Esta Canción3:20

Soledad Bravo - Canciones De La Nueva Trova Cubana Vol. 2     
(320 kbps, cover art included)                              

Montag, 16. Dezember 2019

Patti Smith - Bicentenary Blues - Boarding House, San Francisco 1976

This December sees Patti Smith’s 73th birthday. She is still going strong, remaining as relevant as ever. Happy birthday!

This bootleg captures Patti Smith performing at the Boarding House in San Francisco, on 15 February 1976. The Boarding House was a club in downtown San Francisco that held about 500 people.

The show was broadcasted on FM radio and illustrates perfectly the strange power of this pioneering band and its dynamic, talented and foresighted lead singer and main songwriter.


01 We're Gonna Have A Real Good Time Together
02 Privilege
03 Ain't It Strange
04 Kimberly
05 Redondo Beach
06 Free Money
07 Pale Blue Eyes
08 Louie Louie
09 Pumpin
10 Time Is On My Side
11 Flying Saucers Rock And Roll reading
12 Gloria
13 My Generation

Patti Smith - Bicentenary Blues - Boarding House, San Francisco 1976
(256 kbps, cover art included)

Samstag, 14. Dezember 2019

Schroeder Roadshow – Wir lieben das Land (vinyl rip)

Ten years ago, Jesus Canneloni, the wonderful and wild sax player of the german polit rock band Schröder Roadshow, died. To remember Jesus and his far-out sax sound, we like to post this Schroeder Roadshow gem.

With their anarchistic slogans and subversiv statements, their great live shows and their sarcastic humor Schröder Roadshow were a very important part of the german polit rock subculture. Schroeder Roadshow was – besides Ton Steine Scherben – the german political rock band in the seventies and eighties of the last century.
This album was released in 1983 and never re-released on cd.
1983 – that was the year a lot of us took part in the great peace happenings all around Europe, we were part of the “human chain” and die-in´s against atomic weapons. And the more ironical and sassy approach of the Roadshow was a very welcome antidote to the sometimes unbearable affected and whining mood in the west german left wing political scene of these days. Thanks a lot for this and all the great gigs!
(192 kbps, front cover included)

Woody Guthrie - Archive Of Folk Music (1966, vinly rip)

"A folk song is what's wrong and how to fix it or it could be
who's hungry and where their mouth is or
who's out of work and where the job is or
who's broke and where the money is or
who's carrying a gun and where the peace is." - Woody Guthrie

Woodrow Wilson "Woody" Guthrie (July 14, 1912 – October 3, 1967) is best known as an American singer-songwriter and folk musician, whose musical legacy includes hundreds of political, traditional and children's songs, ballads and improvised works. He frequently performed with the slogan "This Machine Kills Fascists" displayed on his guitar.

In the spring of 1944, fresh off a torpedoed merchant marine ship, Woody Guthrie began showing up at the offices of Moses Asch´s Asch Records, where the record company owner let him make recordings informally; Guthrie would appear either alone or with a friend, usually his merchant marine partner Cisco Houston, but also Sonny Terry, Bess Hawes, and/or Leadbelly, and they would cut dozens of old folk songs, some with newly written lyrics by Guthrie, plus some of Guthrie's outright originals. The masters quickly piled up into the hundreds, far more than even a major label could release, and Asch had only issued a fraction of them by 1947, when he went bankrupt. That had ominous implications for Guthrie's discography, since some of the masters were retained by Asch's creditors, including his former partner, Herbert Harris of Stinson Records. The two disputed ownership of the material, but neither seems to have had the money for a legal battle. Asch, returning to solvency, put his Guthrie tracks out on his newly formed Folkways Records, while Harris released his on Stinson, and they also turned up on other labels, including the one on which they appear here, Everest. Guthrie sings alone only on "Gypsy Davy," "Pretty Boy Floyd," "Buffalo Skinners," and "Ranger's Command," while Houston provides a tenor harmony on the choruses and sometimes even the verses of the rest, in addition to serving as an instrumentalist. (It's not clear who plays what, although some tracks seem to have two guitars or a guitar and mandolin on them.) Although not credited on the disc, Terry plays harmonica on "Hey Lolly Lolly" and "Lonesome Day." The sound quality is iffy, indicative of possibly second-generation masters, and, of course, the performances have a first-take, near-rehearsal feel. That doesn't keep the music from being stirring on occasion. But folk music fans should note that this isn't really the Woody Guthrie of "This Land Is Your Land." Most of the songs are traditional ones, and the musical approach is closer to that of an old-timey country string band like the Monroe Brothers than it is to the urban folk that took its inspiration from Guthrie.

