Mittwoch, 29. April 2020

Werkstattwoche der FDJ-Singeclubs (1968, Amiga)

"Singe-Bewegung" and "Oktoberklub" in East Germany, part 7.

Until the 1960s, Anglo-American dance music is regarded in the GDR as valueless "Western Arts". As a Socialist alternative to the rock ' n' roll, 1959 even a private dance, the "Lipsi", is being developed. As a result of the cultural and political opening in 1963, many beat groups were formed and a GDR's own "Liedermacher" and singer-songwriter scene emerges.
The "Free German Youth" (FDJ) tried to instrumentalize this music movement. The FDJ organized "Deutschlandtreffen 1964" presented for the first time music in English language. In the context of poetry events of the FDJ, Manfred Krug and Wolf Biermann present critical lyrics. In 1965 the SED gave order to dismiss a guitar competition organized by the FDJ. After the end of the political thaw period, the FDJ tried to integrate the singer-songwriter and the beat groups in the FDJ and SED influenced "Singebewegung"
With several thousand Singeklubs, in which mainly folk music is made, the FDJ tried to bring their ideological and political work into everyday life of young people. The "Vorzeigesingeklub" was the Berlin based "Oktoberklub", which established in 1969 also the first discotheque in the GDR. Although not without success, the Singebewegung couldn´t replace the beat music. In the following years the unbroken beat enthusiasm of young people forced the GDR leadership to an offensive strategy: The development of an own DDR-specific rock music scene since the 1970's, as well to use this media for ideological and political messages.

The GDR radio programm "Jugendsender DT 64" organised between September, 24 and October, 1, 1967 in Hally the "1. Werkstattwoche der FDJ-Singeclubs". This albums features recordings from this workshop with 300 artist and 16 "Singeclubs".

(01) Bernd Walther & Folkloregruppe der TU Dresden - Carpe Diem
(02) Wolfgang Grahl & FDJ-Singestudio Müritz - Spottlied auf einen Moskaubesucher
(03) Antje Kankel - Das ist unser Tag
(04) Folkloregruppe der TU Dresden - Zygan Chodit
(05) Panajota Ruli & Klaus-Georg Eulitz - Kathe Mera
(06) Kurt Demmler - Zart soll es bleiben
(07) Kurt Demmler - Kastanie, Kastanie
(08) Antje Thümmler & Ulrich Stephan & Folkloregruppe der TU Dresden - O lenke durch die Welle
(09) Singklub Leipzig - Abendgedanken
(10) Herbert Lappe & Folkloregruppe der TU Dresden - Und darum trägt unsere Welt heut ein neues Gesicht
(11) Nora Löhr & Wolfgang Gregor - Venezolanisches Marktlied
(12) Jörn Fechner & Oktober-Klub Berlin - Mamita Mia
(13) Henry Jäger - Musja Pikinson
(14) Barbara Kellerbauer & Folkloregruppe der TU Dresden - Lied von der unruhvollen Jugend
(15) Frank Obermann & Sing-Klub 67, Karl-Marx-Stadt - Unsere Welt hat ein Millionengesicht
(16) Hartmut König & Oktober-Klub Berlin - Die Front der Patrioten ruft
(17) Panajota Ruli & Folkloregruppe der TU Dresden - Drapetis
(18) Nora Löhr & Wolfgang Gregor - Auseinandergehen
(19) Dorit Gäbler - Icke
(20) FDJ-Singestudio Müritz - Wir singen, weil wir jung sind

Werkstattwoche der FDJ-Singeclubs (1968)
(256 kbps, front cover included)

Schmetterlinge - Die letzte Welt (1982, Eigelstein)

"Die letzte Welt" is a double album by Schmetterlinge, released in 1982 on Eigelstein. Schmetterlinge were a long-running Austrian group, formed 1969 in Vienna. 

They started as a folk ensemble but later evolved into a complex theatrical progressive band, with "Sparifankal" and "Floh De Cologne" touches, moving onto progressive rock-opera.


Ein blauer Ball
Die apokalyptischen Reiter
Commander Madman und General Freak
Lied des Guru
Lied der Missionsschwester
Lied des Offiziers
Lied des Beschwichtigungspolitikers
Lied des Unternehmers
Mister Kapital
Tango der Macht
Ketchup aus Mexico
Goldener Weizen
Alles fließt
Naives Lied
Das Märchen von der schwarzen Braut
Das Krähenlied
Lied des Rüstungsarbeiters

Schmetterlinge - Die letzte Welt (1982, Eigelstein)
(192 kbps, cover art included)

Maria Farantouri - Ligo Akoma - Lieder aus Griechenland (Pläne, 1980)

Originally posted in September 2015:

Yesterday I had the chance to experience Maria Farantouri live on stage, celebrating the 90th birthday of Mikis Theodorakis. I am still deeply impressed!

A well-known Greek vocalist and political activist, Maria Farantouri is considered one of the foremost interpreters of Greek music, especially the work of composer Mikis Theodorakis. A contralto singer with a deep, resonant voice, Farantouri is sometimes referred to as the Joan Baez of Greece, and over the years has moved from traditional and folk styles to more jazz, classical, and avant-garde works. Born in Athens in 1947, Farantouri first began singing in her youth as a member of the progressive choir of the Society of Greek Music, which worked to support new music based on Greek traditions. By her teens she caught the ear of Theodorakis, who invited her to join his ensemble. This led to a time of great creative and social awakening for Farantouri, who along with Theodorakis´ culturally and politically left-leaning work, helped popularize the writing of many important Greek poets.

From 1967 to 1974, Farantouri was forced into exile after a right-wing military junta staged a coup in Greece. During this time, she and Theodorakis made several protest recordings in Europe and expanded their work to included the writing of Bertolt Brecht and Spanish composer Carlos Puebla, as well as many Greek composers including Eleni Karaindrou and Mikalis Bourboulis. Also during this period she released the anti-fascist recording "Mauthausen Cycle," a work by Theodorakis featuring the writing of poet Iakovos Kambanellis. Often referred to as a hymn to human rights, the cycle would become one of Farantouri's signature recordings. After returning to Greece in 1974, Farantouri resumed her successful recording career and began to expand her sound in a variety of directions, including jazz.
Never wavering from her political views, she was elected to the Greek Parliament and served from 1989 to 1993, representing the Panhellenic Socialist Movement. She continued to record from the mid-'90s onward and released a cornucopia of albums in various styles, even including a collection of George Gershwin standards in 2007. While she most often performs works by Greek writers and composers, Farantouri continues to expand herself creatively and can interpret nearly any style of music in her own unique way. In 2011, she appeared on the live album "Athens Concert" with jazz saxophonist Charles Lloyd and his quartet.

