Montag, 23. Mai 2022

Dog Faced Hermanns - Those Deep Buds (1994)

Not many rock bands have a trumpet as a key instrument, but then again not many rock bands - not many musical groups, period - are quite like the Dog-Faced Hermans. 

With production by noted U.K. boardsman Guy Fixsen, "Those Deep Buds" kicks with a vicious, smart passion, with lead figure Marion handling the vocals and aforementioned brass with aplomb. Backed by the fine, ragged rhythm section of bassist Colin and drummer Wilf and playing off the rough, spindly riffing of guitarist Andy, she leads her charges down constantly unexpected musical detours with entertaining results. 

It might not be too far to suggest that the group has the same questing spirit as bands like Wire, the Slits, or the Raincoats, but rather than simply recreating the work of those leaders of U.K. post-punk, the Hermans doggedly pursue their own distinct muse. Hints of Krautrock also crop up, both in trancy rhythms (the ebb and flow of "Keep Your Hands/Off My Body") and in the sudden shifts and stops in the music at many points. Fragmentation and propulsion rather than easily hummed melodies are the name of the game, with everything from flamenco-touched percussion and playful, '20s/'30s jazz runs to virulent condemnation of societal idiocies on the agenda. Fixsen's production brings out the strength in the individual performances while retaining space and depth in the mix, even when everything ratchets up to a full explosion. Marion's vocals are never entirely buried, her strong voice cutting through it all, while Andy's guitar play often reaches majestic heights, equal to the sonic wash of shoegazing without losing any bite. 

Particular highlights include the tight, swinging groove of "Les Femmes et les Filles Vont Danser" and the harrowing peek into the heart of evil "Calley," reliving the horror of the My Lai massacre as echoed down through time.


Blessed Are The Follies 5:31
Volkswagen 5:35
Keep Your Laws / Off My Body 5:19
Lie And Swell 2:59
H Tribe 4:56
Human Spark 4:47
Les Femmes Et Les Filles Vont Danser 4:51
Virginia Fur 5:58
Calley 4:11
Dream Forever 3:22

Dog Faced Hermanns - Those Deep Buds (1994)
(320 kbps, cover art included)

Hannes Wader - 7 Lieder (1972)

Hannes Wader (born 23 June 1942 in Bethel near Bielefeld, Germany as Hans Eckard Wader) is a musician and songwriter. Beside Konstantin Wecker he is one of the last songwriters of the "old school".

Initially known as a socially critical chansonnier, he had a strong influence on the anti-authoritarian movement in 1970. In the 1970s, Hannes Wader became one of the stars of the political left through his provocative songs. Since the late 1970s until 1991 he was engaged as a member of the DKP (German communist party) and has performed at many political events. He interpreted socialist workers' songs and hymns. Wader even came under suspicions of terrorism because of his song Der Tankerkönig, a spoken song about kidnapping a tycoon. Since the 1990s, Wader performs folk songs and songs from the Romantic era besides his own tunes.

The album "7 Lieder" from 1972 contains one of his most famous song, "Heute hier, morgen dort" ("here today, gone tomorrow").

Hannes Wader - 7 Lieder (1972)
(192 kbps, no cover included)

Sonntag, 22. Mai 2022

Hannes Wader - Ich hatte mir noch soviel vorgenommen (1971)

Hannes Wader is a German songwriter (Liedermacher), singer and guitarist. He was an important figure in German leftist circles from the 1970s on, with his songs covering such themes as socialist and communist resistance to oppression in Europe and other places like Latin America. He both wrote new songs and played versions of older historical works.

Wader was born in Bielefeld, Westphalia, Germany, on 23 June 1942. His works are mostly based on German folk songs. Aside from his own lyrics, he also performs works of famous poets like Eichendorff. He now rarely sings the workers' songs and socialist hymns that used to be a large part of his repertoire. He recently published an album exclusively with songs by Franz Schubert. He also performed translated works from Carl Michael Bellman on the album "Liebe, Schnaps & Tod".

Remarkably, many of the social issues Wader sang about are still relevant today. Besides Franz Josef Degenhardt (r.i.p.!), Wader is one of the most relevant political singer-songwriter in Germany.

In the 1970s, Hannes Wader became one of the stars of the political left through his provocative songs. He was a member of the German Communist Party from 1977 to 1991. The publication of the song "Der Tankerkönig" stirred up controversy, as it covered the kidnapping of the son of the tycoon Rudolf August Oetker. Wader even came under suspicions of terrorism.

In 1973 he moved to Struckum, in Nordfriesland, where he published some of his later albums. In 1998, he and his family moved to Kreis Steinburg, Schleswig-Holstein.

He has published numerous albums and still tours throughout Germany. He appears in open-air concerts and also in clubs.
By the way, if you have the chance to watch the wonderful documentary film "Wader Wecker Vater Land" about Konstantin Wecker and Hannes Wader, please don´t miss it!

Thanks a lot for all the wonderful songs, Hannes!

01 Charly
02 Eine die du nicht kennst
03 Steh doch auf du armer Hund
04 Hör auf Mädchen
05 Aufgewachsen auf dem Lande
06 Monika
07 Arschkriecherballade
08 Ich hatte mir noch soviel vorgenommen

(192 kbps, cover art)

VA - Folk Friends 2

This is the second part of the legendary "Folk Friends" recordings. This album documents a historical meeting of some of the best and most influential folk artists from England, Ireland Scotland, Germany and the USA.

All are playing solo and in various combinatins together. The album is not a usual sampler, but a unique session recording with Derroll Adams, Davey Arthur, Alex Campbell, Guy & Candie Carawan, Ramblin' Jack Elliott, John Faulkner, Finbar Furey, Dick Gaughan, Andy Irvine, Wizz Jones, Dolores Keane, Werner Lämmerhirt, Danny Thompson and Hannes Wader.

 The "Folk Friends" session was recorded between 16. - 28. October 1980 at Windmill "Fortuna"/Struckum and Tonstudio St. Blasien/Northeim by Günter Pauler.


