Montag, 28. März 2022

Ras Michael & The Sons Of Negus – Disarmament (1981)

Jamaican rastafarian drummer Ras Michael (Michael-George Henry) formed the Sons of Negus to perform a highly spiritual form of reggae that eschewed the traditional role of the guitar and favored hand-drums (nyabinghi) and piano.

The album "Disarmament" was a surprise – perhaps the first reggae album to openly confront the threat of nuclear warfare with the power of Jah Love while simultaneously demonstrating Ras Michael, that old campaigner, at his very best.

1) Jah Jah Power Endure
2) International Year Of The Child
3) Where Is Your Goldmine
4) International Children Dub
5) Stop Pay The Price For Sin
6) Unity

Ras Michael & The Sons Of Negus – Disarmament (1981)
(320 kbps, cover art included)

Sonntag, 27. März 2022

The Red Crayola - Soldier-Talk (1979)

Issued in 1979 by the short-lived Radar imprint under Warner UK, "Soldier Talk" is among the loopiest of the Red Krayola's offerings. "Soldier-Talk" was conceived as a concept album dealing with militarism.

Featuring Mayo Thompson and Jesse Chamberlain's vocal warbling, with ear-woundingly thin Fender guitar with the treble turned all the way up, and Chamberlain's very jazz-like drumming. While these two pair up on a number of cuts as simply a duo, there are other players here as well, including all of the Chrysalis-era, "New Picnic Time" Pere Ubu, Lora Logic, Dick Cuthell, and Christine Thompson. 

Yeah. These "songs" are engaging, even compelling in places, but seldom together. Thompson is as humorous as a sarcastic academic most of the time here, as though he hasn't fully digested all the theory he was still taking in. This is more like Deluze and Guatarri doing avant rock than Thompson's later exercises which are roaring-out-loud hilarious. That said, there are great moments here and any real fan of the Krayola needs this -- for the post-punk drive, drop, and crash of "Conspirator's Oath," the drifting instrumental washes of "X" with Logic; or the angular, off-kilter, knife's-edge white-boy funk of "Uh, Knowledge Dance," which could have actually been covered by the Pop Group -- and Thomspon sounds uncannily like Mark Stewart of same here. There are stronger moments by the Red Krayola, but this one certainly has its own, and should be snagged by anyone interested in the band, Art & Language, or post-punk's more musically adventurous side.


March No.12 1:58
On The Brink 2:52
Letter-Bomb 2:00
Conspirators' Oath 2:41
March No.14 1:19
Soldier-Talk 7:00
Discipline 3:23
X 3:10
An Opposition Spokesman 5:02
Uh, Knowledge Dance 2:54
Wonderland 2:58

(320 kbps, cover art included)

Samstag, 26. März 2022

Der KFC - ...letzte Hoffnung (1980)

Der KFC was a German punk band from Düsseldorf. The band was formed in 1978, it split up in 1982. "Letzte Hoffnung" was their debut album, relaeased in 1980.


A1 Wie Lange Noch
A2 U-Haft
A3 Señorita
A4 Kinderschokolade
A5 Liebling
A6 Kein Paradies

B1 Letzte Hoffnung
B2 Für Elli
B3 Bremen 80
B4 Ohne Grund

    (192 kbps, cover art included)

    Donnerstag, 24. März 2022

    VA - – Новая Сцена. Underground From Ukraine! 14 Bands From Kiev & Kharkov

    "Even a cursory examination of Ukrainian musical underground is sufficient for noticing one general tendency. From the beginning of the 90s and to the present times, equally complicated, fresh bands and solo performers have been starting as if to fill a vacuum and have often been falling in obscurity just like their predecessors. It seems there’s no connection or continuity. In addition, it seems like everything untypical and interesting in terms of music would fit big stages of independent music somewhere abroad better than the local scene. In the 90s, the infrastructure that could bring together those who played music outside typical genres was in its infancy and included isolated local initiatives. It is still the same.

    We can say that underground music in Ukraine is a sweet spot for those who seek something unusual and poorly known. The 80s and 90s represent the striking example of a strong independent music scene in Ukraine. When the fuss around marginal music which was earlier banned had vanished and the enthusiasm of musicians and organisers faced increasing financial difficulties, the independent music movement of the 90s gradually fell off the radar, giving place to raves, subcultural music, and other phenomena, more established within genres.

    Attempts to describe the phenomenon of the early Ukrainian underground/independent have been limited to the self-published press and online discussions for a long time but now, with the music of previous decades being increasingly exploited in pop culture and the general public expanding their musical tastes, the independent scene of the 90s can expect a spike in popularity or at least a renewed interest.

    In a series of contributions for the Creating Ruin project, we try to combine records and archive materials, musicians’ recollections and reflections, as well as present their music as it sounds and is perceived now.

    Musical underground is an umbrella term like street art. Away from the main directions, forms and genres of different origin can be easily overlapped and mixed with each other. Particularly in the 90s, when neither genre division nor notion of format was established. Describing a music scene generally related to what was called independent rock, we will try to highlight its relationships with other, less obvious, musical phenomena.

    Clearly, a music movement that was developing during Perestroika and the first years of independence can be labelled as ‘Indie’ or ‘Underground’ only within the context of the realities of that time. What or whom this music was independent from? Music allowed by Soviet censorship was so limited and cast such a gloom over the audience that the young listeners who had creative ambitions had no choice but create illegal societies, replicate self-published sources, exchange records, and hold home concerts. Later on, when the most famous rock bands were already releasing vinyl records on the ‘Melodiya’ label and Komsomol started creating heavy metal vocal-instrumental ensembles to meet the needs of the proletarian youth, it became possible to hold rock concerts and festivals in the regions. At that time, individual performers and bands that only notionally belonged to the context of the Soviet rock music scene came to the surface. Usually, they didn’t fit into local rock clubs and organisations. However, enthusiasm and support from a narrow circle of the insiders were stronger than ever. According to the reviews in the media at that time, bands’ performances were often perceived in two completely opposite ways: as an epiphany or as some kind of an incomprehensive mystery of a cult.

    Festivals played a significant role as they allowed young or untypical bands to perform in front of a big audience, provided networking, and facilitated connections between music scenes of different cities. Correspondence and festival meetings made for a whole network of informal connections across the whole large territory of the USSR. Owing to these connections, people actively exchanged music and information: for example, the best materials of the Kyiv-based self-published magazine ‘Гучномовець’ [Loudspeaker] dedicated to local bands were republished in a special issue of the Omsk-based fanzine ‘О.Р.З.’ [URTI].

    At the turn of the decade, the music scene was the most active: the number of events and releases was increasing in line with the relaxation of governmental pressure and the emergence of new opportunities. In 1986, rock clubs were registered in big USSR cities. They existed in opposition and at the same time were open to compromise in terms of control over the music. In 1989-90, musicians got opportunities for touring and making releases abroad. The importance of contacts with independent scenes and labels in Poland, Germany, and other countries can’t be overestimated. Most local underground musicians remain well-known mainly owing to their releases made outside Ukraine. In the 90s, life was full of uncertainties and a music scene was still functioning as a microcosm where like-minded people found support and actualised their creative potential. There were lots of overlaps between music and visual and performative art, between avant-garde within classical music and experiments with Eastern musical traditions or popular genres.