Maria Farantouri -Ligo Akoma - Lieder aus Griechenland (Pläne, 1980)
(256 kbp, front cover included)

Montag, 27. April 2020

Tom Robinson Band - Rising Free (The Very Best Of TRB) (1997)

The Tom Robinson Band straddled the border between pub rock and punk, turning out hard-driving rock anthems that were filled with attitude, if not venom. They were a stripped-down rock & roll band, delivering charging, catchy three-chord rockers at their best. Occasionally, as on the notorious anthem "Glad to Be Gay," Robinson dipped into social commentary, yet he was best at just rocking out, like on the lost classic "2-4-6-8 Motorway," one of the very best driving songs of all time. "2-4-6-8 Motorway" is the highlight on "Rising Free -- The Very Best of the Tom Robinson Band", which proves that the group was a good band, but not great. Few songs on "Rising Free" have the intoxicating hook of "2-4-6-8 Motorway," and few are as acidic as "Glad to Be Gay." By and large, it's simply competent pub rock that's harder than average. As the years progressed, TRB's edge softened, and they began experimenting with disco. All of these progressions, and all of the group's best moments, are found on "Rising Free", and while it doesn't reveal many hidden gems, there are enough good songs to make it worthwhile for pub and punk fanatics. -

I think it is punk revisionism to blame for TRB not holding its rightful place in Punk's official history. Back in the day, TRB were at the forefront of punk. Their role in Rock Against Racism's 1978 "Carnival Against the Nazis" gave them one of punk's biggest stages. Power in the Darkness, TRB's first lp (a double at that), was really a landmark album. It dealt with women's rights, gay rights, political persecution, and the justifiable paranoia of the far left...all served up with fiery punk guitar courtesy of Danny Kustow (a guitarist similarly overlooked), heavy British accents, and driving rock and roll back beats. TRB was one of the few punk groups to heavily feature keyboards from the start, which was in itself unique and noteworthy. So, why has TRB been largely forgotten? Could it be that in retrospect TRB's few songs dealing explicitly with gays or women's rights don't fit the pretty narrow definition of punk that has evolved in the ensuing decades? I suspect so. Too bad. One of the great things about punk was the idea that anything does. The aspects of TRB that made them outsiders in rock worked for them as punks. At least in the early days of punk. I recommend this album if you want to hear musically sound, political punk rock at its very best.


1 2-4-6-8 Motorway 3:21
2 I Shall Be Released 4:37
3 Don't Take No For An Answer 4:40
4 Glad To Be Gay 4:47
5 Martin 2:50
6 Right On Sister 3:28
7 Alright Jack (Live) (previously unreleased) 2:37
8 Up Against The Wall 3:34
9 Grey Cortina 2:10
10 Too Good To Be True 3:35
11 Long Hot Summer 4:44
12 Winter Of '79 4:30
13 Power In The Darkness 4:56
14 Waiting For My Man (Live) (previously unreleased) 4:25
15 Getting Tighter 3:57
16 Alright All Night 3:01
17 Bully For You 3:30
18 Never Going To Fall In Love (Again) 3:10

Tom Robinson Band - Rising Free (The Very Best Of TRB) (1997)
(320 kbps, cover art included)

Sonntag, 26. April 2020

Anti Social Workers And The Mad Professor - Punky Reggae Party (1983)

This album is a kind of a hybrid classic, deleted for years. It was released in 1983 on the Ariwa label, produced by Mad Professor. Definitely a cult favourite, though the hardcore stance never prevented Maggie to rule for a good number of years!

Thanks a lot to the original uploader on  the Roots Stone blog, a bonanza for everyone interested in reggae and dub.


A1Every Dog Has It's Day
A2Who's Watching You?
A3Democracy Is....
A4Waiting For The Crackdown
A5Shit For Brains
B1Pagan Man
B2Great Romance Rip-Off
B3Vandalise The Vatican
B4Simon Say's
B5Red Rap
B6England (Is A Name For A Piece Of Land And A Football Team)

Samstag, 25. April 2020

The Fugs - No More Slavery

The 1985 release "No More Slavery" was the first studio recording by the Fugs in almost two decades. Founders Tuli Kupferberg and Ed Sanders are backed by an individually selected aggregate consisting of Steve Taylor on guitar and backing vocals, Scott Petito on bass, and Coby Batty on percussion and backing vocals.

The premise behind the Fugs - to promote the union of verbal and musical images with an extreme sensitivity to nothing but pleasure - remains eternal. As does their pursuit of truth - through a steady diet of "high art," Dadaism, and satire set to folk and rock music.

There are a few notable differences in the methods that the Fugs utilized in making records in the '80s vs. the '60s. For example, instead of sounding like they are recorded in someone's basement - although that is an admittedly endearing quality of those early Fugs recordings - "No More Slavery" has a richer sonic depth and timbre. While this is certainly a byproduct of technological advancements, the net results are that Kupferberg and Sanders verbiage is given an infinitely more generous sonic pallet from which to conceive. Although the use of drum machines somewhat date tracks such as "Cold War" and "Technology Is Going to Set Us Free" - a demo from the musical drama "Star Peace" - no amount of ornate machinery can obscure Fugs motifs of blending rock music with poetry, philosophy and satire. One such notable thematic pattern exists in the seven-part "Dreams of Sexual Perfection." Sanders effortlessly incorporates the poetic ideology of Emily Dickinson, Archilochus, as well as William Blake - whose "How Sweet I Roamed from Field to Field" was adapted by Sanders on the Fugs First Album" in 1965. As the title track suggests, "No More Slavery" is a collection of musings which amply display the Fugs verve for life and the liberties that make it worth living.