1 Two Hundred Miles Away 4:03
2 The World Turned Upside Down 2:35
3 Seamen Three 3:21
4 Columbus Georgia 4:19
5 Born To Live With The Blues 4:01
6 The Father's Song 3:41
7 Yesterday's People 2:35
8 Take The Children And Run 3:17
9 Thousands Are Sailing To Amerikay 4:27
10 Es ist ein Schnee gefallen 2:46
11 Don't Think Twice It's All Right 3:40
12 Voices From The Mountains 1:48
13 Bloody Sunday 4:28
14 Siege Of A Nation 4:04
15 Lassie Lie Near Me 4:37
16 Me And Bobby McGee 3:00
17 The John MacLean March 4:10
18 Jamie Foyers 3:42
19 Green Grows The Laurel 3:23
20 The Waterford Waltz 2:53
21 Planet Without Plan 3:10

VA - Folk Friends 2
(256 kbps, front cover inlcuded)

VA - Klabunterbunt - Chansons, Lieder, Gedichte und Prosa von Klabund

Klabund was the pseudonym of Alfred Henschke (born Nov. 4, 1890, Crossen, Ger. - died Aug. 14, 1928, Davos, Switz.), an Expressionist poet, playwright, and novelist who influenced German literature with his adaptations and translations of Oriental literature. Notable among his free, imaginative renderings of Chinese, Japanese, and Persian literature are Li-tai-pe (1916), Lao-tse (1921), and Der Kreidekreis (1924; The Circle of Chalk), a drama that inspired the German playwright Bertolt Brecht to write his play Der kaukasische Kreidekreis (The Caucasian Chalk Circle).

A consumptive who spent many years in sanatoriums, Henschke identified with the eternally seeking wandering poet and called himself Klabund, a name derived from Klabautermann (“hobgoblin”) and Vagabund (“vagabond”). Restlessness and versatility characterize his work. He composed poetry in a variety of forms, and he created a new prose form, the “Expressionist novella.” Notable in this genre are his autobiographical “novels of longing,” with themes of sickness and love; biographical “novels of passion,” with sensual portraits of historical figures (e.g., Pjotr, 1923; Peter the Czar); and his greatest achievements in prose, two “novels of fulfillment”—Bracke (1918; Brackie, the Fool) and Borgia (1928; The Incredible Borgias).

"It’s the eightieth anniversary of Klabund’s death, a very timely moment to release this, a fascinating portrait of one of the driving forces for German Cabaret music during its heyday. Edel, in conjunction with the Akademie der Künst, has been releasing listenable portraits of Cabaret greats for some ten years now with their series ‘The Listening Room’. These are two-disc surveys of vintage recordings of the likes of Friedrich Hollaender, Werner Richard Heymann and Rudolf Nelson, all painstakingly cleaned up, with extensive liner-notes - albeit with abbreviated English translations.
Klabund, born Alfred Henschke, never enjoyed good health in his adolescent and adult years, and tuberculosis claimed him at an early age. He ceased his studies to take up the role of peregrinating poet, taking up his pseudonym as a combination of Klabautermann, the traditional gremlin that was known to plague mines and ships, and Vagabond His poetry turned from the lofty topics that some ivory-tower types busied themselves with and chose instead to focus on everyday life. He wanted, as he said to “be in the ‘it’ of things.” In the meadowland of life, as the liner-notes mention, he wanted to be of use: “I am the manure!” he joyfully exclaimed.
Those who set his words to music are the stars of the German music firmament: Werner Richard Heymann, Friedrich Hollaender, Hanns Eisler. The first disc is devoted to these musical settings, the earliest of these recorded in 1930, ranging to 2004, with most put to tape in the sixties. An especial standout is the stout-hearted performance of Kate Kühl singing “Der Glockenturm”. Heymann’s setting borrows heavily from the famous entry of the piano in Tchaikovsky’s first piano concerto, but darkens as the lyrics do. The speaker “stands free in the world like the bell-tower ... moving neither to left or right.” The ten-thousand-pound bells become a symbol for deep suffering in this all-too brief song: “so heavy with pain is my heart”, Kuhl blurts out, the emotion in her voice raw and electrifying. There is one song translated into English, Amsterdam, showing the sad recurrence of crushed dreams in those Klabund wrote of — the people of the streets. “In ancient Amsterdam I have become a Thing”, the singer intones, another character left to walk the asphalt like his mother.
The second disc is a sort of audio book, with various actors narrating a selection of his prose and poetry. His brief autobiographical sketches are interesting, and here we have straight readings of the verses that captured the attention of so many composers. Unfortunately there are no parallel texts in the booklet, or any translations into English, which does limit the impact of this second disc, but it appears that the non-German-speaking audience is not the particular target of this release. For those, however, who have working knowledge of German and who have a love of Cabaret music, should certainly look out for this set, as well as the others issued by Edel. They are greatly rewarding and historically-significant collections." 


Disc 1
1 Busch, Ernst, Traditional - Altes Reiterlied 01:36
2 Kühl, Kate, Heymann, Werner R. - Der Glockenturm 01:16
3 Busch, Ernst, Reinitz, Béla - Die Garde klagt 01:33
4 Kühl, Kate, Heymann, Werner R. - Räuber Stenka 02:42
5 Busch, Ernst, Traditional - Vater ist auch dabei 01:33
6 Hase, Annemarie, Heymann, Werner R. - Mit'n Zopp 01:55
7 Busch, Ernst, Eisler, Hanns - Ballade des Vergessens 04:52
8 Ebinger, Blandine, Hollaender, Friedrich - Ick baumle mit de Beene 02:11
9 Wieder, Hanne, Faber, Joachim - Im Obdachlosenasyl 02:55
10 Busch, Ernst, Reinitz, Béla - Fünf Mark 02:40
11 Lange, Katherina, Hollaender, Friedrich - Es hat jeschnappt 01:32
12 Kühl, Kate, Heymann, Werner R. - Matrosenlied 01:41
13 Wieder, Hanne, Hollaender, Friedrich - Da muß ich fliegen 02:18
14 Ziegler, Daniela, Benatzky, Ralph - Hamburger Hurenlied 02:14
15 Kühl, Kate, Grund, Bert - Die Wirtschafterin 01:23
16 Weisgerber, Eleonore, Hollaender, Friedrich - Das Lied von der Treue 02:49
17 Prey, Hermann, Schultze, Norbert - Wanderung zur Nacht 02:14
18 Anders, Sylvia, Schultze, Norbert - Wiegenlied (Bin worden alt) 03:15
19 Wader, Hannes, Bellmann, Carl Michael - Notabene 01:33
20 Wieder, Hanne, Breuer, Jochen - Die Harfenjule 01:20
21 Dorette, Dora, Benatzky, Ralph - Die englischen Fräuleins 02:02
22 Fischer, Tim, Dress, Michael - In Amsterdam 02:46
23 Wieder, Hanne, Nick, Edmund - Ick baumle mit de Beene 02:40
24 Günther, Matthias, Heymann, Werner R. - Altes Reiterlied 01:16