    What mainly distinguished independent musicians of the 90s was their music, uncomfortable or totally unsuitable for the emerging local showbiz." (from:


    1 Ivanov Down – Outch Putch
    2 Цукор Бiла Смерть – In The Ice Madleen
    3 Tshitshka Dritshka – King Of Bloody Files
    4 Товарищ – Блюз (Blues)
    5 Черепахи– Ялта (Yalta)
    6 Казма Казма – Wilghelm Ballada
    7 Раббота Хо – Discovery In Dunes
    8 Гнида – I'll Cut The Oak (Я Вріжу Дуба)
    9 Ельза – The Traveller
    10 Игра – №13
    11 Колезький Асессор – Ivan Sheikh
    12 Sheik Hi-Fi – I Like To Touch
    13 Цукор Бiла Смерть – Definitely That (Ketsal)
    14 Ivanov Down – Piepsa
    15 Фоа-Хока – Cannabis Getting Green
    16 Казма Казма – Shuka (The Pike)
    17 Sheik Hi-Fi – Karlike (I Want To Be A Little)
    18 Чужой – Трава (Grass)
    19 Черепахи – Don't Trust, Don't Wait
    20 Ельза – Любовь В Ванной Комнате (Love In Bathroom)
    Bonus Track;
    21 Tshitshka Dritshka – Heits Haratun Hautun Bol

    VA - – Новая Сцена. Underground From Ukraine! 14 Bands From Kiev & Kharkov
    (320 kbps, cover art included)

    Mittwoch, 23. März 2022

    John Lennon - Give Peace A Chance (The Easy Rider Generation In Concert, Bootleg)

    "Give Peace a Chance" is an anti-war song written by John Lennon (originally credited to Lennon–McCartney), and recorded with the participation of a small group of friends in a performance with Yoko Ono in a hotel room in Montreal, Quebec, Canada. 

    Released as a single in July 1969 by the Plastic Ono Band on Apple Records (catalogue Apple 13 in the United Kingdom, Apple 1809 in the United States), it is the first solo single issued by Lennon, released while he was still a member of the Beatles, and became an anthem of the American anti-war movement during the 1970s. It peaked at number 14 on the Billboard Hot 100 and number 2 on the British singles chart.

    The bootleg "Give Peace A Chance" was released in 1993 as a part of  "The Easy Rider Generation In Concert" series. It features recordings from several locations in the years 1969 to 1972.


    1 Imagine (Accoustic Version) 2:56
    2 Come Together 4:02
    3 Cold Turkey 3:00
    4 The Luck Of The Irish 3:13
    5 Attica State 2:56
    6 Mother 4:40
    7 Money 3:05
    8 Yer Blues 3:35
    9 John Sinclair 2:50
    10 Woman Is The Nigger Of The World 5:36
    11 Instant Karma 3:13
    12 Blue Suede Shoes 2:12
    13 Give Peace A Chance 3:06
    14 Imagine 2:58
    15 Dizzy Miss Lizzie 3:05

    Recorded live at the Apollo Theatre, New York, November 1971 (1),
    at Madison Square Garden, New York, 30.8.1972 (2, 6, 11, 14),
    in Toronto, september 1969 (3, 7, 8, 12, 13, 15),
    in Ann Arbour, Michigan, 10.12.1971 (4, 5, 9) and in
    U.S.A. February 1972 (10).

    (320 kbps, cover art included)

    Montag, 21. März 2022

    VA - Doom & Gloom - Early Songs Of Angst And Disaster (1927 - 1945)

    Daß es „so weiter“ geht, ist die Katastrophe. Sie ist nicht das jeweils Bevorstehende, sondern das jeweils Gegebene. Die Rettung hält sich an den kleinen Sprung in der kontinuierlichen Katastrophe.
     - Walter Benjamin

    "The modern age, driven by science and technology, made a promise: to put an end to all the evils of the past, once and for all. At last mankind would be freed from the horrors of disease, fire, plague, drought, floods and earthquakes. But progress also produced new horrors. Mega-technology in transport, and a drive towards ever larger capacity and higher speeds unleashed catastrophes on a scale previously unknown. Now a railway crash, a blazing zeppelin or a shipping disaster could inflict not dozens, but hundreds or even thousands of casualties. In the 1920s and 30s a series of disasters created a climate of fear, affecting the psyche in a way similar to today, when wars, fanaticism, terrorism, natural disasters, global warming, bird flu, tsunami, hurricanes and tornados all contribute to a gloomy atmosphere of uncertainty and constant dread. Hillbilly and blues musicians in the 1920s and 30s expressed the general mood in a poignant way. They sang of catastrophes and disasters, whether far away or on their doorstep. They talked of the effects these events had on the lives of ordinary people; they described what happened when disaster struck, as seen through the eyes of the victims. Perhaps the articulation of these awful events in songs helped to ease feelings of despair, offering a crumb of comfort to those listeners dealing with the brutal reality." (

    One of the greatest things about traditional American folk music is the dichotomy between the lyrical content and the spirit of the music. Don’t be misled by the foreboding title, for this superb compilation is anything but depressing. The subject matter portrayed in these songs of death, disaster, war and floods is often belied by uplifting and life affirming melodies. With names like The Carter Family, Charley Patton and Blind Willie Johnson among others, there are some wonderful examples here.


    1. Blind Willie Johnson God moves on the water 03:00
    2. Roy Acuff & his Crazy Tennesseeans Wreck on the highway 02:47
    3. Charlie Poole with The North Carolina Ramblers Baltimore Fire 03:10
    4. Big Bill Broonzy Southern Flood Blues 03:17
    5. Lulu Belle & Scotty That Crazy War 02:53
    6. William & Versey Smith When that great ship went down 02:57
    7. Karl & Harty When the atom bomb fell 02:53
    8. He's coming to us dead 02:59
    9. Bessie Smith Back-Water Blues 03:15
    10. Joe Williams Providence help the poor 03:07
    11. The Carter Family The dying soldier 03:04
    12. Cofer Brothers The great ship went down 02:47
    13. Kansas Joe & Memphis Minnie When the levee breaks 03:15
    14. Blind Alfred Reed Explosion in the Fairment Mines 03:16
    15. Charley Patton High Water Everywhere - Part 1 02:55
    16. The Dixon Brothers School House Fire 03:14
    17. Gid Tanner & his Skillet-Lickers with Riley Puckett & Clayton McMichen The Wreck of The Southern Old 97 02:44
    18. Casey Bill Weldon Flood Water Blues 03:06
    19. The Allen Brothers Jake Walk Blues 02:35
    20. Richard "Rabbit" Brown Sinking of the Titanic 03:46
    21. Carolina Twins Off to War I'm Going 02:59
    22. Cauley Family Lumberton Wreck 02:59
    23. Asa Martin & James Roberts Rycove Cyclone 03:12
    24. Blind Willie Johnson Dark was the night - Cold was the ground 03:17

    (320 kbps, cover art included)

    Sonntag, 20. März 2022

    Mark Stewart And The Maffia - As the Veneer of Democracy Starts of Fade (1985)

    For this album, Mark Stewart and producer Adrian Sherwood assembled the definitive Maffia lineup with the imported talents of drummer Keith LeBlanc, bassist Doug Wimbish, and guitarist Skip McDonald -- best known at that point for their work with the Sugarhill Gang and Grandmaster Flash. 