Woody Guthrie - Archive Of Folk Music (1966, vinly rip)
(192 kbps, front & back cover included)

Woody Guthrie - Woody Guthrie Sings Folk Songs (1962)

In April 1944, 31-year-old Woody Guthrie discovered a recording outlet when he hooked up with record company owner Moses Asch, who agreed to let him cut a virtually unlimited number of masters informally. Guthrie simply would turn up at Asch's studios alone or with such friends as Cisco Houston, Sonny Terry, Leadbelly, and Bess Lomax Hawes, and record his repertoire of original and traditional songs. The repository soon grew to hundreds of titles, far more than even a major label, much less a tiny independent, could release contemporaneously.
Over the decades, Asch did release many of the tracks, but by 1962, when he assembled the LP "Woody Guthrie Sings Folk Songs", he still had a significant caché of unissued material like that found on this disc. In the ensuing 18 years, the folk revival had kicked in, and such artists as Joan Baez were taking folk music into the upper reaches of the charts. Guthrie was considered the godfather of the movement, and "Woody Guthrie Sings Folk Songs" played right into that, as he could be heard singing songs like "The Rising Sun Blues" (aka "The House of the Rising Sun") and "The Boll Weevil," the same songs that the new generation of folk singers were performing in coffee houses.

In truth, with the combination of guitars, mandolin, harmonica, and fiddle, plus Houston's rough high harmonies, the arrangements often were more evocative of the old-timey country string bands of the '30s, such as the Monroe Brothers, than early-'60s urban folk. Then, too, although some of the songs were credited to Guthrie as a songwriter, this was not the Guthrie of "This Land Is Your Land," but rather Guthrie the traditional folk singer. Still, "Woody Guthrie Sings Folk Songs" was an excellent representation of rural folk music that consolidated Guthrie´s position as the newly fashionable genre's main progenitor.


01. Hard Traveling
02. What Did The Deep Sea Say?
03. The House Of The Rising Sun
04. 900 Miles (Instrumental)
05. John Henry
06. Oregon Trail
07. We Shall Be Free
08. Dirty Overalls (My Dirty Overhauls)
09. Jackhammer John
10. Springfield Mountain
11. Brown Eyes
12. Boll Weevil Blues (Boll Weevil)
13. Guitar Blues (Instrumental)
14. Will You Miss Me?

Woody Guthrie - Woody Guthrie Sings Folk Songs (1962)
(192 kbps, front art included)

Freitag, 13. Dezember 2019

Slapp Happy - Sort Of (1972)

Slapp Happy were formed in Hamburg with Dagmar Krause on vocals, Anthony Moore on guitar, keyboards and vocals and Peter Blegvad on guitar and vocals. Blegvad was an associate of the German group Faust and this recording was made in1972, in the band's studio, using their musicians and producer Uwe Nettelbeck. It is a passionate debut, with witty melodic songs offset by Dagmar's unique vocals. Blegvad proudly proclaimed it as "Naive Rock, the Douanier Rousseau sound".

Slapp Happy's debut unveiled a band that was not so much an avant-rock group as one that seemed primarily interested in toying with rock conventions, as if such subversion was more inherently worthwhile than playing it straight. That meant that at its least impressive, it didn't qualify as either good avant-rock or good conventional rock, instead lumbering along with self-consciously jagged tunes. It sounds best when Dagmar Krause's vocals come to the forefront, as on "Heading for Kyoto" and the downright poppy "Blue Flower," a pretty folk-rockish number that lifts a hook from the Velvet Underground's"Femme Fatale." "Who's Gonna Help Me Now?" is strange roots-rock, and "Sort Of" a surfish instrumental that sounds like a postmodern "Telstar," all contributing to the feeling that the band was more concerned with tongue-in-cheek eclecticism than moving toward a settled identity.


1 Just A Conversation 4:07
2 Paradise Express 2:38
3 I Got Evil 2:33
4 Little Girl's World 3:34
5 Tutankhamun 2:16
6 Mono Plane 6:52
7 Blue Flower 5:22
8 I'm All Alone 2:52
9 Who's Gonna Help Me Now 2:29
10 Small Hands Of Stone 4:44
11 Sort Of 2:21
12 Heading For Kyoto 3:11
13 Jumping Jonah (Bonus Track) 3:08

(320 kbps, cover art included)

Sonntag, 8. Dezember 2019

Dinah Washington - Sings The Blues

Born Ruth Lee Jones in 1924, Dinah Washington was a band singer with Lionel Hampton from 1943 to '46. After this she went solo, signing with Mercury records in 1948, remaining with that label until her death in 1963. It's been said that Dinah's hard-edged approach to love songs was due to seven failed marriages.