Disc 2
1 Günther, Matthias, (keine Angaben) - Kleine Selbstbiographie 03:08
2 Daemgen, Holger, (keine Angaben) - Der Absolutismus bricht an 02:43
3 Lange, Katherina, (keine Angaben) - Paula 02:57
4 Daemgen, Holger, (keine Angaben) - Biographie 02:00
5 Günther, Matthias, (keine Angaben) - Fabel 01:12
6 Lange, Katherina, (keine Angaben) - Das Sprichwort 01:55
7 Daemgen, Holger, (keine Angaben) - Weibertreu 05:09
8 Schitzler, Barbara, (keine Angaben) - Der Mann mit der Maske 07:57
9 Daemgen, Holger, (keine Angaben) - Ecke Uhlandstraße 02:41
10 Günther, Matthias, (keine Angaben) - Schlaflose Nacht 02:09
11 Schitzler, Barbara, (keine Angaben) - Marietta 13:04
12 Daemgen, Holger, (keine Angaben) - Marietta 01:10
13 Daemgen, Holger, (keine Angaben) - Mauke 02:45
14 Daemgen, Holger, Lange, Katherina, Schnitzler, Barbara, (keine Angaben) - Fragen Sie Frau Christine 13:08
15 Günther, Matthias, (keine Angaben) - Es hat ein Gott mich ausgekotzt 00:48
16 Daemgen, Holger, (keine Angaben) - Klabund bemerkte 00:51
17 Günther, Matthias, (keine Angaben) - Lebenslauf 00:53
18 Daemgen, Holger, (keine Angaben) - Berliner Mittelstandsbegräbnis 01:02
19 Günther, Matthias, (keine Angaben) - Widmung 01:14

VA - Klabunterbunt - Chansons, Lieder, Gedichte und Prosa von Klabund
(320 kbps, cover art included)

VA - I Wish I´d Written That Song -A Tribute To Colin Wilkie (Pläne)

The folk revival of the 1960s came to Germany through the playing of British-born singer/songwriter Colin Wilkie and his guitarist/vocalist wife Shirley Hart.

The composer of hundreds of songs and stories, Wilkie, spent 11 years as resident songwriter for SWF show Tellekolleg and seven years as host of his own weekly radio show. He passed on his unique fingerstyle approach to the guitar to influential German songwriter Franz Josef Degenhardt.

Wilkie's songs, which reflect on family, friends, and political and ecological themes, offer only a hint of his warm, intimate stage persona. Wilkie has recorded at a prolific rate. His more than 30 albums include 1970's "Sunflower Seed" (recorded with Hart, bassist Eberhard Weber, and pianist Milcho Leviev), 1972's "Morning" and 1974's "Outside the City" (reissued together as a compilation by the Pläne label in 2006), 1980's "Echoes of Old Love Songs", and 1996's "Empty Chairs".

Wilkie and Hart´s first album, released in 1965, was recorded with Scottish folksinger Alex Campbell. Musical theater has provided another outlet for Wilkie and Hart's talents. Their appearance as street singers in a production of John Arden's Life and Death at the Württemberg National Theater in Stuttgart helped to make the show so successful that it ran for several years. Wilkie's songs have been covered by a lengthy list of artists including the McCalmans, Werner Lämmerhirt, and Peter Ratzenbeck. An album of Wilkie's tunes interpreted by German singer/songwriters Hannes Wader, Lämmerhirt, and Degenhardt, "I Wish I'd Written That Song: A Tribute to Colin Wilkie", was released in 1996.


01 Manche Stadt - Hannes Wader (4:47)
02 The Incredible Bouncing Benny - Bill Ramsey (3:11)
03 Willow and Rue - Anne Wylie Band (6:34)
04 Snowy City Scenery - Ray Austin (3:50)
05 Saute Sans Regarder - Le Clou (3:24)
06 Emily-Anne - Reinhard May (5:38)
07 Down in Your Mines - Tony Ireland (4:01)
08 Weisser Sonntag - Franz Josef Degenhardt (4:11)
09 Jim Laker Took All Ten  - Julian Dawson (2:45)
10 Even Oak-Trees Fall - Joana (3:41)
11 Wüsste ich nur wie - Liederjan (3:17)
12 The National Seven - Hartmut Hoffmann´s Kleine Kapelle (5:11)
13 No Words - Werner Lämmerhirt (6:07)
14 First Flight Calypso - Yannick Monot (3:06)
15 Eppelein Van Gailingen - Shirley Hart (3:46)
16 One More City - Colin Wilkie & Peter Ratzenbeck (3:40)

VA - I Wish I´d Written That Song - A Tribute To Colin Wilkie
(192 kbps, front cover included)

Freitag, 20. Mai 2022

Hannes Wader – Bis jetzt (Live 1986)

"Bis jetzt (Live 1986)" was recorded live in November 1986 on Hannes Wader´s tour commemorating 20 years on stage. Forget about Goethe and Schiller, these are the relevant German lyrics for our world today. Ripped from records in mint condition, played for the 2nd time ever, no clicks, no pops. There is a re-release out on CD, but there are 3 tracks missing, among them the 2 strongest political songs. I wonder if the music industry mafia are cowards or cheaters, but most likely they are both. Track number 9 (Der Rattenfänger im Kaffee Giesing) is moved to the end of the list, because it is from a different show, on the vinyls it only fitted on side B.

Tracklist:01. Gut wieder hier zu sein 04:16
02. Ansage 00:25
03. Wir werden sehn 07:12
04. Blumen des Armen 03:18
05. Der Rattenfänger 07:38
06. Johnny 05:32
07. Charley 05:07
08. Mammi 04:54
09. Cocaine 05:13
10. Hotel zur Langen Dämmerung 05:58
11. Am Fluß 06:26
12. Unterwegs nach Süden 05:02
13. Dat du min Leefste büst 02:51
14. Pablo 04:58
15. Hafenmelodie 05:30
16. Landsknecht 06:19
17. Lisa 05:23
18. Der Rattenfänger im Kaffee Giesing 02:23

Hannes Wader – Bis jetzt (Live 1986)
(ca. 256 kbps, cover art included)

From Wikipedia and his website:

Hannes Wader (born Hans Eckard Wader on 23 June 1942) is a German singer-songwriter ("Liedermacher"). Wader was born in Bethel, near Bielefeld, Westphalia, Germany.

He both wrote new songs and played covers of historical works. His works are based on German folk tradition. Aside from his own lyrics, he also performs works of poets like Eichendorff, Schubert, Bellmann a.o.

In the 1970s, Hannes Wader became one of the stars of the political left through workers' songs, socialist hymns, and his provocative lyrics covering such themes as socialist and communist resistance to oppression in Europe and other places like Latin America.