    Opening with a robotic voice informing listeners they are about to be programmed to take their place in society, this is no rapper's delight but another glimpse into Stewart's shadowy world of political and sonic dissidence. LeBlanc, McDonald, and Wimbish contribute to a fearsome collision of industrial noise, abrasive electronics, and heavyweight funk that serves as a soundtrack to Stewart's lyrical obsessions: surveillance, the military-industrial complex, oppression, and economic inequity. 

    Thanks to the hefty rhythm section, this album has a more overpowering, assaultive feel than its predecessor, as numbers like the ominous title track and "Passivecation Program" are built on punishing beats and mammoth basslines that batter the listener into submission. On top of that solid foundation, Stewart pastes together an unsettling collage of found sounds ranging from the call of a muezzin and media voices to barking dogs and simply barking mad noise. The air of confrontation is intensified as Stewart harasses listeners with distorted spoken and half-sung pronouncements and warnings. On the chaotic, disjointed "Bastards" -- harrowing enough with Stewart repeatedly shouting the title -- the menacing, sampled rasp of William Burroughs (who also appears fleetingly amid the manic hip-hop beats of "Pay It All Back") makes the proceedings all the more sinister. 

    The album's standout is the dub-inflected "Hypnotised," which is infused with scratches, ocean-trawling bass, and shimmering melodic fragments. Uncompromising, challenging, and yet totally compelling, this album stands alongside "Learning to Cope with Cowardice" as one of Stewart's most innovative and important projects.  The CD reissue also contains the "Hypnotised"/"Dreamers"12".

    "As The Veneer Of Democracy Starts To Fade" is one of the greatest records ever made and stands proudly next to The Pop Group's "Y" as one of the most innovative records of the last 25 years. Hear it as soon as you can, you'll never be the same." - Julian Cope


    1. "Passcivecation Program" 7:06
    2. "Bastards" 5:26
    3. "The Resistance of the Cell" 5:21
    4. "[untitled]" 0:44
    5. "As the Veneer of Democracy Starts to Fade" 5:37
    6. "Pay It All Back" 4:29
    7. "Hypnotized" 5:51
    8. "Slave of Love" 4:46
    9. "The Waiting Room" 4:18
    10. "Hypnotized" (remix) 7:25
    11. "Dreamers" 6:30

    (320 kbps, cover art included)

    Samstag, 19. März 2022

    Ludwig Hirsch - Komm großer schwarzer Vogel (1979)

    Austrian singer/songwriter Ludwig Hirsch was an accomplished and popular musician know for his dark humor and literate, often morbid lyrics. 

    Born in Sankt Magdalena am Lemberg, Styria in 1946, Hirsch spent much of his youth in Vienna. Hirsch first studied visual art at university and, from 1975 to 1979, he was a member of the Theater in der Josefstadt. 

    In 1978 he released his debut album, "Dunkelgraue Lieder" (Dark Grey Songs). That album's success launched his career and helped build his reputation as one of the architects of the burgeoning Austropop movement, which later saw the rise of other successful artists including Falco. 

    Despite Hirsch's often darkly sardonic music, he achieved a high level of success and garnered several accolades during his lifetime, including appearing on a stamp issued by the Austrian postal service in 1993 and winning an Amadeus Austrian Music Award for his 2002 release "Perlen" (Pearls). 

    Hirsch died on November 24, 2011 after jumping from a window at the hospital in Vienna where he was purportedly being treated for lung cancer. In 2012, Hirsch was posthumously granted the IFPI Lifetime Achievement Award from the Association of the Austrian Music Industry.


    Ich hab's wollen wissen 4:40
    Das Geburtstagsgeschenk 3:22
    Tante Dorothee 3:54
    Der Clown 3:50
    Herbert 4:34
    1928 5:56
    Die gottverdammte Pleite 4:06
    Komm großer schwarzer Vogel 6:51
    An Euch

    Ludwig Hirsch - Komm großer schwarzer Vogel (1979)
    (320 kbsp, cover art included)

    Freitag, 18. März 2022

    Country Joe McDonald - War War War (1971)

    Political and ecological issues were set to musical accompaniment by Country Joe McDonald, who co-founded and led the psychedelic folk-rock band Country Joe & the Fish, the leading left-wing band of the '60s. Since the group's breakup in 1971, McDonald has continued to musically espouse his political views through his original folk-like songs.

    "War War War" is the third album by Country Joe McDonald. The lyrics for the songs on the album were based upon the poetry of Robert William Service (January 16, 1874 – September 11, 1958), who was sometimes referred to as "the Bard of the Yukon".

    The album was released in October 1971 by Vanguard Records (VSD 15) and reissued in February 1995 by One Way Records (OW 30995). Recording took place in Vanguard Studios located in New York City.

    Because the album has been out of print for many years, Country Joe McDonald released a live album with the same track listing in 2007 called "War War War Live".

    1. "Forward" 4:39
    2. "The Call" 2:35
    3. "Young Fellow, My Lad" 3:47
    4. "The Man from Athabaska " 6:28
    5. "The Munition Maker" 4:22
    6. "The Twins" 1:53
    7. "Jean Desprez" 9:48
    8. "War Widow" 2:02
    9. "The March of the Dead" 6:27

    Country Joe McDonald - War War War (1971)
    (320 kbps, cover art included)

    Donnerstag, 17. März 2022

    Franz Josef Degenhardt - Lullaby zwischen den Kriegen (1983)

    The origins of Germany's peace movement date back all the way to the 19th century. In 1892, Bertha von Suttner was among those who founded the German Peace Society (DFG) umbrella organization to represent all pacifists in the German Empire at the time. Several decades later, it merged with groups representing conscientious objectors and renamed itself the German Peace Society - United War Resisters (DFG-VK). It remains one of the biggest organizations of its kind today.

    Germany's peace movement, however, really began gathering momentum in the mid-20th century when fears World War III could break out were at their highest. Separated by the Iron Curtain, former West Germany and East Germany marked part of the dividing line between Western NATO states and the eastern Warsaw Pact alliance and would likely have been decimated had the Cold War turned hot.

    In 1955, exactly 10 years after the end of World War II, West Germany reestablished its armed forces, now called the Bundeswehr. Large parts of the country's population, however, objected to the remilitarization. Two years later, 18 highly esteemed nuclear scientists, among them Otto Hahn and Werner Heisenberg, published a manifesto criticizing West German government plans to acquire nuclear weapons. The protest letter helped catalyze the "Fight Nuclear Death" movement, which built on a broad alliance of Germany's Social Democrats (SPD), unions, the Protestant church and others. By the late 1950s, as the SPD began shifting more towards the center of the political spectrum and away from calls to do away with capitalism, independent civil society actors began driving the anti-nuclear movement. In the early 1960s, annual Easter marches for peace began being held with protesters calling for an end to the Vietnam War and lambasting the German Emergency Acts, which granted West Germany's government far-reaching powers in times of crisis.