True or not, it's a certainty that Miss Washington had a unique highly-pitched, clipped delivery and handled blues, jazz, R&B and pop songs with equal skill.

Dinah Washington is one of the all-time great jazz singers, and she staked that claim with a whole lot of blues in her delivery.

This roundup of blues-heavy sides from her Mercury heyday, then, is a welcome addition to an already impressive catalog. Cut during the '50s and early '60s, the 16 tracks include such usual suspects as "Trouble in Mind," "You Don't' Know What Love Is," and Bessie Smith's classic "Backwater Blues." Nicely augmenting these fine renditions, Washington transforms pop numbers like "Since I Fell for You" and "Soft Winds" with some juke-joint heat. And with plenty more gems to be had and fine support from arranger Quincy Jones, tenor saxophonist Lucky Thompson, trombonist Jimmy Cleveland, drummer Max Roach, and many others, one can't lose gettin' real lowdown with the swingin' (and bluesy) "Miss D."

Dinah Washington - Sings The Blues
(320 kbps, cover art included)

Poet And The Roots ‎– Dread Beat An' Blood (1978)

Originally released in 1978 in the UK on the Virgin Front Line label credited to Poet And The Roots this album was soon reissued worldwide with the credit going to Linton Kwesi Johnson.

Poet is Linton Kwesi Johnson; the Roots are Vivian Weathers (bass guitar, vocals), Dennis Bovell (guitar, keyboards), Desmond Craig (keyboards), Winston Cumiffe (drums), Lloyd Donaldson (drums), Everald Forest (percussion), John Vamom (guitar), and Lila Weathers (vocals). All but two songs first appeared in Johnson's 1975 poetry book, Dread Beat An' Blood. The poems are political in nature, dealing with England's racist regime and the way some dealt with the oppression: doping, fighting, and wasting one another in bars, as depicted in "Five Nights of Bleeding (For Leroy Harris)." Johnson does little singing, he simply delivers his poems in cadence to the music. Only on a couple of tunes like "Song of Blood," led by Lila Weathers, does any real singing occur, but Johnson's powerful, inspirational, descriptive words needs little embellishment.


Dread Beat An' Blood
Five Nights Of Bleeding
Doun Di Road
Song Of Blood
It Dread Inna Inglan (For George Lindo)
Come Wi Goh Dung Deh
Man Free (For Darcus Howe)
All Wi Doin Is Defendin

(254 kbps, cover art included)

Freitag, 6. Dezember 2019

Floyd Westerman - The Land Is Your Mother (1984)

Like most Native Americans of his generation, Floyd Westerman was wrenched away from the arms of his family at the age of five and sent off to a government boarding school nearly 100 miles away. These blatant attempts to destroy Indian civilization by breaking up families and making traditions obsolete became one of many subjects Westerman would take on when he developed into an important Native American protest singer and actor.

A Dakota Sioux, Westerman remained at the boarding school for the next 12 years, until he had finished high school. By this time he had learned guitar after watching the older students play and picking up some basic chords from them. Like many players who begin with rock or folk music, he sensed that learning three chords was enough to perform much of the music that was circulating at the time, and he was right. He enjoyed music and he continued playing and singing after graduation. He was influenced by both the folk music of Bob Dylan and fellow Native American Buffy St. Marie, but, like many Native Americans, deeply loved country & western music and had a sincere fondness for one of its most expressive geniuses, Hank Williams. In a tribute to his own family dynasty, Westerman began using the name Red Cloud, which he had inherited from his grandfather and which had important spiritual connotations among the Sioux people.

Westerman began performing in the Colorado area, his guitar playing improving considerably. At this time he established a friendship with the young author Vine Deloria Jr., also a songwriter. The subject of many of their discussions was the lack of songs about Native American issues and traditions. A collaboration began, as Westerman took sections of Deloria's book, Custer Died for Your Sins, and created profound, sometimes humorous songs from the subjects. This work led to signing a recording contract in 1969 in New York City, and the eventual release of the first of two albums Westerman has recorded, titled after his friend's book. The album had a strong country flavor that suited Westerman's voice and has remained a sought-after classic ever since. It went out of print and was eventually released by Westerman himself, mostly distributed directly at his concerts and personal appearances.