The Fugs - No More Slavery
(192 kbps, front cover included)

Cochise - Rolltreppe Rückwärts - Rare & Live 1979 - 1986

Cochise has been founded 1979 in Dortmund. Until their break up in 1988 the band was - besides and after Ton Steine Scherben - the outstanding band of the alternative-movement in the German-speaking area.

No matter where, e.g. seize a building, at Eastermarches, in Mutlangen, in Wackersdorf, during activities against Frankfurt Runway West or at the demonstration of 300.000 people against NATO Double-Track-Decision 1983 in Bonn; the places where combustion points of movements have been, often there was Cochise as well, arranging for good vibes and made the sound of resistance. Du to more than 1000 concerts the band reached an enormous awareness level, especialle in the former still new social movements. They saw themselves sas a band "out of movement for the movement".

Songs like "1, 2, 3 - lasst die Leute frei!", "Jetzt oder nie: Anarchie", "Das Anarchistenschwein", "Letztn Somma warn ma schimmn" have been scene-hits, which have been sang along by thousands of people. Without media-hype and missing advertisement, there have been sold more than 120.000 Cochise albums during the 80´s.

"Rolltreppe Rückwärts" is a collection of previously unreleased live--takes, as well as awesome studio outtakes and recrdings from the rehearsal-room of this important German rockband.


01:Schnee zu Ostern
02:Im Laufe der Woche
05:Lass mich noch mal ziehn
06:Das Anarchistenschwein
07:Du ganz allein
08:Durch die Wüste
10:Gestern hamse den Wald gefegt
11:Rolltreppe abwärts
12:Letzn Somma warn wa schwimn

Cochise - Rolltreppe Rückwärts - Rare & Live 1979 - 1986
(320 kbps, cover art included)

Christiane Oelze - Verbotene Lieder - Komponisten im Exil

Christiane Oelze is one of the leading German sopranos to have emerged in the latter decades of the twentieth century. Her repertory includes a broad range of works in the operatic, concert, and lieder realms by composers, including J.S. Bach, Mozart, Richard Strauss, Schubert, Brahms, Mahler, and Schoenberg. She possesses a bright, somewhat delicate voice whose graceful quality makes her style both uniquely appealing and easily recognizable.

Oelze was born in Cologne, Germany on October 9, 1963. Her first important study came at the Musikhochschule in Cologne with Klesie Kelly-Moog. She later took master classes with Elisabeth Schwarzkopf, and then had further vocal training with Erna Westberger.

Her album "Verbotene Lieder" features "Forbidden Songs" by German composers branded "degenerate" by the NS dictatorship. Some of them (Grosz, Weill, Korngold) reached life-saving exile, Viktor Ullmann was murdered in the concentration camp Auschwitz in 1944.


Wilhelm Grosz - Lieder an die Geliebte:
1 1. Du allein... "Sieh, wiederum hab ich mir eine Träne der Trauer fortgewischt"
2 2. Schicksal "Ich bin verwirrt in meinem Liebessehnen"
3 3. Wenn ich Dichter wäre... "Bei dir, Geliebte, ruht mein Herz sich aus!"
4 4. Das Singen deines Mundes "Ich lausche deinem lieblichen Gesang"
5 5. Und doch... "All diese schönen Lieder"

Viktor Ullmann - Sechs Lieder nach Gedichten von Albert Steffen:
6 1. An Himmelfahrt "An Himmelfahrt im Vogelbau"
7 2. Drei Blumen "Uchtblume blüht im Herbst"
8 3. Dreierlei Schutzgeister "Pilinko, Tilinko, fröhliche Flötisten"
9 4. "Es schleppt mein Schuh"
10 5. "Wie ist die Nacht"
11 6. "Aus dem Häuschen in den Garten"

Erich Wolfgang Korngold - Drei Lieder für Gesang und Klavier
12 1. "Was du mir bist" (Elenore van der Straten)
13 2. "Mit dir zu schweigen" (Karl Kobald)
14 3. "Welt ist stille eingeschlafen" (Karl Kobald)

Aus dem Liederzyklug "Unvergänglichkeit":
15 1. Unvergänglichkeit "Deine edlen weißen Hände" (Eleonore van der Straten)

Wilhelm Grosz - Kinderlieder nach Texten von Christian Morgenstern:
16 1. Schlummerliedchen "Schlaf, Kindlein, schlaf"
17 2. Fips "Ein kleiner Hund mit Namen Fips"
18 3. "Die Enten laufen Schlittschuh"
19 4. Von dem großen Elefanten "Kennst du den großen Elefanten"
20 5. In der 'Elektrischen' "Du bist ja ein Hamster"
21 6. die drei Spatzen "In einem leeren Haselstrauch"
22 7. Der Mohr "Schlaf, Kindlein, schlaf"

Viktor Ullmann - Hölderlin-Lieder:
23 1. Abendphantasie "Vor seiner Hütte ruhig im Schatten"
24 2. Sonnenuntergang "Wo bist du? Trunken dämmert die Seele mir"
25 3. Der Frühling "Wenn auf Gefilden neues Entzücken keimt"

Kurt Weill - Drei Songs nach Texten von Bertolt Brecht:
26 1. Der Matrosen-Song "Hallo, jetzt fahren wir nach Birma hinüber"
27 2. Die Seeräuber-Jenny "Meine Herrn, heut sehn Sie mich Gläser abwaschen"
28 3. Der Bilbao-Song "Bills Ballhaus in Bilbao" / "Alabama Song"

Christiane Oelze - Verbotene Lieder - Komponisten im Exil
(192 kbps, front cover inlcuded)

VA - Bella Ciao - 20 Versionen & 2 Bonus Tracks

"Bella ciao" ("Goodbye beautiful") is an Italian folk song that was adopted as an anthem of the anti-fascist resistance. It was used by the Italian partisans during the Italian Civil War between 1943 and 1945 in their struggle against the fascist Italian Social Republic and its Nazi German allies. "Bella ciao" is used worldwide as an anti-fascist hymn of freedom and resistance. The song has much older origins though in the hardships of the mondina women, the paddy field workers in the late 19th century who sang it as a protest against harsh working conditions in the paddy fields in North Italy.