    By the 1980s, Germany's peace movement — now largely backed by the Greens, unions, parts of the SPD and various churches — became a vocal critic of the ongoing nuclear arms race between the United States and its Soviet counterpart. In 1980, the movement issued the so-called "Krefeld manifesto," which demanded the West German government rescind its permission for new US nuclear-armed cruise missiles and Pershing II weapons systems to be stationed on its territory. The protest movement ultimately grew into the biggest mass movement Germany had ever seen, in part because both West Germany and East Germany would have sustained extreme destruction in case of all-out nuclear war between both superpowers. 

    When the West German parliament agreed to the deployment of the US nuclear weapons in 1983, mass protests ensued. More than 1 million people attended four simultaneous peace rallies across West Germany, demanding governments pursue arms control and disarmament schemes. In East Germany, a peace movement - independent of the one-party state - emerged as well.

    "Lullaby zwischen den Kriegen" was released in this year and is another expression of the powerful peace movement of that time.

    Lullaby Zwischen Den Kriegen 8:03
    Tango Du Midi 5:55
    Herbstlied 4:41
    Nach 30 Jahren Zurückgekehrt 6:53
    Der Geburtstag 7:20
    Zeit-Zeuge Jahrgang 00 5:12
    Göttingen 4:25
    Aufschwungs-Hymne 6:44

    Franz Josef Degenhardt - Lullaby zwischen den Kriegen (1983)
    (320 kbps, cover art included)

    Dienstag, 15. März 2022

    The Specials - Ghost Town / Why? (Single, 1981)

    The Specials are one of the defining bands of the late 70’s/early 80’s along with Jerry Dammers iconic label Two Tone Records. They combined Jamaican ska and Rocksteady mixed with the energy of punk and launched a whole Ska Revival which paved the way for fellow likeminded bands Madness, The Beat and The Selecter to release their first singles.

    Having had seven top 10 singles and two Gold albums over the course of two years, the band released Jerry Dammers’ Ghost Town in June 1981, backed by Lynval Goldings’ Why? and the Terry Hall penned Friday Night Saturday Morning. The beginnings of the song were written around the closure of the Larcano dancehall in Coventry, but also reflecting what was happening in other towns and cities with urban decay, unemployment and ongoing racial tensions of the period. Themes which are still relevant today.

    The single, which was recently voted the second greatest UK single of all time by Alexis Petridis in the Guardian, reached Number One in the UK singles charts and stayed there for a further 3 weeks, becoming one of the biggest selling singles of 1981 and has remained one of the classic UK singles of all.

    The beginnings of the song were written around the closure of the Larcano dancehall in Coventry, but also reflecting what was happening in other towns and cities with urban decay, unemployment and ongoing racial tensions of the period. Addressing themes of urban decay, deindustrialisation, unemployment and violence in inner cities, the song is remembered for being a hit at the same time as riots were occurring in British cities. Themes which are still relevant today.

    The single had two B-sides, written by two different members of the Specials. "Why?" is a plea for racial tolerance and was written by guitarist Lynval Golding in response to a violent racist attack he had suffered in July 1980 outside the Moonlight Club in West Hampstead in London, which had left him hospitalised with broken ribs. "Friday Night, Saturday Morning" was written by lead singer Terry Hall and describes a mundane night out in Coventry.


    A Ghost Town 3:40
    AA1 Why? 2:59
    AA2 Friday Night, Saturday Morning 3:32

    The Specials - Ghost Town / Why? (Single, 1981)
    (320 kbps, cover art included)

    Montag, 14. März 2022

    Hannes Wader - Es ist an der Zeit (Pläne, 1980)

    The title track of this album, "Es ist an der Zeit" is a german cover version of Eric Bogle's "No Man's Land", also known as "The Green Fields of France".  It is set at the grave of a young man who died in the First World War . The narrator wonders how the soldier could have died and whether he would have recognized his “real enemy”. In the chorus he establishes a connection to the present with the knowledge that nothing has changed. The last stanza ends with the title line: "It's about time."

    From Eric Bogle's text, Wader adopts the soldier's age and year of death, the fear that his death might have been horrific, the realization that the same thing will repeat itself over and over again. Wader renounces the scene depicted in the original refrain that the deceased could have had a solemn burial to the sound of drums, bagpipes, horns and flute.

    An important difference between the original and the German translation is the namelessness of the victim. Wader shows the fate of the war dead using the example of a single soldier - in contrast to Georg Danzer's 1981 song "Frieden" ("Peace"), which speaks of "four billion dead" (the entire world population). In the last stanza, however, Wader also speaks of the billions of deaths that a next war could bring. This verse ends with the hope that more and more people will find each other to prevent this war: "It is time."

    "No Man's Land (The green fields of France)" was created in 1976 after Eric Bogles toured France. The soldiers' graves in northern France and Flanders had moved him so much that he wrote this song shortly afterwards. Eric Bogle was born in Scotland but has lived in Australia for over 30 years and has been Australian since 1982.

    Hannes Wader's adaptation "Es ist an der Zeit" ("It is about time") became a hymn of the peace movement . Millions of people sang the song at demonstrations, including on February 15, 2003 in Berlin at the demonstration against the Iraq war. Wader, Konstantin Wecker and Reinhard Mey performed this title there.

    Hannes Wader - Es ist an der Zeit

    Weit in der Champagne im Mittsommergrün
    Dort wo zwischen Grabkreuzen Mohnblumen blüh'n
    Da flüstern die Gräser und wiegen sich leicht
    Im Wind, der sanft über das Gräberfeld streicht
    Auf deinem Kreuz finde ich toter Soldat
    Deinen Namen nicht, nur Ziffern und jemand hat
    Die Zahl neunzehnhundertundsechzehn gemalt
    Und du warst nicht einmal neunzehn Jahre alt

    Ja, auch Dich haben sie schon genauso belogen
    So wie sie es mit uns heute immer noch tun
    Und du hast ihnen alles gegeben:
    Deine Kraft, Deine Jugend, Dein Leben

    Hast du, toter Soldat, mal ein Mädchen geliebt?
    Sicher nicht, denn nur dort, wo es Frieden gibt
    Können Zärtlichkeit und Vertrauen gedei'n
    Warst Soldat, um zu sterben, nicht um jung zu sein
    Vielleicht dachtest du Dir, ich falle schon bald
    Nehme mir mein Vergnügen, wie es kommt, mit Gewalt
    Dazu warst du entschlossen, hast dich aber dann
    Vor dir selber geschämt und es doch nie getan

    Ja, auch Dich haben sie schon genauso belogen
    So wie sie es mit uns heute immer noch tun
    Und du hast ihnen alles gegeben:
    Deine Kraft, Deine Jugend, Dein Leben

    Soldat, gingst du gläubig und gern in des Tod?
    Oder hast zu verzweifelt, verbittert, verroht
    Deinen wirklichen Feind nicht erkannt bis zum Schluß?
    Ich hoffe, es traf dich ein sauberer Schuß?
    Oder hat ein Geschoß Dir die Glieder zerfetzt
    Hast du nach deiner Mutter geschrien bis zuletzt
    Bist Du auf Deinen Beinstümpfen weitergerannt
    Und dein Grab, birgt es mehr als ein Bein, eine Hand?