Wader was a member of the German Communist Party from 1977 to 1991. He even came under suspicions of terrorism because he left his flat in Hamburg to Gudrun Ensslin, a RAF terrorist, and because of his song "Der Tankerkönig", a talking blues about kidnapping a tycoon. He then was banned by TV & radio and other media.

In 1973 he bought a windmill in Struckum, Nordfriesland, where he produced some of his later albums. In 1998, he and his family moved to Steinburg, district of Schleswig-Holstein.

Today he rarely sings the workers' songs and socialist hymns that used to be a large part of his repertoire. He recently published an album exclusively with songs by Franz Schubert. He also performed translated works from Carl Michael Bellman on the album "Liebe, Schnaps & Tod".

Remarkably, many of the social issues Wader sang about in his early days are still relevant today. Wader is one of the most active political singers in Germany today.

He collaborated with Werner Lämmerhirt, Hans Hartmann, Reinhard Mey, Konstantin Wecker a.o. Actually, Hannes Wader is playing his farewell tour...

Colin Wilkie - Empty Chairs (1996)

The folk revival of the 1960s came to Germany through the playing of British-born singer/songwriter Colin Wilkie and his guitarist/vocalist wife Shirley Hart. The composer of hundreds of songs and stories, Wilkie spent 11 years as resident songwriter for SWF show "Telekolleg" and seven years as host of his own weekly radio show.

He passed on his unique fingerstyle approach to the guitar to influential German guitarist Franz Josef Degenhardt. Wilkie's songs, which reflect on family, friends, and political and ecological themes, offer only a hint of his warm, intimate stage persona.

Wilkie has recorded at a prolific rate. His more than 30 albums include 1970's "Sunflower Seed" (recorded with Hart, bassist Eberhard Weber, and pianist Milcho Leviev), 1972's "Morning" and 1974's "Outside the City" (reissued together as a compilation by the Pläne label in 2006), 1980's "Echoes of Old Love Songs", and 1996's "Empty Chairs".

Wilkie and Hart's first album, released in 1965, was recorded with Scottish folksinger Alex Campbell. Musical theater has provided another outlet for Wilkie and Hart's talents. Their appearance as street singers in a production of John Arden's "Life and Death" at the Württemberg National Theater in Stuttgart helped to make the show so successful that it ran for several years. Wilkie's songs have been covered by a lengthy list of artists including the McCalmans, Werner Lämmerhirt, and Peter Ratzenbeck. An album of Wilkie's tunes interpreted by German singer/songwriters Hannes Wader, Lämmerhirt, and Degenhardt, "I Wish I'd Written That Song: A Tribute to Colin Wilkie", was released in 1996.       

The album "Empty Chairs" was released in 1996 on "Pläne". Colin Wilkie dedicated the album to the memory of his od mates Martin Winsor and Redd Sullivan.     


1 Empty Chairs 4:31
2 Painfully Sad 3:59
3 Autumn Is Knocking At Our Door 3:42
4 Old Movies Makes Me Cry 3:54
5 The National Seven 2:57
6 The Shearing's Not For You 4:40
7 Tomorrow's Turned Into Yesterday 3:13
8 Even Oak-Trees Fall 4:14
9 We Don't Inherit The Earth 5:52
10 Glencoe (Bitter Cold) 4:25
11 Captain Of The O & O Line 4:08
12 Time Does Not Return 4:09

Colin Wilkie - Empty Chairs (1996)
(320 kbps, cover art included)

VA - Folk Friends (1978)

This is a double album with the legendary "Folk Friends" recordings: A historical meeting of some of the best and most influential Folk Artists from England, Germany, Scotland, and the USA at the home and studio of Hannes Wader in 1978.

All of the artists are playing solo and in various combinations together. The album is not a sampler but a unique recording of these sessions of outstanding musicians like Derroll Adams, Davey Arthur, Alex Campbell, Guy & Candie Carawan, Finbar Furey, Wizz Jones, Werner Lämmerhirt and Hannes Wader.


Side One
Six Days On The Road
Night Visiting Song/Dat Du Min Leefste Büst
Planxty Irwin
I'm Sad and I'm Lonely
Lonely One
The Trail Of Tears

Side Two
Willst Du Dein Herz Mir Schenken
Night Ferry
I Remember Loving You
Derroll In The Rain
Who Will Sing For Me?

Side Three
Walking Down The Line
Old Molly Hare
Brder Seht Die Rote Fahne/Hold The Fort
One Day We'll See Them
Black Jack Davey
They Can't Put It Back

Side Four
New National Seven
Aragon Mill
Pay Day At Coal Creek
John Of Dreams
Alex's Dream/Ned Walsh's Jig
When The Fiddler Has Played His Last Tune For The Night

VA - Folk Friends (1978)
(192 kbps, front cover included)

Hannes Wader - Singt eigene Lieder (1969)

Originally posted on June 28, 2012:
Let´s try one more album by Hannes Wader, with congratulations to his 70th birthday!

The german political folk singer Hannes Wader was born in Bielefeld, North Rhine-Westphalia in 1942. Wader repertoire consists of traditional German folk songs ("Volksmusik"), provocative social commentaries - Wader was a member of the German Communist Party from 1997-1991 - , blue-collar ballads and songs based around the works of poets and classical composers. He still tours regularly in Germany.

"Singt eigene Lieder" was the first album released by Hannes Wader. It was produced by Knut Kiesewetter, who discovered the artist Hannes Wader,  at "Studio Windrose" in Hamburg.


A1 Alle Meine Freunde 3:52
A2 Das Bier In Dieser Kneipe 2:46
A3 Strenge Gesellen 4:08
A4 Die Gute Tat 2:37
A5 Frau Klotzke 3:52
A6 Ich Hatte Schon Lange Gespart 1:50

B1 Nach 12 2:15
B2 Das Lied Vom Kleinen Mädchen 2:15
B3 Das Loch Unterm Dach 1:52
B4 Viel Zu Schade Für Mich 3:42
B5 Blumen Des Armen 2:56
B6 Begegnung

Hannes Wader - Singt eigene Lieder (1969)
(192 kbps, front cover included)

The Rootsman - In Dub We Trust (1995)

Hailing from Bradford in the U.K., The Rootsman (John Bolloten) has moved from a fairly traditional roots reggae sound to an eclectic, experimental dub approach informed by African, Middle Eastern, and Asian sounds, as well as electronic dance music.

Bolloten's musical career began when he was living in Edinburgh, Scotland and taught himself to play guitar in 1978 at the age of 13 and formed his first punk band. After 3 concerts, he decided that being a guitarist in a band was not for him and he retired from that aspect of the music business. He moved to Bradford in 1983. He worked for over two years in the local Roots Record Shop, where he began to be known as 'Rootsman'.