"Bella ciao" was originally sung as "Alla mattina appena alzata" by seasonal worker of paddy fields of rice, especially in Italy's Po Valley from the late 19th century to the first half of the 20th century with different lyrics. The work of monda (weeding) was widespread in northern Italy in that era. The work consisted of removing the weeds growing in rice fields that hindered the healthy growth of young rice plants. It took place during the flooding of the fields, from the end of April to the beginning of June every year, during which the delicate shoots needed to be protected, during the first stages of their development, from temperature differences between the day and the night. It consisted of two phases: transplanting the plants and pruning the weeds. The work of monda was an extremely tiring task, carried out mostly by women known as mondinas (rice-weeders) that came of the poorest social classes. The workers would spend their workdays with their bare feet in water up to their knees and their back bent for many hours. The atrocious working conditions, long hours and very low pay led to constant dissatisfaction and led, at times to rebellious movements and riots in the early years of the twentieth century. The struggles against the supervising padroni was even harder with the abundance of clandestine workers ready to compromise even further the already low wages just to get work. Besides "Bella ciao", similar songs by the mondina women included "Sciur padrun da li beli braghi bianchi" and "Se otto ore vi sembran poche".

Other similar versions of the antecedents of "Bella ciao" appeared over the years, indicating that "Alla mattina appena alzata" must have been composed in the later half of the 19th century. The earliest written version is dated 1906 and comes from near Vercelli, Piedmont.
"Bella ciao" was revived by the anti-fascist resistance movement active in Italy between 1943 and 1945 with different lyrics of resistance. The author of the lyrics is unknown.

  1. Hannes Wader & Konstanin Wecker
  2. Maria Faradouri
  3. Modena City Ramblers
  4. Savage Rose
  5. Rocco Granata
  6. Rita Pavone
  7. The Red Army Choir
  8. Gruppo Folk Italiano
  9. Milva
  10. Yves Montand
  11. Diego Morena
  12. Mercedes Sosa
  13. Großer Rundfunkchor Berlin
  14. Dean Reed
  15. Pyhät Nuket
  16. Zupfgeigenhansel
  17. Toronto Symph. Orchestra
  18. Akkordeon-Piccador
  19. Madylin Orch.
  20. Die älteste überlieferte Aufnahme (Unknown Artist)
  21. Aluna Quartet
  22. Anita Lane

VA - Bella Ciao - 20 Versionen & 2 Bonus Tracks
(320 kbps, cover art included)

Charles Mingus, Max Roach, Eric Dolphy, Roy Eldridge, Jo Jones ‎- Newport Rebels (1961)

In 1960 bassist Charles Mingus helped to organize an alternative Newport Jazz Festival in protest of Newport's conservative and increasingly commercial booking policy. 

The music on this LP (which has been reissued on CD) features some of the musicians who participated in Mingus's worthy if short-lived venture. Trumpeter Roy Eldridge performs three numbers with pianist Tommy Flanagan, Mingus and drummer Jo Jones; of greatest interest is "Mysterious Blues" for it adds trombonist Jimmy Knepper and the unique altoist Eric Dolphy successfully to the group. The other selections match up drummers Max Roach and Jo Jones with Roach's quintet (featuring trumpeter Booker Little) on "Cliff Walk" and feature singer Abbey Lincoln on "Tain't Nobody's Bizness If I Do."


Mysterious Blues 8:35
Cliff Walk 9:37
Wrap Your Troubles In Dreams 3:47
Tain't Nobody's Bizness If I Do 7:11
Me And You 9:46

(320 kbps, cover art included)

Freitag, 24. April 2020

Abbey Lincoln - People In Me (1973)

Abbey Lincoln's candid recordings of 1960 and '61, with Max Roach and under her own name, are landmarks of African-American music and social statement. Her recent sessions on Verve are central to defining jazz vocals in the Nineties.In between are precious few recordings, primary among which is this 1973 Tokyo sessions that hitherto was the lost masterpiece of Lincoln's middle period. Recorded June 23, 1973 at Aoyama Victor studio, Tokyo.

The music on this out-of-print LP from the defunct Inner City label was recorded in Japan and has been released by several other record companies since. Abbey Lincoln's first record in a decade, the set features the very original singer joined by a couple of Japanese players (pianist Hiromasa Suzuki and bassist Kunimitsu Inaba) plus drummer Al Foster, percussionist Mtume and the horns (soprano, tenor and flute) of Dave Liebman. Abbey Lincoln wrote or co-composed all eight selections, best-known of which is "People in Me." Every Abbey Lincoln recording is well worth picking up for her sincerity, credibility and talent make each of her dates memorable in their own way.


A1 You And Me Love 4:24
A2 Natas (Playmate) 2:26
A3 Dorian (The Man With The Magic) 4:31
A4 Africa 7:06
B1 People In Me 4:51
B2 Living Room 5:16
B3 Kohjoh-No-Tsuki 3:24
B4 Naturally 4:36

Abbey Lincoln - People In Me (1973)
(256 kbps, cover art included)

Donnerstag, 23. April 2020

Paulinho da Viola - Paulinho da Viola (1971)

This album, originally from 1971, was reissued in CD format in 1996 with the original cover and was digitally remastered at the Abbey Road studios in London. While Brazil was still dominated by the frenetic sounds and images of the declining Tropicália, it is surprising that this subtle release could met such success.

The vigorous anti-commercialism branded in his previous album, centered in his somewhat melancholic and discrete personality, was even enhanced in this one, which was his fourth solo release. "Dona Santina e Seu Antenor" is a humorous chronicle of the life in the hills. "Para Um Amor No Recife" is a delicate bossa that was re-recorded by Fafá de Belém, Zé Ramalho, and Marina Lima. The re-recording of forgotten classics by important sambistas like Monarco, Francisco Santana, Elton Medeiros, Otávio de Moraes, Raul Sampaio, Benil Santos, Valzinho, Orestes Barbosa, Mauro Duarte, Walter Nunes, and others evidence his generosity in sharing his opportunities with his brothers. "Depois da Vida" (Nelson Cavaquinho/Guilherme de Brito/Paulo Gesta) aroused considerable polemics with its morbidity.               