    Ja, auch Dich haben sie schon genauso belogen
    So wie sie es mit uns heute immer noch tun
    Und du hast ihnen alles gegeben:
    Deine Kraft, Deine Jugend, Dein Leben

    Es blieb nur das Kreuz als die einzige Spur
    Von deinem Leben, doch hör' meinen Schwur
    Für den Frieden zu kämpfen und wachsam zu sein:
    Fällt die Menschheit noch einmal auf Lügen herein
    Dann kann es gescheh'n, daß bald niemand mehr lebt
    Miemand, der die Milliarden von Toten begräbt
    Doch finden sich mehr und mehr Menschen bereit
    Diesen Krieg zu verhindern, es ist an der Zeit


    1. Nun muss ich gehen 4:55
    2. Emma Klein 4:36
    3. Blick zurück 2:50
    4. Erinnerung 7:48
    5. Ballade vom Fisch 7:25
    6. Begegnung 3:45
    7. Hafenmelodie 4:35
    8. Es ist an der Zeit 6:19

    Hannes Wader - Es ist an der Zeit (Pläne, 1980)
    (192 kbps, cover art included)

    Sonntag, 13. März 2022

    Vladimir Vissotzki - Lieder vom Krieg (Pläne, 1995)

    Vladimir Semyonovich Vysotsky (Russian: Влади́мир Семёнович Высо́цкий, 25 January 1938 – 25 July 1980) was a Soviet singer, poet, and actor, or "bard" (often considered the greatest of the Soviet bards).

    He started out acting in Hamlet and Life of Galileo, but soon fell out of official favor due to the material in his songs. While the Soviet government encouraged positivism in music, Vysotsky preferred to sing about the harsh realities of life, always strumming his seven-string guitar.

    He became widely known for his unique singing style and for his lyrics, which featured social and political commentary in often humorous street-jargon. He was also a prominent stage- and screen-actor. Though the official Soviet cultural establishment largely ignored his work, he achieved remarkable fame during his lifetime, and to this day exerts significant influence on many of Russia's popular musicians and actors years after his death.

    He died in 1980 of heart failure brought on by drug abuse, and over a million people lined the streets of Moscow at his funeral.
    No official announcement of the actor's death was made, only a brief obituary appeared in the Moscow newspaper Vechernyaya Moskva, and a note informing of Vysotsky's death and cancellation of the Hamlet performance was put out at the entrance to the Taganka Theatre (the story goes that not a single ticket holder took advantage of the refund offer). Despite this, by the end of the day, millions had learned of Vysotsky's death. On 28 July, he lay in state at the Taganka Theatre. After a mourning ceremony involving an unauthorized mass gathering of unprecedented scale, Vysotsky was buried at the Vagankovskoye Cemetery in Moscow. The attendance at the Olympic events dropped noticeably on that day, as scores of spectators left to attend the funeral. Tens of thousands of people lined the streets to catch a glimpse of his coffin.


    1. "JAK" - Jagdflugzeug
    2. Spähtrupp im Kampf
    3. Sie sind acht, wir sind zwei
    4. Testpilot
    5. Wir flogen auf - wie Enten
    6. Sterne
    7. Brände
    8. So geschah es - die Männer gingen fort
    9. Lied vom Ende des Krieges
    10. Lied vom gefallenen Freund
    11. Über meinen Spiess
    12. Der Brief
    13. Längst sind die Geschütze verstummt
    14. Und im Krieg ist es wie im Krieg
    15. Massengräber
    16. Der Gipfel
    17. Vladimir Vissotzki über seine Lieder

    (320 kbps, cover art included)

    Samstag, 12. März 2022

    Hannes Wader - Dass nichts bleibt wie es war (1982)

    Hannes Wader (born Hans Eckard Wader on 23 June 1942) is a German singer-songwriter ("Liedermacher"). He has been an important figure in German leftist circles since the 1970s, 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.

    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. Wader even came under suspicions of terrorism because of his song Der Tankerkönig, a spoken song about kidnapping a tycoon.

    "Dass nichts bleibt wie es war" is Waders second live album, recorded in 1981 with Lydie Auvray, Hans Hartmann and Reinhard Bärenz. The album inclueds cover versions of the Franz Josef Degenhardt songs "Winterlied" und "Sommerlied".

    A1 Heute hier, morgen dort 3:16
    A2 Schon so lang 4:00
    A3 Winterlied 3:03
    A4 Traum vom Frieden 2:20
    A5 Leben einzeln und frei 4:02
    B1 Es ist an der Zeit 6:04
    B2 Rohr im Wind 4:23
    B3 Sommerlied 4:44
    B4 Sag mir, wo die Blumen sind

    Hannes Wader - Dass nichts bleibt wie es war (1982)
    (192 kbps, cover art incluede)

    Freitag, 11. März 2022

    VA - Künstler für den Frieden - 2. Forum der Krefelder Initiative (1981)

    A very large peace movement emerged in East and West Europe in the 1980s, primarily in opposition to American plans to fight the Cold War by stationing nuclear missiles in Europe. Moscow supported the movement behind the scenes, but did not control it

    During the Cold War (1947–1989), the West German peace movement concentrated on the abolition of nuclear technology (particularly nuclear weapons) from West Germany and Europe. Most activists criticized both the United States and the Soviet Union.

    This double album was released in 1981 and is one of the most important musical documents of the peace movement in West Germany in the 1980s. It is a live recording of the final event of the "2. Forum der Krefelder Initiative" in Dortmund, November 21 1981.