Starting off making roots reggae in 1985, he began to incorporate African, Middle Eastern, Asian, trip hop and electronic dance music elements into his experimental dub music.

After creating his own Third Eye label in the mid-'90s (about a decade after he first began recording and DJing in 1985), Rootsman's output became quite prolific, if not quite readily available outside the U.K. He remixed and collaborated with artists as varied as the Orb's Alex Paterson, Brazilian metal band Soulfly, and experimental noise artist Muslimgauze, as well as reggae figures like Junior Delgado, Dub Syndicate, and U-Brown. 

In early 2000, Rootsman achieved his first official U.S. release with the remix album "Versions of the Unseen", which contained material from 1999's "Realms of the Unseen". His next album, "New Testament", came in 2002 and showcased the numerous vocalists that he had signed to his Third Eye label.

In the late 1990s, Bolloten converted to Islam, and his music took on an increasingly spiritual quality.

"In Dub We Trust" is a wonderful album from the high ti
mes of the British neo dub movement. A real pleasure!


Old Pan Killer (Burial Mix) 4:24
Blueprint Dub 4:21
Intifada 6:02
Western Sahara 4:28
Dubbing The Maghreb 5:05
Mektoub 4:45
Perilous Time 6:19
African Style 6:36
Return Of The Ustad 5:17
Bind Us Together (Unity Dub Mix) 7:08
Apocalypse Now 7:04
Temple Of Light 4:45
Jungle Lion 4:47

(320 kbps, cover art included)

Sonntag, 15. Mai 2022

VA - Ukrainian Folk Songs - The Golden Collection (2004)


Ukrainian folk music includes a number of varieties of traditional, folkloric, folk-inspired popular music, and folk-inspired European classical music traditions.

In the 20th century numerous ethnographic and folkloric musical ensembles were established in Ukraine and gained popularity.

During the Soviet era, music was a controlled commodity and was used as a tool for the indoctrination of the population. As a result, the repertoire of Ukrainian folk music performers and ensembles was controlled and restricted.

Ukrainian folk music has made a significant influence in the music of neighbouring peoples. Many Ukrainian melodies have become popular in Poland, Slovakia, Austria, Russia, Romania and Moldova. Through the interaction with the Eastern European Jewish community, Ukrainian folk songs such as "Oi ne khody Hrytsiu" composed by songstress Marusia Churai have been introduced into North American culture as "Yes my darling daughter" (sung by Dinah Shore).

The traditional music of the kobzari inspired the Dumky composed by various Slavic composers such as Tchaikovsky, Mussorgsky and Dvořák.

The use of folk melodies is especially encouraged in ballet and opera. Among the Ukrainian composers who often included Ukrainian folk themes in their music were Lysenko, Lev Revutsky, Mykola Dremliuha, Yevhen Stankovych, Aleksandr Shymko, Myroslav Skoryk (who adapted e.g. the folk song Verbovaya Doschechka).

In the late 1960s and early 1970s Ukrainian folk songs and folk song elements began to be included in pop and rock music in the rock-oriented Kobza ensemble, Smerichka, Opryshky Medikus and many other ensembles. This was driven by the lack of Ukrainian pop songs of the time. In time the genre of folk inspired pop music became significant, particularly inspired by the popularity of the Belarusian group known as Piesnari.

Of the Ukrainian groups the longest surviving and most significant was the group known as Kobza.

01 Jixav kozak.mp3
02 Nich jaka misjachna.mp3
03 Tuman jarom.mp3
04 Nese Halja vodu.mp3
05 Vechir nadvori.mp3
06 Oj na hori dva dubky.mp3
07 Handzja.mp3
08 Oj divchino shumyt' haj.mp3
09 Tam de Jatran'.mp3
10 Ishla divcha.mp3
11 Hrytsju.mp3
12 Ty do mene ne xody.mp3
13 Kazav meni bat'ko.mp3
14 Misjac na nebi.mp3
15 Oj u vishnevomu.mp3
16 Iz syrom pyrohy.mp3
17 Oj ja moloda.mp3
18 Oj chorna ja.mp3
19 Chorniji brovy.mp3
20 Oj haj maty.mp3
21 Byla mene maty.mp3
22 Mav ja raz divchinon'ku.mp3
23 Ty kazala pryjdy.mp3
24 Vzjav by ja banduru.mp3
25 Oj ne svity.mp3
26 Oj za hajem.mp3
27 Zore moja.mp3
28 Rozprjahajte, khloptsi, koni.mp3
29 Oj chyj to kin'.mp3
30 Hej, nalyvajte.mp3

(320 kbps, cover art included)

Samstag, 14. Mai 2022

VA - Homeland - A Collection Of Black South African Music (1987/1997)

This collection featuring various South African artists spotlights the region's stylistic range and idiomatic diversity. Most of the tracks are drawn from South African albums that went gold there in the late 1980s.

There's the frenetic sound of The Boyoyo Boys, Nkuku and Jopie Sisters and the Newcastle Five Roses, as well as individual vocalists like Percy Kay, Dilka and Ivangeli Loxolo. 

Both modern and classic approaches are presented, with township, South Sotho, mbube and mbaqanga all on display. 

While there's been a boom in African anthologies and international music in general, there's still always room for good samplers, especially those with thorough liners geared toward newcomers and novices.


Ngayishela Yavuma - Dilika
Ea Nyoloha Khanyapa - Manka Le Phallang
Maraba Start 500 - Boyoyo Boys
Ntlela A Tingangen - Elias Mathebula and The Chivani
Themba - Mzikayifani Buthelezi
Wamuhle Intombi Emphlophe - German Hadebe
Ke Saea Maseru - Majakathatha
Ngimbonile Ubaba - Majozi
Daveyton Special - Boyoyo Boys
Sayishayinduku - The Umzimkhulu Black River
Khutsana - Manka Le Phallang
Umuntu - Mzikayifani Buthelezi
Muti Wa Ngwenda - Elias Mathebula and The Chivani
Xidudla Xamina - Makwerhu
Eswazini - Dilika
Yashimizi - The Kingstar Brothers
Inyanga - Mzikayifani Buthelezi
Ntate Bereng - Majakathatha
Nayintombi Ibaleka - Mzikayifani Buthelezi
Moea O Foke - Manka Le Phallang

Freitag, 13. Mai 2022

David Crosby & Graham Nash - Another Stoney Evening (1997)

This live 1971 acoustic set confirms that David Crosby and Graham Nash have always been the key ingredients of Crosby, Stills, Nash, & Young's harmonic blend ... some uncannily tight vocal work on cuts like Crosby's soothing "Guinevere" and Nash's soulful "Southbound Train.". . . . -- Entertainment Weekly

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After the tour of Crosby, Stills, Nash & Young that ended in July 1970, the quartet broke up amidst some tension. All four members then pursued solo careers, each releasing an album within the next year. Nash and Crosby had developed a symbiotic musical relationship and so decided to undertake a tour as a duo during the autumn of 1971. They opted to go out without any backing band, playing theaters in what would later be termed an "unplugged" format. They were so pleased with the results that they recorded their first duo album in the spring of 1972.