A1Num Samba Curto2:48
A3Para Ver As Meninas2:47
A4Nas Ondas Da Noite2:06
A5Filosofia Do Samba2:10
A6Consumir E Viver2:42
B1Lapa Em Três Tempos (Musica Incidental: Abre A Janela)2:48
B3Minha Vez De Sorrir2:47
B5Abraçando Chico Soares2:00
B6Vinhos Finos... Cristais2:23

Paulinho da Viola -  Paulinho da Viola (1971)
(128 kbps, cover art included)

Buffy Sainte-Marie - Many A Mile (1965)

Buffy Sainte-Marie has enjoyed a long career that has seen her rise to stardom on the folk circuit and try her hand at country, rock, soundtrack themes, acting, activism, and children's television. For most listeners, she remains identified with the material she wrote and sang for Vanguard in the mid-'60s. Her songs that addressed the plight of the Native American, particularly "Now That the Buffalo's Gone" and "My Country 'Tis of Thy People You're Dying," were the ones that generated the most controversy. Yet she was also skilled at addressing broader themes of war and justice ("Universal Soldier") and romance ("Until It's Time for You to Go"). She was also a capable interpreter of outside material, although her idiosyncratic vibrato made large-scale commercial success out of the question.

Sainte-Marie's second LP was most notable for the original version of her most famous composition, "Until It's Time for You to Go," which is her most melodic and memorable track. The rest of the album is more traditional and rough-hewn than some would expect, including a ballad with a "Greensleeves"-like melody ("Must I Go Round"), the Bukka White blues "Fixin' to Die," the oft-done ballad "Lazarus," an Irish-American murder ballad, and a traditional tune accompanied only by mouthbow ("Groundhog"). Of more interest are Sainte-Marie's own compositions, including "Los Pescadores" (which has some of her most uncompromising vibrato) and "Welcome Welcome Emigrante."

Buffy Sainte-Marie - Many A Mile (1965)
(192 kbps, cover art included)

Hazel O´Connor - To Be Freed (1993)

Although her career seems to have been more as a media sensation than as a musician at times, British-born singer, songwriter, and actress Hazel O'Connor has stayed active and productive since her breakthrough role as Kate in the 1980 film "Breaking Glass". The soundtrack album for "Breaking Glass", which O'Connor wrote, was a huge U.K. hit and spawned several singles, launching her musical career, although she continued to act on British TV and in several stage productions while maintaining an active touring schedule with her band Megahype. 

Among her many albums are the 1980 debut, "Breaking Glass", that same year's "Sons & Lovers", 1981's "Cover Plus", 1984's "Smile", 1993's "To Be Freed" and "Over the Moon...Live", 1995's "Private Wars", 1997's "Live in Berlin", 1998's "5 in the Morning", 2000's "Beyond the Breaking Glass", 2002's "Acoustically Yours", 2003's "best of" "A Singular Collection", 2005's "Hidden Heart" and the double-disc "Fighting Back", and a 2008 version of "Smile". 

Throughout her career, O'Connor has used the tremendous pressure and scrutiny that accompanied her sudden fame as a central metaphor in her work, detailing the often-baffling complexities of modern life in a media-driven world.

"To Be Freed" was released in 1993, accompanied with O'Connor's same titled autobiography. It was her first album in 9 years.


1 My Friend Jack 3:53
2 Reach 4:25
3 Tell Me Why 4:24
4 Time After Time 3:41
5 This Could Be 2:52
6 Reinvention 3:27
7 Those Eyes 3:32
8 To Be Freed 4:39
9 Sing Out Sister 3:46
10 Over You 3:27
11 Let There Be Music 3:57
12 Driftwood 5:18
13 Will You 4:32

Hazel O´Connor - To Be Freed (1993)
(320 kbps, cover art included)

Mittwoch, 22. April 2020

Fehlfarben - Monarchie und Alltag (1980)

"Monarchie und Alltag" (Monarchy and Daily Life) was the 1980 debut album of German rock band Fehlfarben, released on the Welt-Rekord-label, a subsidiary of EMI. The album was not well-received initially, but developed a following over time, entering the charts seven months after its release and gradually climbing to peak at #37. The album belatedly spawned a hit single in 1982, "Ein Jahr (Es geht voran)", and certified gold in 2000, after a re-release during the post-punk revival.

The poor initial reception of the album and a scheduled lengthy tour prompted the departure of vocalist and songwriter Peter Hein, who did not return to the band until following a 2000 reunion. Guitarist Thomas Schwebel took over as lead vocalist for the tour and subsequent releases.

The album is regarded as highly influential in the Neue Deutsche Welle movement of Germany and the German punk scene. It secured a position for the band and its first lead singer as prominent figures in the German punk movement.

'Monarchie und Alltag' is one of the bigger classics from Germany. It is one of the first albums from the 'Neue Deutsche Welle'-genre and also one of the first german Post Punk albums.
And with the tracks 'Hier und Jetzt', 'Grauschleier' and 'Das sind Geschichten' it starts out really strong, while also introducing the sound.

The album has a great production, thrilling guitar riffs and wild saxophone. It's a bit like Gang of Four, a bit like an artier Clash. "Paul is tot" (Paul is Dead) is a cult classic 8 minute "Heart of Darkness" style dirge, but the whole album sounds great. Best songs: the punky "Hier und jetzt", the Killing Joke-like "Militurk", the frantic "Apokalypse", and of course "Paul ist Tot".

Crucial, essential, powerful and just amazing: a milestone in german music history. Breathtaking lyrics, driving beats - this is a masterpiece of the so called "Neue Deutsche Welle" - maybe one of the most relevant german albums in 2 or 3 decades (1980-2000) but please note: you can only enjoy the music completely if you understand the lyrics. 5 stars for one of the most important german albums ever.

01. Hier und jetzt
02. Grauschleier
03. Das sind Geschichten
04. All That Heaven Allows
05. Gottseidank nicht in England
06. Militürk
07. Apokalypse
08. Ein Jahr (Es geht voran)
09. Angst
10. Das war vor Jahren
11. Paul ist tot

(320 kbps, cover art included)

Zupfgeigenhansel - Jiddische Lieder - ‘Ch Hob Gehert Sogn

Here´s another album by Zupfgeigenhansel, called "Jiddische Lieder - ‘Ch Hob Gehert Sogn" with interpretations of some klezmer classics, released on Pläne records.