Westerman has performed all over the world, including large benefit and festival appearances with Willie Nelson, Bonnie Raitt, Joni Mitchell, Harry Belafonte, Kris Kristofferson, and Jackson Browne. He has been heavily involved with AIM, the American Indian Movement, during his entire career and has testified at congressional hearings on Native American issues, such as uranium mining. Although highly respected for his musical and songwriting accomplishments, he has actually had more time in the mainstream spotlight with his work as an actor. He made his screen debut in Renegades, playing the father of Lou Diamond Phillips. Since that time, his list of credits includes roles in Dances With Wolves, The Doors (he was Jim Morrison's spiritual guide), Lakota Woman, Clearcut, and Grey Owl. He has also shown up on the small screen, playing the role of Uncle Ray on Walker, Texas Ranger as well as leads on Northern Exposure, L.A. Law, X-Files, Millenium, Roseanne, and appearances as Sitting Bull in the four-hour miniseries Son of the Morning Star.

Westerman kept up an active schedule, his work as both an actor and musician focusing on "...the institutions that have destroyed our rights," he says. "That's what our struggle is all about, our spiritual rights and the Indian point of view...And they're so old, they make the Bible look like it was recently written." -

Floyd Westerman - The Land Is Your Mother (1984)
(256 kbps, front cover included)

Carambolage - same (vinyl rip, 1980)

Carambolage was a German, Berlin based, all-female band active in the late 70s and early 80s featuring Angie Olbrich on guitar, Elfi Esther Steitz on vocals and Britte Neander on drums. They released several records on Ton Steine Scherben's label David Volksmund Produktion. They played fairly stunning female art punk and were connected to the polit-rockers Ton Steine Scherben.

This forgotten album is a little jewel in the avant-punk canon. It starts with "Rampenlicht", an elliptical funk/ lounge/ art-punk exercise, which makes the Young Marble Giants sound like tame kittens. "Tu Doch Nicht So" is more traditional, albeit with a gurgling post-punk/ punk-rock dissonance lurking beneath. "City Grossmarkt" is almost a tribute to the erstwhile hippie anthem, although viewed from the perspective of the post-punk/ dub elastic looping (a la Public Image Ltd. circa Metal Box). "Das Männlein" assumes the guise of the silly snippet, in what is basically a cross between a TV commercial and goofy music-hall. Again, "Je T'aime" is fairly traditional, but they inject a healthy (an oxymoron) dose of angst in it. Another oxymoron, "Die Farbe War Mord" is a constrained electronic freak-out, all the while "Johnny" is a satirical take on the noir/ swing theme. Stepping things up a notch, "Fussgängerzone" is among their most disjointed and spastic moments. Then the Arabic chanting and tribal menace of "22 Rue Chenoise" is also quite neurotic, with "Bretter Bretter Bretter" also being one of their most inventive juxtapositions. In general the album is pure Neue Deutsche Welle oddball nervousness, somewhere between the Slits, X-Ray-Spex and Kleenex.

A2Tu doch nicht so2:35
A4Das Männlein2:15
A5Je T'aime3:30
A6Die Farbe war Mord3:00
B1Was hat das für einen Sinn2:05
B4Der Reigen3:45
B522 Rue Chenoise4:00
B6Bretter, Bretter, Bretter3:20

Carambolage - same (vinyl rip, 1980; David Volksmund Produktion)
(192 kbps, front cover included)

Tanz grotesk - Schreker - Schulhoff - Hindemith ("Entartete Musik")

This collection is from London's "Degenerate Music" series, works by composers attacked or suppressed by the Nazis. Schreker's score for The Birthday of the Infanta, based on a story by Oscar Wilde, is in his typically lush late Romantic style. Some listeners love this music, while others get seasick. Schulhoff's Moonstruck is a relatively brief dance piece, full of Schulhoff's beloved jazz and immediately striking. Hindemith's The Demon, typical of his acerbic early style, is a challenging and eventually rewarding piece, previously recorded a couple of times. It's a luxury to have one of the world's great orchestras playing this obscure, fascinating program for us; the conductor does well with everything but particularly with Schreker's decadence. --Leslie Gerber

This amazing idea is an act of artistic justice - to say at least - about a set of recordings destroyed or banned by the political disruptions of the twentieth century and most specifically by the Third Reich. Besides, it's also a representation of musical evolution, trends that never reached plain maturity. But also, it concerns with the music of exile: the inward response to a different world after such the well reminded bloody and devastating WW1.

The first work presented here is the marvelous composition of Franz Schreker "The birthday of the Infanta" , an innovative ballet based on an Oscar Wilde's play.

The second work belongs to Erwin Schulhoff labeled "Moonstruck", a prodigious composer who barely lived 48 years (died of tuberculosis in 1942). The seeds of the diverse influences by then, blend the rag, jazz and the presence of the tango take place all along this interesting orchestral suite.