The repertoire for this Crosby and Nash tour consisted of mostly previously released songs, some of which had appeared on Crosby and Nash's respective 1971 solo albums If I Could Only Remember My Name and Songs for Beginners. Four new songs would end up on the 1972 debut Crosby and Nash album: "Southbound Train"; "Where Will I Be?"; "Strangers Room"; and "Immigration Man." The title for the album comes from a bootleg of the period entitled "A Very Stoney Evening", from a show on the tour mistakenly attributed to the evening of this recording.

The Crosby-Nash subset of CSNY carried with it much of the charm and harmony of the larger group, and together and apart the two singers mined that appeal for several gold albums, especially in the first couple of years after the breakup of CSNY in 1970. They even inspired bootleggers, who released "A Very Stoney Evening", drawn from one of their 1971 shows.

Hence the title of this belated official release, drawn from a different show at the Dorothy Chandler Pavilion in Los Angeles on October 10. Working with acoustic guitars and piano, they sang some of their more popular CSNY songs ("Déjà Vu," "Teach Your Children"), as well as tunes from their solo albums and songs that would turn up on their duo album the following year. Boasting of having "the loosest show on earth" and making cryptic drug references, they nevertheless sang and played well, overcoming with enthusiasm and craft the relative weaknesses of some of the material -- Crosby's formlessness, Nash's preciousness. And the camaraderie they shared with each other and their audience even allowed them a certain imperiousness, such as when the drugged performers lectured the drugged audience on how to clap on the right beat.


Anticipatory Crowd  0:47
Deja Vu 5:36
Wooden Ships 5:56
Man In The Mirror 2:39
Orleans 2:23
I Used To Be A King 4:55
Traction In The Rain 4:51
Lee Shore 4:49
Southbound Train 5:00
Laughing 4:59
Triad 6:19
Where Will I Be 5:15
Strangers Room 3:49
Immigration Man 4:10
Guinevere 6:26
Teach Your Children 4:22
Exit Sounds 1:12

(320 kbps, cover art included)

Donnerstag, 12. Mai 2022

Charly Garcia - 12 Años (1984/1994)

Charly García is one of the most talented and influential figures of Argentine and Latin rock. He composed many generational songs and was obsessed with expanding the boundaries of pop music, along with the musician's role itself. 

As a teen, he and Nito Mestre formed Sui Generis in the early '70s and issued three studio albums. After the group disbanded, García played in PorSuiGieco music collective and La Máquina de Hacer Pájaros. Between 1978 and 1982, García was part of Serú Girán, one of the key bands in the Argentinian rock movement who established themselves during a time of military dictatorship. 

In 1982 he composed the soundtrack to the film Pubis Angelical and recorded it simultaneously with his own Yendo de la Cama al Living. The double album was released to excellent reviews, and propelled García into a prolific career as a solo artist. He recorded dozens of albums in an astonishing variety of styles.

"12 Años" is a compilation with music by Charly Garcia, originally released as "Vol. 1" and "Vol. 2" in 1984 and released on CD in 1994. The album includes 80's Argentinian rock staples such as: 'Cancion para Mi Muerte', 'No Llores Por Mi, Argentina', 'Inconciente Colectivo', 'Peluca Telefonica', 'Superheroes' and 'Chicas Muertas'.


Canción para mi muerte (3:37)
Confesiones de invierno (4:06)
Como mata el viento norte (2:45)
Peperina (3:39)
Canción de Alicia en el país (4:32)
No llores por mi, Argentina (3:24)
Yendo de la cama al living (4:37)
No bombardeen Buenos Aires (4:02)
Yo no quiero volverme tan loco (5:09)
Inconsciente colectivo (3:43)
Peluca telefónica (4:49) (García/Aznar/Spinetta)
Superhéroes (4:25)
Los dinosaurios (3:28)
Nos siguen pegando abajo (3:30)
No me dejan salir (4:21)
Dos cero uno (transas) (2:09)
Bancate ese defecto (4:56)
Chicas muertas (2:31)

(320 kbps, cover art included)

Mittwoch, 11. Mai 2022

VA - Voices of the Ghetto. Warszawa, 1943


From the linernotes:

"Infomed of the Nazi plans to exteminate the Jews of Warsaw, the Jewish Resistance in the Ghetto called for a general insurection on April 19, 1943. With meager arms they fought against the tanks, planes and gas attacks of the Wehrmacht and managed to hold out for several weeks. Their uprising became the symbol of the Jewish resistance throughout the Second World War in the ghettos, camps md underground movements in all the countries where Jews were persecuted. It is to these Resistants, as well as to all victims of Nazi persecution that we wish to pay collective homage. Voices of the Ghetto: the appeal of the Jewish Combat Organization, songs of the underground, cries from the barricades, laments of the beggars and peddlers, of the hundreds who died of typhus or starvation, the voices of orphaned children and bereaved parents, of those who revolted against God and of others whose faith forbade them to question... Millions of voices, millions of lives detroyed, for no reason... When the war was over, Warsaw was a ruin and the Jewish people an open wound. In Paris, in 1993, a group of singers and musicians have sought out songs and testimonies, to remember and to bear witness- Barbary did not triumph. The Jewish people lives. "

On the morning of the 18th of January 1943, German military and auxiliary units entered the Warsaw Ghetto by surprise. The populace expected a total deportation. As opposed to the Great Deportation, during which the Jews had no knowledge of where deportees would be sent, this time the ghetto's population refused to report voluntarily. Only a small number of people responded to the Germans' calls to file into the courtyards and present their papers for inspection. The Germans tried to pick up those Jews who lacked permits, but since most had gone into hiding, they fell back to snatching people up indiscriminately.