    A1 Bots – Sag Nein ! 1:34
    A2 Bots – Das weiche Wasser 4:02
    A3 Udo Lindenberg – Wozu sind Kriege da ? 4:45
    A4 Ludwig Hirsch – 1928 3:46
    A5 Knut Kiesewetter – Wo bleibt da der Zusammenhang ? 3:44
    A6 Andrè Heller – Vom Schrei nach Frieden 3:37

    B1 Esther Bejarano – Dos Kelbl 4:32
    B2 Esther Bejarano, Donata Höffer, Eva Mattes – Sog nischt kejnmal 2:20
    B3 Esther Bejarano, Donata Höffer, Eva Mattes, Angela Winkler – Lied von der Soija 3:31
    B4 Franz Josef Degenhardt – Es denken die Leute von Gestern wieder an Morgen 3:42 (missing)
    B5 Helmut Ruge – Russisches Erdgas - Der Herzschrittmacher 3:10
    B6 Peter Franke, Joachim Kuntzsch, Franz Niermann, Michael Ernst - Pörksen – Lied der Deutschen 2:14
    B7 Sänger Freies Berlin – Die Abnehmer 2:19

    C1 Erika Pluhar – Jetzt 2:55
    C2 Fasia Jansen, Joachim Kuntzsch, Dieter Süverkrüp – Feuer 2:10
    C3 Angela Winkler – Mein Lied 2:00
    C4 Donata Höffer, Eva Mattes – Das kleine tote Mädchen 3:53
    C5 Dieter Süverkrüp – Mister General 4:51
    C6 Dieter Süverkrüp – Der 1969. Psalm 1:57
    C7 Dietmar Schönherr, Alle Künstler – Erklärung der Künstler & Sag mir wo die Blumen sind 1:55

    D1 Curt Bois – An meine Landsleute 1:58
    D2 Chor – Wir wollen Frieden 2:20
    D3 David Bennent – Der Soldat 0:20
    D4 Hannes Wader – Es ist an der Zeit 5:55
    D5 Klaus Hoffmann – Glaub an Dich 2:25
    D6 Klaus Hoffmann – Wo die Angst ist 3:20
    D7 Dietmar Schönherr, Harry Belafonte – Statement Harry Belafonte 6:00

    Donnerstag, 10. März 2022

    Chumbawamba - An Anti War Single (Jacob's Ladder)

    "Jacob's Ladder (Not in My Name)" is a song by the English rock band Chumbawamba. An earlier version of the song, criticizing Winston Churchill, was included on their 2002 studio album "Readymades", but in response to the incipient Iraq War, the group rewrote the song as a broader criticism of war. It has been described as an anti-war song, and incorporates folk influences as well as sampling, for example
    a vocal sample from Harry Cox, courtesy of the English Fold Dance and Song Society.

    The song was released as a CD single and as a free download on the group's website in December 2002; it was later included on a re-release of "Readymades". Following its release, it was featured in multiple collections of anti-war songs, and the group performed it at a January 2003 protest in Washington, DC.

    The song was released on December 16, 2002, as a CD single, with two additional tracks: the original, "albumesque" version of the song, and a B-side titled "Round 'em Up and Throw 'Em In". On January 18, 2003, the group performed the song on National Public Radio's Weekend Edition, in advance of an anti-war rally in Washington, DC, at which they were also slated to perform. It was also made available as a free download on the group's website,; on the site, they labeled the song "an anti-war MP3". The song was also featured as a B-side to their 2003 promotional single, a Flaming Lips remix of "Tubthumping".

    In March 2003, Salon promoted the song download as part of its "Anti-war sampler" playlist. The May 2003 charity compilation "Peace Not War" also featured the track. The original version of the song was included on the 2008 Putumayo compilation "Euro Groove" and was part of the set list of their 2007 live compilation "Get On with It"; the live version swapped out the original's sampling for live elements.

    The photograph on the front is of Pete Seeger, anti-Vietnam protest singer (photographer unknown).


    Jacob's Ladder (Not in My Name)
    Jacob's Ladder (Albumesque)
    Round 'em Up And Throw 'em In

    (192 kbps, front cover included)

    Vladimir Vissotski – »Von der Erde« und andere Lieder (Pläne,1980)

    Vladimir Vissotski doesn't need any explanations. These songs were recorded at Studio Résonance for Le Chant Du Monde, Paris. Scans include text sheet with lyrics in Russian and German as well as press info in German. The track titles are in German, but Vladimir sings in Russian.

    01. Alarmtrommeln – Über die neue Zeit 2:42
    02. Lied von der Erde 2:21
    03. Er kam nicht aus der Schlacht zurück 3:15
    04. Morgengymnastik 1:58
    05. Abschied von den Bergen 2:55
    06. Erschießung des Echos in den Bergen 2:38
    07. Die Söhne ziehen in den Kampf 2:27
    08. Hinauf 2:54
    09. Im Finstern 2:08
    10. Schwarze Kittel 3:33
    11. Der Boxer 1:16
    12. Störche 4:13
    13. Massengräber 1:22
    14. Der Gipfel 1:40
    Total time: 35:13

    Vladimir Vissotski: music & lyrics
    K. Kazansky: guitar & arrangement
    Claude Pavy: guitar
    Pierre Moreilhon: bass
    Hubert Tissier: bass

    Vladimir Vissotski - »Von der Erde« und andere Lieder (Pläne,1980)
    (ca. 256 kbps, cover art included)

    Dmitry Shostakovich - Symphony No. 13 `Babi Yar` (Vasily Petrenko, Naxos)

    Shostakovich wrote his Symphony No. 13, Op. 113 in 1962. The climax of his 'Russian period' and, in its scoring for bass soloist, male chorus and orchestra, among the most Mussorgskian of his works, it attracted controversy through its settings of poems by Yevgeny Yevtushenko (the 'Russian Bob Dylan' of his day) not least the first movement, where the poet underlines the plight of Jews in Soviet society. The other movements are no less pertinent in their observations on the relationship between society and the individual. This is the final release in Vasily Petrenko's internationally acclaimed symphonic cycle.

    The cycle of Shostakovich symphonies from Britain's Royal Liverpool Philharmonic Orchestra under Russian conductor Vasily Petrenko has been widely praised, and this version of one of the composer's sharpest-edged works of protest will not disrupt the general trend. Here, as elsewhere, the reading is a sort of combination of British and Russian elements. The Huddersfield Choral Society probably does not have the sound Shostakovich imagined for this Mussorgskian work. But Petrenko catches the suppressed fury that often comes through only in Russian performances of Shostakovich. The work sets poems by Yevgeny Yevtushenko, a controversial enough move even during the cultural Thaw year of 1962. Each approaches the question of anti-Semitism in Russia through a different lens, and Petrenko is well acquainted with the moods of the work: the sharp satire, gathering anger, of the "Humor" movement (track 2), depicting the death of humor; the exquisite portrayal of Soviet drudgery in "At the Store" (track 3); the commemoration of the Nazi massacre at Babi Yar, Ukraine, aided by locals (track 1). Against the clear choral sound Petrenko sets a classic Russian bass, Alexander Vinogradov, with compelling results. A fine entry in Petrenko's series, worthy of standing beside his recording of the still grimmer Symphony No. 14, Op. 135.               

    "Shostakovich's Symphony No 13, setting poems by Yevgeny Yevtushenko, was given its UK premiere by the Royal Liverpool Philharmonic Orchestra in 1971, so there is something satisfyingly symmetrical that it forms the final chapter in Vasily Petrenko's Naxos cycle of all 15 symphonies with the same orchestra. This performance lives up to the high expectations raised by the previous discs in this series: the orchestra, now invested by Petrenko with a true Russian bite and resonance, lives and breathes the music in brilliance and brooding edginess and energy. Harnessing the men'svoices of the RLP Choir and the Huddersfield Choral Society, the interpretation echoes the music s powerfully expressed protest against Soviet anti-Semitism, and sharply focuses on Shostakovich's subversive, humanitarian stance against the Soviet society of his day, heightened by the intensity of the bass protagonist, Alexander Vinogradov. With Petrenko's ear for detail and his instincts for symphonic shape and dramatic flux, this is a disc that stands comparison with the generally acknowledged classic 1962 recording by Kirill Kondrashin (recently re-released on Praga), and it does so with pungent emotional force. **** "--Telegraph, 10/11/14

    Dmitry Shostakovich - Symphony No. 13 `Babi Yar` (Vasily Petrenko, Naxos)
    (256 kbps, cover art included)

    Mittwoch, 9. März 2022

    VA - Peace Not War (2003)

    This is a compilation of pro-peace and anti-war songs by various artists. The original release that started the Peace Not War music movement.