Zupfgeigenhansel was a german folk duo, found in 1974 by Erich Schmeckenbecher and Thomas Fritz.
The tried to revive german folk songs with a democratic character building up a kind of alternative german folk style as a counter point to the very conservative official german folk music of that time.

Once a journalist wrote about that attempt - reffering to a very popular conservativ german "Volksmusiker" calling himself Heino: "I wish Heino would listen to the music of Zupfgeigenhansel, so that he will stop singing his songs!"

(192 kbps)

VA - Materiale Resistente 1945 - 1995

First posted in May 2015:

In May 1945, World War II ended in Europe with the capitulation of the German Wehrmacht. There will be several events in Berlin marking this as Victory Day. On the occasion of the 70th anniversary we will commemorate the Victory Day and the impacts of World War II with some postings.

The compilation album "Materiale Resistente" (1995) is a collection of cover versions of classic songs of the resistance against Nazi Germany.


01. ÜSTMAMÒ - Siamo i ribelli della montagna
02. OFFICINE SCHWARTZ - Ciao bella
03. UMBERTO PALAZZO E IL SANTO NIENTE - Wir sind partisanen
04. A.F.A. - Con la guerriglia
05. SETTORE OUT - Amore ribelle
06. C.S.I. - Guardali negli occhi
07. CORMAN & TUSCADU - La complainte du partisan
08. DISCIPLINATHA - Vi ricordate quel 18 aprile
09. YO YO MUNDI - I banditi della Acqui
10. MAU MAU - Resistenza, Marzo '95
11. GANG - Eurialo e Niso
12. LOU DALFIN - Lou Pal
15. MARLENE KUNTZ - Hanno crocifisso Giovanni
16. SKIANTOS - Fischia il vento
17. AFRICA UNITE - Il partigiano John
18. ROSSO MALTESE - Il canto dei deportati

VA - Materiale Resistente 1945 - 1995
(ca. 224 kbps, cover art included)

Montag, 20. April 2020

Forever More ‎– Yours Forever More

Forever More was a late 1960s and early 1970s progressive rock band, featuring Alan Gorrie on bass guitar, piano, vocals; Mick Strode (aka Mick Travis) on guitar, vocals; Onnie McIntyre (aka Onnie Mair) on guitar and vocals; and Stuart Francis on drums and vocals. The principal songwriters for Forever More were: Alan Gorrie and Mick Strode, writing either as individuals or co-writing. Alan Gorrie, Onnie McIntyre, and Stuart Francis all originated from Scotland, whereas Mick Strode was born in Oldbury in the West Midlands. The band toured extensively in the United Kingdom and in Europe. They recorded two LPs: "Yours" and "Words on Black Plastic".

"Yours – Forever More" is the debut album of the Scottish progressive rock group Forever More. Recorded in 1969, it was released as a vinyl album in 1970. It was produced by Simon Napier-Bell and Ray Singer. It features future The Average White Band members Onnie McIntyre and Alan Gorrie.

Many of the album's songs can be heard in the film "Permissive", in which the band appear as actors.

A1 Back In The States Again 2:47
A2 We Sing 4:10
A3 It's Home 1:36
A4 Home Country Blues 2:55
A5 Good To Me 8:00
B1 Yours 2:10
B2 Beautiful Afternoon 2:19
B3 8 O'Clock & All's Well 3:20
B4 Mean Pappie Blues 1:36
B5 You Too Can Have A Body Like Mine 2:42
B6 Sylvester's Last Voyage 3:39

Forever More ‎– Yours Forever More
(320 kbps, cover art included)

Sonntag, 19. April 2020

VA - Wann wir schreiten Seit an Seit - Hymnen & Kampflieder der Arbeiterbewegung

This collections features worker songs from the 20th century and the last half of the 19th century. The recordings were done between 1966 and 1984 at the "Arbeiterfestspiele" and "Nationale Jugendfestival" in the GDR.

The "Solidaritätslied" ("Vorwärts und nicht vergessen") is an interpretation by Ernst Busch, the vocals on "Venceremos" were done by Dean Reed.

01 Wann wir schreiten Seit an Seit
02 Brüder, zur Sonne, zur Freiheit
03 Auf, auf zum Kampf
04 Arbeiter-Marseillaise
05 Brüder, seht die rote Fahne
06 Dem Morgenrot entgegen
07 Warschawjanka
08 Matrosen von Kronstadt
09 Der Rote Wedding
10 Solidaritätslied
11 Die Moorsoldaten
12 Die Thälmann-Kolonne
13 Thälmann-Lied
14 Badiera rossa
15 Venceremos
16 Black and white
17 We shall overcome
18 Die Internationale

VA - Wann wir schreiten Seit an Seit
(192 kbps, front cover included)

Zupfgeigenhansel - Volkslieder 2 (1977)

Zupfgeigenhansel was a German folk duo founded by Thomas Friz and Erich Schmeckenbecher. They were activ during the 1970s and 1980s. The group took its name from the famous Wandervogel Songbook "Der Zupfgeigenhansl" that appeared in 1909, although the group's repertoire overlaps only partially with the contents of the songbook.

Zupfgeigenhansel initially followed the idea of rediscovering and repopularising German folk songs with libertarian character, partly to be provided with their own melodies. These folk songs were dealing with the lives of "ordinary" people of the past centuries - they were telling stories about love, poverty, and venture, the contempt for authority and priests as well as the resistance against militarism.

Zupfgeigenhansel became a foundation stone - next Ougenweide, Hannes Wader and Liederjan - for an alternative German folk music, beyond traditional folk music occupied by conservatives.

Zupfgeigenhansel performed since 1974 in various folk clubs, mainly in southern Germany. A few radio appearances on the show "Liederladen" at "Südwestfunk" followed. 1976 her first album "Volkslieder I" was published on the Pläne label, "Volkslieder II" followed in 1977. That album was recorded in January 1977 at Conny Plank´s studio in Neunkirchen.