Finally we have Paul Hindemith with "The demons" , a work that undoubtedly has had major luck than its predecessors.

On the other hand, the presence of Lothar Zagrossek in the baton conducting the renowned Gewandhaus orchestra of Leizpig, has been a colossal finding. The members of this prestigious Orchestra display all the gamut of eloquent expressiveness and vibrant rhythm the works demand.

A magnificent finding and hoping the harbingers of such innovative and challenging project undertake that required mission in order to preserve and bring it us back the necessary space in those times of first rate technology.


Der Geburtstag der Infantin = The Birthday Of The Infanta (19:40)
1 Reigen 1:48
2 Aufzug Und Kampfspiel 2:19
3 Die Marionetten 2:40
4 Menuett Der Tänzerknaben – Die Tänze Des Zwerges 2:51
5 Mit Dem Wind Im Frühling: In Blauen Sandalen Über Das Korn – Im Roten Gewand Im Herbst 5:02
6 Die Rose Der Infantin – Nachklang 4:58

Die Mondsüchtige = Moonstruck (23:49)
7 Introduzione – Ragtime 5:14
8 Valse Boston 6:31
9 Shimmy 2:32
10 Step 1:40
11 Tango 5:07
12 Jazz 2:46

Der Dämon = The Demon, Op.28 (34:28)
13 Tanz Des Dämons 1:16
14 Tanz Der Bunten Bänder – Tanz Der Geängstigten Schwalben 5:51
15 Tanz Des Giftes – Tanz Der Schmerzen 4:08
16 Tanz Des Dämons (Passacaglia) – Tanz Der Trauer Und Sehnsucht 5:54
17 Einleitung Zum 2. Bild – Tanz Des Kindes 3:36
18 Tanz Des Weiten Gewandes – Tanz Der Geschlossenen Orchidee 6:51
19 Tanz Der Roten Raserei – Tanz Der Brutalität 2:17
20 Tanz Des Geschlagenen Tieres – Finale

Tanz grotesk - Schreker - Schulhoff - Hindemith ("Entartete Musik")
(320 kbps, cover art included)

Dienstag, 3. Dezember 2019

Schroeder Roadshow - Deutschland, Deutschland (1982)

Formed in 1976, the german oddball political cabaret and rock group "Schroeder Roadshow", played music in the tradition of Floh De Cologne, Checkpoint Charlie and Ton Steine Scherben - but always a little bit more crazy and dada-inspired than the classic polit rock bands with their straight agit prop songs.

The album "Deutschland, Deutschland" was recorded live December 25th-27th,1981and was released in 1982 on the Trikont label.

  • Bass, Vocals– Rich Schwab
  • Drums– Richard Herten
  • Guitar, Vocals– Franz Hocker, Gerti Beracz
  • Saxophone– Jesus Cannelino
  • Vocals– Gerd Köster

Türkis, Türkis 2:41
Anarchie In Germoney4:50
No Future Blues5:55
... Aber Dalli 0:22
(Heute Ist Der) Tag Meiner Träume7:10
Deutschland! Deutschland!1:24
Ich Hab Wut4:00
Die Bullen Schlagen Wieder Zu5:45
Die Brüder Der Romantischen Verlierer4:55
Allein Machen Sie Dich Ein6:30

Schroeder Roadshow - Deutschland, Deutschland (1982)
(256 kbps, cover art included)   

Cochise - Wir werden leben (1981)

Cochise from Dortmund played folk and rock music with mostly political lyrics inspired by a left wing perspective. The band was founded in 1979 and became one of the musical voices of the alternative movement in West Germany. They developed an unique lyrical and musical language connecting the political contents of the 70s and 80s with powerfull, delightfull music and the rebellious attitude of a whole generation.
"Wir werden leben" was their second album. Alongside Ton Steine Scherben, Checkpoint Charlie or Schroeder Roadshow they were important protagonists of the "Polit-Rock" scene, playing at every hotspot of the social movements in the 1980s - like Wackersdorf, Starbahn West, Mutlangen and squattet houses.


A1Wir werden leben4:15
A2Das Haus4:45
A3Die Indianer sind noch fern4:50
A5Platanen statt Autobahnen1:31
B1Is das nich gemein mit diesm Gesangsverein?4:54
B2Rock´n Roll Rentner4:10
B4Letztn Somma warn wa schwimmn1:52
B5Jetzt oder nie - Anarchie!3:05

Cochise - Wir werden leben (1981)
(320 kbps, cover art included)