    With 32 tracks, ranging from Crass, Midnight Oil and Chumbawamba to Ani Di Franco, Seize the Day and Ms Dynamite, they have produced an amazingly strong message against war. This is music that reawakens energy - it's a compilation that calls for party, protest and resistance.

    All proceeds from the sale of this CDs go to non-violent groups active in the movement to end war and make peace. So if you find the album in your local store, don´t hesitate to buy it....


    Disc 1:
    1. Ani DiFranco “Self Evident”
    2. Sleater-Kinney “Combat Rock”
    3. Public Enemy “Son of a Bush
    4. Billy Bragg “The Price of Oil”
    5. Midnight Oil “US Forces”
    6. Chumbawamba “Jacob’s Ladder (Not In My Name)”
    7. DJ DisOrientalist “Occident & Emergency”
    8. Asian Dub Foundation feat. Tariq Ali “Not In My Name)”
    9. Life “Bush and Blair”
    10. Seize The Day “United States”
    11. Crass “The Unelected President”
    12. The Unpeople feat. John Pilger “The Unpeople”
    13. Slovo “21 Today”
    14. Yo La Tengo “Nuclear War”

    Disc 2:
    1. Ms Dynamite “Watch Over Them”
    2. Roots Manuva “Juggle Tings Proper”
    3. Alabama 3 “Flag” (Half Mast mix)
    4. The Mark Of Cain “Lone Pine”
    5. John Lester “Out of the Clear Blue Sky”
    6. GM Baby “Pain of Life”
    7. Torben & Joe feat. Ken Livingstone “Money is Your Blood”
    8. Nitin Sawhney “Cold and Intimate”
    9. Fun<da>mental “Rape (Tactic of War)”
    10. SuparNovar “When R They Gonna C?”
    11. Laszlo Beckett “What To Do”
    12. Pok & The Spacegoats “Voices of a Future”
    13. Stephen Smith feat. Pete Seeger & DJ Spooky “The Bell – Paranoia Network Mix”
    14. Saul Williams feat. Coldcut “The Pledge of Resistance”
    15. Sia “Fear”
    16. Massive Attack “Hymn of the Big Wheel”
    17. Bindi Blacher “Down”

    (320 kbps, cover art included)

    Dienstag, 8. März 2022

    VA - Stimmen des 20. Jahrhunderts - 1933 - Der Weg in die Katastrophe

    Originally posted in July 2018:
    It happened 74 years ago: The attempt on Hitler’s life on 20 July 1944, was the seventeenth known occasion that someone had tried to kill the NS-dictator Adolf Hitler.
    Unlike other attempts however this, the 20 July Bomb Plot, was the most intricate, and involved plans for a new Germany following the successful accomplishment of the mission.

    "On this day in 1944, Hitler cheats death as a bomb planted in a briefcase goes off, but fails to kill him.

    High German officials had made up their minds that Hitler must die. He was leading Germany in a suicidal war on two fronts, and assassination was the only way to stop him. A coup d'etat would follow, and a new government in Berlin would save Germany from complete destruction at the hands of the Allies. That was the plan. This was the reality: Colonel Claus von Stauffenberg, chief of the army reserve, had been given the task of planting a bomb during a conference that was to be held at Berchtesgaden, but was later moved to Hitler's "Wolf's Lair", a command post at Rastenburg, Prussia. Stauffenberg planted the explosive in a briefcase, which he placed under a table, then left quickly. Hitler was studying a map of the Eastern front as Colonel Heinz Brandt, trying to get a better look at the map, moved the briefcase out of place, farther away from where the Fuhrer was standing. At 12:42 p.m. the bomb went off. When the smoke cleared, Hitler was wounded, charred, and even suffered the temporary paralysis of one arm - but he was very much alive. (He was even well enough to keep an appointment with Benito Mussolini that very afternoon. He gave Il Duce a tour of the bomb site.) Four others present died from their wounds.

    As the bomb went off, Stauffenberg was making his way to Berlin to carry out Operation Valkyrie, the overthrow of the central government. In Berlin, he and co-conspirator General Olbricht arrested the commander of the reserve army, General Fromm, and began issuing orders for the commandeering of various government buildings. And then the news came through from Herman Goering - Hitler was alive. Fromm, released from custody under the assumption he would nevertheless join the effort to throw Hitler out of office, turned on the conspirators. Stauffenberg and Olbricht were shot that same day. Once Hitler figured out the extent of the conspiracy (it reached all the way to occupied French), he began the systematic liquidation of his enemies. More than 7,000 Germans would be arrested (including evangelical pastor Dietrich Bonhoeffer), and up to 5,000 would wind up dead—either executed or as suicides. Hitler, Himmler, and Goering took an even firmer grip on Germany and its war machine. Hitler became convinced that fate had spared him—"I regard this as a confirmation of the task imposed upon me by Providence"—and that "nothing is going to happen to me... [T]he great cause which I serve will be brought through its present perils and...everything can be brought to a good end." -

    Remembering this event, we feature a co-production of the "Deutsches Historisches Museum Berlin" and the "Deutsches Rundfunkarchiv" with audio documents from the year 1933: The year Adolf Hitler became dictator of Nazi Germany which lead to the catastrophe of the Second World War and the Holocaust. The Holocaust was a deliberate and systematic extermination of European Jews during World War II. As the Allied Powers fought Nazi Germany's domination of Europe, Adolf Hitler's henchmen were carrying out a mass annihilation of the Jews in Europe at their numerous concentration camps. The total number of Jews murdered during this genocide has been estimated to be nearly 6 million. Besides European Jews, there were many other groups targeted for destruction. They included the handicapped, mentally ill, Gypsies, Jehovah's Witnesses, homosexuals and political dissidents.