01. Ich bin ein freyer Bauern-Knecht (Traditional) 2.41
02. Und in dem Schneegebirge (Traditional) 2.35
03. Papst und Sultan (Traditional/Noack) 2.20
04. Annagret (Traditional) 1.51
05. Mein Michel (Traditional (Friz/Schmeckenbecher) 2.40
06. Mein Vater wird gesucht (Drach/Kohlmey) 2.50
07. Bürgerlied (Traditional) 3.23
08. Soldatenschicksal (Traditional (Friz/Schmeckenbecher) 2.37
09. Die bange Nacht (Traditional(Lyra) 1.43
10. Bibel und Flinte (Traditional) 1.22
11. Es dunkelt schon in der Heide (Traditional) 4.23
12. Die Brombeeren (Traditional) 3.04
13. Der Karmeliter (Traditional) 2.46
14. Ehestandsfreuden (Traditional) 4.16

15. Der Revoluzzer (live, bonus track) 2.28
16. Andre, die das Land so sehr nicht liebten (live, bonus track) 3.11

Samstag, 18. April 2020

Tenor Saw & Nitty Gritty - Tenor Saw Meets Nitty Gritty (1985)

One of the most important figures in early ragga and dancehall, Tenor Saw (born Clive Bright, 1966, Kingston, Jamaica) is best-known for his 1985 hit "Ring the Alarm," a song based on the then-ubiquitous "Stalag 17" rhythm which proved to be one of the biggest — and catchiest — hits to come out of reggae's transition into the electronic age.

Tenor Saw followed it up with "Fever", an LP that — while it didn't contain his signature song — proved to be a minor classic of early dancehall, full of simple, catchy melodies, synthesized rhythm-section parts, and Tenor Saw's floating vocals.

With such a promising start to his career, it seemed Tenor Saw would be around for quite a long time; sadly, his life was cut short in August 1988, when he was hit by a car in Houston, TX, and killed. The album "Wake the Town" was released posthumously in 1992.

Here´s "Tenor Saw Meets Nitty Gritty", a George Phang Power House album released originally in 1985 with 8 tracks.

Tenor Saw - Lone Ranger & Tonto
Nitty Gritty - One Auntie Lu Lu
Tenor Saw - A House Is Not A Home
Nitty Gritty - Drape Her Up
Tenor Saw - Roll Call
Nitty Gritty - Everything You Try
Tenor Saw - If You Only Knew
Nitty Gritty - She's A Delilah
Tenor Saw - Ring The Alarm
Nitty Gritty - False Alarm
Tenor Saw - Pumpkin Belly
Nitty Gritty - Hog Inna Minty
Tenor Saw - No Work On Sunday
Nitty Gritty - Gimme Some Of Your Sum'thing
Tenor Saw - Golden Hen
Nitty Gritty - Run Down The World

Tenor Saw & Nitty Gritty - Tenor Saw Meets Nitty Gritty (1985)
(ca. 180 kbps, front cover included)

Bob Dylan - Broadside - Broadside Show And Sessions (1962 - 1963)

In late 1962 and early 1963, Dylan recorded 14 songs for Broadside, the folk magazine that printed many of his early compositions and also recorded numerous folk singers, putting out some of the tapes on official albums. Indeed, half a dozen of these songs actually came out on the compilation albums Broadside Ballads, Vol. 1 and Broadside Reunion, with Dylan using the pseudonym Blind Boy Grunt to avoid contractual problems, although those anthologies are hard to find now.

This bootleg gathers all 14 of the performances, adding three numbers (and some chat) from a May 1962 radio show for WBAI in New York. The show was never broadcast, but, to add to the discographical tangle, two of the songs ("Emmett Till" and "Ballad of Donald White") were officially released on Broadside Reunion, although these weren't actually cut for Broadside. Taken together, the cuts on this CD catch Dylan in his hardcore folky phase, at a time when the songs were just beginning to pour from his pen like sugar through an hourglass. It's not the easiest listen, however, because the fidelity is very uneven, varying from acceptable major-label studio quality to ragged and, well, bootleg-ish, in the bad sense of that term. In addition, the performances are not always optimum, sometimes breaking down or stumbling; for Dylan and others, it should be remembered, the Broadside sessions were often used as a way of getting a composition down on tape in any form for reference, and not as a commercial or polished rendition. Also, the songwriting itself varies widely in quality, from "Blowin' in the Wind" (the sole unreleased performance from the WBAI session) to some of his least impressive topical numbers, like "Talkin' Devil." This material is mostly of interest for several compositions that did not make it onto his official releases in any form, like "Train a-Travelin'," "Cuban Missile Crisis," and "I'd Hate to Be You on That Dreadful Day," although none of these are memorable; there are also unreleased versions of some of his most obscure numbers, like "Walkin' Down the Line," "Playboys and Playgirls," and "Paths of Victory."

Capping the disc is a poor-fidelity version of "Only a Pawn in Their Game" sung by Dylan at the 1963 Washington Civil Rights March. If for some reason this CD was the only rare and unreleased Dylan from the early '60s available, it would be of immense historical interest. As it is, it's only of historical interest for committed Dylan scholars, particularly as there are far superior bootlegs of unreleased material from this same period available, such as The Freewheelin' Bob Dylan Outtakes and the 1961 tapes he made in an apartment in Minneapolis.      -

1Ballad Of Donald White
2The Death Of Emmett Till
3Blowin' In The Wind
4I'd Hate To Be You On That Dreadful Day
5Oxford Town
6Paths Of Victory
7Walkin' Down The Line
8Playboys And Playgirls
9Talkin' Devil
11Masters Of War
12Let Me Die In My Footsteps
13Only A Hobo
14John Brown
15I Shall Be Free
16Train A-Travelin'
17Cuban Missile Crisis
18Only A Pawn In Their Game
19Keep Your Eyes On The Prize

Bob Dylan - Broadside - Broadside Show And Sessions (1962 - 1963)
(192 kbps, cover art included)

Freitag, 17. April 2020

Pete Seeger - Pete Seeger´s Family Concert

Two weeks shy of his 73rd birthday, Pete Seeger released this, his first solo album since 1980 and his first musical album for children since 1974. He is in surprisingly good voice for his age, still able to reach high notes, although, as usual, his chief attribute as a singer is his engagement with his listeners, to whom he is particularly attuned here. They sound, at least on some tracks, like a small and young crowd (there is some aural evidence that performances from different sources have been blended together), and they are happy to sing along. 