That day, a group of fighters was caught, members of the Hashomer Hatzair movement and the Jewish Fighting Organization (ZOB). Together with other Jews they were led to the Umschlagplatz. The youths, who were still armed, albeit meagerly, dispersed among the crowd, and at a signal from Mordechai Anielewicz they attacked the Germans. In the ensuing battle there were German casualties and injuries. All the Jewish fighters were shot, and Anielewicz alone survived the battle. Another group from the Jewish Fighting Organization (members of the Dror and Gordonia movements) laid an ambush for the Germans inside the houses, and shot those who entered. These were the first organized, armed actions undertaken within the ghetto. For the first time in the history of the ghetto, Germans had come to physical harm.

By the 22nd of January only 5,000 Jews had been rounded up, among them the patients from the Jewish ghetto hospital and several members of the Judenrat. These Jews were assembled at the Umschlagplatz and deported by train.

Today we know that the January deportation was intended to be of limited proportions and that the Germans had not planned to deport all the Jews of the ghetto on this date. However, the Jews assumed that the Germans had sought to use the January deportation to empty the ghetto of its residents and send them to their destruction; they believed that their actions succeeded in obstructing this. In this way the January events turned into a watershed moment; members of the Jewish resistance organizations increased their efforts to bring about an armed uprising, while the ghetto populace at large increasingly dug underground shelters in the ghetto territory, in which they hoped to hide from the enemy forces.

01. Talila - Zog nit keyn mol 3:04
02. Jacques Grober - Ruf fun der YKO 0:27
03. Jacques Grober - Motele fun varshever geto 3:52
04. Hélène Engel - Es shlogt di sho 2:12
05. Ben Zimet - Yisrolik 3:19
06. Rosalie Becker - Lid fun umbakanten partizan 3:31
07. Franck Hagendorf - Varshever geto-lid (Ani maamin) 3:13
08. Jacques Grober - Tsen brider 1:40
09. Emile Kacmann - A din-toyre 3:28
10. Talila - Gehat hob ikh a heym 2:49
11. Jacques Grober - Mariko 2:51
12. Rosalie Becker - Yidish tango 5:16
13. Jacques Grober - Hots mitleyd 1:36
14. Rosalie Becker - Eyli, eyli 3:57
15. Ben Zimet - S dremlen feygl af di tsvaygn 3:16
16. Hélène Engel - Yeder ruft mikh Zhamele 2:26
17. Jacques Grober - Yid du partizan 1:50
18. Ben Zimet & Talila - Unter di khurves fun Poyln 4:45
19. Emile Kacman - Afn veg shteyt a boym 1:09
20. Jacques Grober & Franck Hagendorf - Mir lebn eybik 2:04

VA - Voices of the Ghetto. Warszawa, 1943
(320 kbps, cover art included)

Dienstag, 10. Mai 2022

Tackhead - Ticking Time Bomb (12´´, 1989)

Delivering a powerful mix of taut funk, hip-hop-style grooves, and dub-wise electro-industrial menace, Tackhead was an inspired collaboration between the rhythm section of Keith LeBlanc, Skip McDonald, and Doug Wimbish and maverick producer Adrian Sherwood.

LeBlanc, McDonald, and Wimbish first gained a reputation as the studio musicians behind a handful of early rap classics. When Sherwood hired them to work on one of his On-U Sound production projects, it initiated a series of collaborations that culminated in the first proper Tackhead album, 1989's "Friendly as a Hand Grenade". The trio's original run ended in 1991, but various permutations of the band continued to work together, and they reunited for the 2014 album "For the Love of Money".

"Ticking Time Bomb" is a Tackhead single released in March 1989 on World Records


A1 Ticking Time Bomb 2:50
A2 Ticking Time Bomb Dub 6:18
B Body To Burn 3:09

(256 kbps, cover art included)

Samstag, 7. Mai 2022

VA - International P.E.A.C.E. Benefit Compilation (1984)

In 1984, the seminal "The International P.E.A.C.E. Benefit Compilation" was released by R Radical records, headed by Dave of MDC. The compilation included tracks by Dead Kennedys, Crass, Reagan Youth, Septic Death, Subhumans, Butthole Surfers, D.O.A., Conflict, The Dicks, Articles of Faith, and MDC themselves. The "P.E.A.C.E." in the album title is a backronym for "Peace, Energy, Action, Cooperation, Evolution".

P.E.A.C.E. features 55 hardcore punk acts from around the world, 30 of the acts were from outside the United States, and all of the acts featured frequently wrote and recorded left-leaning topical music (with the lone exception of the Butthole Surfers, who came from a similar political position but did not normally deal with political issues in their music). Eight of the acts originated from Italy, which had been sprouting anarchist punk bands such as Cheetah Chrome and the Motherfuckers, Contrazione and RAF Punk (all represented on the album) for quite some time. The cover art was created by San Francisco artist Dana F. Smith.

Maximumrocknroll's main contribution to the project, other than assisting in recruiting acts to participate on the double album, was in the assemblage of a 72-page magazine-sized insert featuring several pages on the topics of nuclear disarmament, imperialism, radiation, pollution, and political demonstrations.

All of the profits from the album, according to a primitive obi strip-style insert shrunkwrapped to the original double vinyl release, were slated for various anti-nuclear groups and activities worldwide.


Articles Of Faith – Up Against A Wall
G.I.S.M. – Endless Blockades For The Pussy Footer
Neon Christ – Ashes To Ashes
Kalashnikov – Schlueters Kabinet
Cause For Alarm – Time Will Tell
Local Disturbance – No U.S.A.
Unwarranted Trust – Honour's Calling
Wretched – Finirà Mai ?
O.D.F.X – Drop The A-Bomb On Me
Afflicted – Here Come The Cops
Declino – Inutile Trionfo
Dicks – Hope You Get Drafted
B.G.K. – Arms Race
Crass – It's You
Upright Citizens – Swastika Ratss
False Prophets – Banana Split Republic
Mob 47 – Nuclear Attack
Offenders – Face Down In The Dirt
Contrazione – Sbarre
Scum – So Much Hate
Los Violadores – Viejos Pateticos
Deadlock – Sometimes
P.P.G. – Will It Ever End?
Trash – Peace Of What?
Vicious Circle – Police Brutality
Condemned To Death – Gartlands Pit
Negazione – Non Mi Dire
D.O.A. – America The Beautiful
Dirty Rotten Imbeciles– Snap
Porno Patrol – Jump Back
Treason – Drop Out
Shit S.A. – Abortos
Septic Death – Silence
Cheetah Chrome Motherfuckers – Life Of Punishment
Peggio Punx – No Mai
The Proletariat – An Uneasy Peace
Conflict – From Protest To Resistance
Iconoclast – Battlefield (Nightmare)
Pandemonium – Pay For ShIt
Dead Kennedys – Kinky Sex Makes The World Go 'round
Boskops – Skorbut
Subhumans – Rats
White Lie– Peace Officer
Wargasm – R.A.T. / Pentagone
Slaughterhouse 4 – Four More Hours
The Execute – Finale
Reagan Youth – Reagan Youth
Impact – The Man Goes On
Butthole Surfers – 100 Million People Dead
Kangrena – Ataque
Porcelain Forehead – Will Amerika
Barely Human – No Mercy No War
R.A.F. Punk – Contro La Pace Contro La Guerra
Zenzile – Moment By Moment / Exiled Shadows
MDC – Missile Destroyed Civilization