The selection is not exclusively child-oriented; in fact, it is in some respects a fairly typical Seeger concert program, just with a little more children's material than usual. The singer's Hudson Valley locale comes in for several references in his remarks and in songs like "The River That Flows Both Ways" (that would be the Hudson), and he is not averse to slipping in his political viewpoint here and there, for instance singing a new verse to "This Land Is Your Land" that contains a Native American complaint about mistreatment. Seeger seems to be singing for an audience that gets older over the course of the show, at least as far as the progression of the songs goes. Early on, he is leading singalongs on tunes like "Skip to My Lou" and "Coming Round the Mountain" (the latter complete with kid-friendly sound effects). But after singing and reciting his popular story-song, here printed as "Abi Yo Yo" rather than "Abiyoyo," the final section of the concert is less child-oriented. What are youngsters to make of "Guantanamera" or the claim in Woody Guthrie's "Lonesome Valley" that "we [will] win that one big union by and by"? Maybe that doesn't matter as long as there are catchy choruses that parents and children can join in on. Or maybe, by calling this a "family concert," Seeger signals that he is singing as much for the grown-ups as the kids.


1 Skip To My Lou 2:05
2 Sailin’ Up, Sailin’ Down 3:33
3 Canoe Song 0:43
4 Coming Round The Mountain 2:58
5 This Land Is Your Land 3:45
6 Abi Yo Yo 5:00
7 Somas El Barco (We Are The Boat) 4:04
8 Guantanamera (Guarijira Guantanamera) 3:43
9 The River That Flows Both Ways 3:29
10 Lonesome Valley 4:00
11 Living In The Country/Freight Train 5:21
12 My Rainbow Race 2:54

(320 kbps, cover art included)

Andy White - Rave On (1986)

The Irish singer, songwriter, poet, and author Andy White has emerged in the late '80s with a sound that combined the attitude of punk, the political savvy of protest folk, and the melodicism of pop. Not unlike Billy Bragg or the Waterboys' Mike Scott, White has maintained a consistent literate bent throughout his career while moving across various genres. His exposure grew in the mid-'90s as part of the one-off trio ALT, and in later years he formed a folk duo with Canadian artist Stephen Fearing. In the 2010s, White also began publishing books of poetry and prose and in 2016 issued a career-spanning box set of all his studio albums. At the end of the decade, he re-engaged with his political protest music on albums like "The Guilty & the Innocent" and 2019's "Time Is a Buffalo in the Art of War".

White's career began in 1985 with an EP on Stiff Records called "Religious Persuasion". A move to the London label yielded his debut full-length, 1986's "Rave On", a political protest album in the vein of Bob Dylan that addressed problems in Ireland and his native Belfast. After 1988's "Kiss the Big Stone", he parted ways with London, recording first for Cooking Vinyl (1990's "Himself"), then inking a deal with Warner to deliver 1992's "Out There" and 1994's "Destination Beautiful".


A1 The Soldier's Sash 3:23
A2 Vision Of You 3:53
A3 Reality Row 4:50
A4 I Will Wait 4:17
A5 Things Start To Unwind 5:56
B1 Religious Persuasion 3:46
B2 Tuesday Apocalypse #13
B3 Rembrandt Hat 3:50
B4 The Walking Wounded 4:40
B5 The Big Rain 5:52

Andy White - Rave On (1986)
(320 kbps, cover art included)

Donnerstag, 16. April 2020

Bertolt Brecht - Flüchtlingsgespräche (Berliner Ensemble, LITERA 1970)

This is the classic Berliner Ensemble recording of Bertolt Brecht's "Flüchtlingsgespräche" ("Conversations in Exile")

Side 1:
I. Über Pässe / Über die Ebenbürtigkeit von Bier und Zigarre / Über die Ordnungsliebe
II. Über niedrigen Materialismus / Über das Überhandnehmen bedeutender Menschen
III. Schwierigkeiten der großen Männer / Ob der Wieheißterdochgleich ein Vermögen besitzt
IV. Trauriges Schicksal großer Ideen / Die Zivilbevölkerung ein Problem

Side 2:
V. Die Schweiz, berühmt durch Freiheitsliebe und Käse / Vorbildliche Erziehung in Deutschland / Die Amerikaner / Frankreich oder der Patriotismus / Über Verwurzelung / Dänemark oder der Humor / Über die Hegelsche Dialektik
VI. Ziffel erklärt seinen Unwillen gegen alle Tugenden
VII. Kalles Schlußwort / Eine ungenaue Bewegung
.(192 kbps, cover included)
You will find the original liner notes in the comment section.

Zupfgeigenhansel - Volkslieder I (1976)

And finally here´s the first volume of Zupfgeigenhansel´s "Volkslieder" series. Zupfgeigenhansel was a German folk duo, one of the most successful groups to emerge on the German folk scene in the 1970s. It consisted of Erich Schmeckenbecher and Thomas Friz. The group was named after the collection of folk songs of the same name, which was published in 1909.

The group started playing in folk-clubs, mainly in southern Germany, in 1974. They also appeared on the radio programme Liederladen of the Südwestfunk broadcasting station. They released their first album, Volkslieder I for the Pläne record company in 1976, and later in the year their second album, Volkslieder II. In 1978 they received the award of "Artists of the Year" in one of the categories of the German Phonoakademie. They disbanded in 1985.

Zupfgeigenhansel participated in the revival of the democratic German folk song in the 70s and 80s


Der arme Bauer
Jetzo kommt für unsereinen
Es het e Buur es Töchterli
Der Selbstmord
Ich hab' die Nacht geträumet
Lied der Pariser Kommune
Es wollt ein Bauer früh aufstehn
Es, es, es und es
Ich bin Soldat
Mein Kind wir waren Kinder
Stets i Trure
Mönch und Nonne
Als wir jüngst verschütt jegangen
Wenn alle Brünnlein fließen (bonus track, live)
Die Bauern von St. Pölten (bonus track, live)

Zupfgeigenhansel - Volkslieder I
(256 kbps, cover art included)