(192 kbps, cover art included)

Freitag, 6. Mai 2022

Jackie Leven - For Peace Comes Dropping Slow (1998)

Jackie Leven was a Scottish singer/songwriter, storyteller, traveler, and raconteur. A formidable fingerstyle guitarist, he was a large man possessed of a mellifluous baritone singing voice that could alternately frighten a crowd, make a grown man weep, and lull an infant. His shows and recordings were peppered with engaging stories from his epic life, the road, miners, shop workers, farmers, history, folklore, lost and displaced people, the shelter and harshness of the natural world, terminal loneliness, and the insights of barroom philosophers.

This was a fan club release that made it out into the general public -- unlike the rest of the Jackie Leven live fan club only releases -- it's a solo acoustic performance at the Twelve Bar Club in London. It's the first evidence in the U.S. of Leven's rambling, rowdy, soulful live style -- including a showcasing of his amazing guitar playing. There are 12 tunes in all, including the unreleased "Jesus Bodybuilder Blues/Cocaine Blues/Cannot Keep From Cryin'," as well as covers of "Pale Blue Eyes" and "Slim Slow Slider."

There are a few jokes and stories to give a homey feel to the proceedings down on Denmark Street that night in 1997. The lion's share of the material comes from The Mystery of Love Is Greater Than the Mystery of Death, Forbidden Songs of the Dying West, and Fairy Tales for Hard Men. The acoustic renderings of studio songs such as "Call Mother a Lonely Field" and "Marble City Bar" are transformed into communal conversations, where everyone is in on the secret from the jump. On the other side, the more intimate songs from those records, the stripped-down tunes such as "Pourtoun," "Desolation Blues," and "Sexual Danger" become even more jagged in their poignant, decimating tales of grace and grief. Finally, Leven pulls out an old Scottish traveling song and a solo rendering of one of Doll by Doll's most stunning treasures: "Main Traveled Roads." This is a folk song, a love anthem, and the tale of a spiritual quest, all wrapped up in its final lines by the words of Yukio Mishima: "Eternal is the warrior who finds beauty in his wounds." Leven, who's seen the underside more than once, has always snapped back and taken these words as his personal anthem. He seems to turn those wounds, whether they are revealed in an intimate live setting or on a full-blown rock record, into practical -- if romantic -- wisdom with ferocity of heart.


1Jesus Bodybuilder Blues / Cocaine Blues / Cannot Keep From Crying 9:16
2 Arctic Sex 2:07
3 Uist Tramping Song 4:41
4 Sacred Bond 6:51
5 Call Mother A Lonely Field 5:22
6 Fear Of Woman 4:49
7 Sexual Danger 2:24
8 Acid Roast Beef 2:20
9 Poortoun 5:41
10 Whisky Story 0:44
11 Desolation Blues 5:31
12 Jackie Losing It 3:49
13 Marble City Bar 7:35
14 Pale Blues Eye  3:13
15 Main Travelled Roads 4:36
16 Slim Slow Slider 6:22

(320 kbps, cover art included)

Donnerstag, 5. Mai 2022

Gilberto Gil - Salvador 1962 - 1963

Gilberto Gil is a Brazilian singer, guitarist, and songwriter, known for both his musical innovation and his political commitment. From 2003 to 2008, he served as his country’s Minister of Culture in the administration of President Luiz Inácio Lula da Silva. He was born June 26, 1942 in Salvador, Bahia, Brazil.

A leader of Brazil's Tropicalia movement during the late 1960s along with artists Caetano Veloso, Marcos Valle, and Gal Costa, multi-instrumentalist Gilberto Gil mixed native styles like samba, MPB, and bossa nova with rock and folk instruments to become one of Brazil's, and the world's most celebrated singer/songwriters. Gil's career has spanned six decades, and he's had hits in each one.

During his years in his hometown Salvador, Gil encountered the music of songwriter Dorival Caymmi, who he says represented to him the "beach-oriented" samba music of Salvador. Gonzaga and Caymmi were Gil's formative influences. While in Salvador, Gil was introduced to many other styles of music, including American big band jazz and tango. In 1950 Gil moved back to Salvador with his family. It was there, while in high school, that he joined his first band, Os Desafinados ("The Out of Tunes"), in which he played accordion and vibraphone and sang. Os Desafinados was influenced by American rock and roll musicians like Elvis Presley, as well as singing groups from Rio de Janeiro. The band was active for two to three years. Soon afterwards, inspired by Brazilian musician João Gilberto, he settled on the guitar as his primary instrument and began to play bossa nova.


Povo Petroleiro
Coça Coça Lacerdinha
Serenata Do Teleco-Teco
Maria Tristeza
Vontade De Amar
Meu Luar, Minhas Canções
Amor De Carnaval (Decisão)
Vem, Colombina

(192 kbps, cover art included)

Mittwoch, 4. Mai 2022

Manfred Krug - Singt Protestsongs (1968)

Although he is chiefly known as a popular German television actor, Manfred Krug has also had careers as a film actor and as a pop-jazz singer. Born in Duisburg on February 8, 1937, he relocated to East Germany in 1949 at the age of 13, where he worked in a steel factory until he began acting on stage and in films in 1956. 

He recorded several successful pop-jazz albums in the early '70s, often in conjunction with composer Gunther Fischer. He also began a career as a writer under the alias Clemens Kerber.

Frustrated with the political climate in East Germany (he had been forbidden to perform), Krug applied for and was granted permission to move to the West German portion of Berlin in 1977. Once settled there, he continued to act but sang and recorded only occasionally, and through the 1980s and 1990s and into the 21st century he has worked primarily as an actor in various television shows. He died on 21 October 2016 in Berlin

This single was originally released with the book "Protestsongs" at the Eulenspiegel Verlag, Berlin 1968.


A1 I Ain't Marching Anymore (Phil Ochs)
A2 Franco La Muerte (Léo Ferré)

B1 Porque Los Pobres No Tienen (folk song from Chile)
B2 Vietnam-Song (Manfred Krug, Werner Sellhorn)

Manfred Krug - Singt Protestsongs (1968)
(192 kbps, cover art included)