    0115.01.1933Ansprache von Reichskanzler Kurt von Schleicher auf einer Kundgebung des Deutschen Reichskriegerbundes 3'17"
    0230.01.1933Reportage vom Fackelzug der SA- und der Stahlhelmformationen vor der Berliner Reichskanzlei3'18"
    0304.03.1933Amtseinführung des amerikanischen Präsideten Franklin D. Roosevelt 2'34"
    0421.03.1933Reportage vom "Tag der Nation" in Potsdam 4'50"

    23.03.1933Reichstagssitzung: Verabschiedung des "Ermächtigungsgesetzes"
    05Reichstagspräsident Hermann Göring 1'51"
    06Adolf Hitler: Regierungserklärung 3'16"
    07Otto Wels (SPD-Fraktionsvorsitzender) 2'38"
    08Adolf Hitler: Erwiderung auf die Rede von Otto Wels3'40"
    0901.04.1933Aufruf zum Boykott jüdischer Geschäfte: Sprechchöre; Joesph Goebbels (Reichspropagandaminister)1'04"
    1005.04.1933Reportage von einer Polizeiaktion im Berliner Scheunenviertel3'52"
    1110.05.1933Reportage von der Bücherverbrennung auf dem Berliner Opernplatz 2'15"
    121933Werbung für Kienzle-Uhren: "Deutsch ist die Uhr, deutsch ist der Klang"3'50"
    1311.09.1933Kundgebung der Vaterländischen Front in Wien mit Bundeskanzler Engelbert Dollfuß 3'22"
    1420.09.1933Rundfunkansprache von Ernst Röhm, Stabschef der SA1'06"
    1530.09.1933Reportage aus dem Konzentrationslager Oranienburg (bei Berlin)4'10"
    1630.09.1933Ansprache von Reichsjustizkommisar Hans Frank in Leipzig auf einer Tagung des Nationalsozialistischen Juristenbundes3'05"
    1711.11 1933Aufruf von Reichspräsident Paul von Hindenburg zur Volksabstimmung am 12. November 19331'36"
    1815.11.1933Ansprache von Reichspropagandaminster Joseph Goebbels anlässlich der Eröffnung der Reichskulturkammer in der Berliner Philharmonie 3'43"
    1916.11.1933Kommentar von Radio Wien zur Volksabstimmung in Deutschland am 12. November 19331'42"
    2019.11.1933Ansprache von Theodor Adrian von Renteln, Präsident des DIHT, auf einer Tagung des Reichsstandes des deutschen Handels in Braunschweig2'32"
    2112.12.1933Reportage von der Eröffnung des Reichstages in der Berliner Krolloper1'58"
    2216.12.1933Leipziger Reichstagsbrandprozess: Schlusswort des Angeklagten Georgi Dimitroff
    (mit Einsprüchen von Senatspräsident Wilhelm Bünger)
    2320.12.1933Ansprache von Reichssendeleiter Eugen Hadamovsky anlässlich der Eröffnung der drei Großsender Berlin, München und Stuttgart2'12"
    241933"Ein Reich ist uns entstanden". Ein Hörbild von Kurt Klawitter3'25"

    VA - Stimmen des 20. Jahrhunderts - 1933 - Der Weg in die Katastrophe
    (256 kbps, front cover included)

    Montag, 7. März 2022

    Vladimir Vissotski - Wir drehen die Erde

    Vladimir Semyonovich Vysotsky (or Vladimir Vissotski) was born and brought up in central Moscow. He made his living as an actor, joining Yuri Lyubimov's company at the Taganka Theatre in 1964 and performing there to the end of his life. He was a mainstay of the theatre's ensemble style, but also took the leading role in several epoch-making productions, notably as Galileo in Brecht's play, and then as a generationdefining Hamlet. Besides the theatre, Vysotsky regularly appeared in films, usually playing "bad boy" roles. Part of his stock-in-trade as an actor was the performance of songs to guitar accompaniment, and it was in this genre, delivering his own words, that he became more famous in his own lifetime than any other Russian creative artist.

    The beginning of Vysotsky's professional life coincided with the appearance of guitar poetry, which in its turn was enabled by the availability of the portable tape recorder in the USSR. Vysotsky's songs could therefore be recorded free of official controls, and the results duplicated. The popularity of these homemade tapes, and the semi-legal appearances Vysotsky made in clubs and other institutions, brought him to the attention of the authorities. He was subjected to harrassment because, in official eyes, the content and especially the style of his songs, saturated with robust humor, were unacceptable even within the relatively permissive boundaries of Socialist Realism in its later phases. Vysotsky was regularly censured by various official bodies, but, shielded by his unprecedented popularity, he was never subjected to serious reprisals.

    Vladimir Vysotsky became an immensely popular singer/songwriter in the former Soviet Union and was eventually silenced and banished by government officials. When he died in 1980, at the age of 42, over one million people attended his funeral. The posthumous release of his poetry, in addition to his musical legacy and acting, endeared him to the masses. Fans still make pilgrimages to his grave to pay respects to the man who was, for his country, what Bob Dylan and Leonard Cohen were to America.

    Until his death, Vladimir Vysotsky was a prophet without honor in his own country; although he wrote more than a thousand highly popular songs, he died without an official record release to his name. The reason for this studied neglect lay in the political tenor of his material. Vysotsky, who began performing in the 1960s, was quite critical of the Communist regime, and his lyrics took position on the Soviet status quo. His songs derived from the "blatny pesny" (literally, delinquent song) tradition, with its celebration of sex, drink, and street fights. Informally distributed cassettes ensured Vysotsky a wide and enthusiastic following. After his death, in 1980, Gorbachev granted his music an imprimatur and a 20-album retrospective was released.

    Although aparently compiled in Germany, this CD is in Russian and contains some of Visotsky's most popular work. Although Visotsky composed more than a 1,000 songs, only a few of them were sanctioned by the Soviet government. This CD contains many of the songs that were "officially" released to the public and were a staple on Russian radio in the 70's. A unique feature of this CD is that it contains many songs with orchestral background in contrast to the griddy guitar solos that Visotsky usually performed in underground clubs.

    Vladimir Vissotski - Wir drehen die Erde
    (192 kbps, front & back cover included)

    Sarah Gorby - Chansons russes et tziganes

    "There can be no-one better than Sarah Gorby for interpreting these popular Russian and Gipsy songs which she collected and selected so lovingly, for Russia was the land of her childhood and Russian her mother-tongue.

    With its exceptional sensitivity the voice of Sarah Gorby clearly expresses the feelings of the Russian soul: Melancholy, violence and nostalgia, the language of passion, the spontaneous appeal which is both strong and gentle in these popular songs whose synthesis engendered Russian lyrical writing.

    In its sincerity are to be found the gravity, the emotion, the fervur and all the riches of the Slav soul.

    Sarah Gorby died in 1980." - From the booklet.

    Sarah Gorby - Chansons russes et tziganes
    (320 kbps, cover art included)

    Sonntag, 6. März 2022

    Vladimir Visotsky · Владимир Высоцкий – Self-Portrait · Автопортрєт (1981, vinyl rip)

    Until his death, Vladimir Vysotsky was a prophet without honor in his own country; although he wrote more than a thousand highly popular songs, he died without an official record release to his name. The reason for this studied neglect lay in the political tenor of his material. Vysotsky, who began performing in the 1960s, was quite critical of the Communist regime, and his lyrics took position on the Soviet status quo. His songs derived from the blatny pesny (literally, delinquent song) tradition, with its celebration of sex, drink, and street fights. Informally distributed cassettes ensured Vysotsky a wide and enthusiastic following. After his death, in 1980, Gorbachev granted his music an imprimatur and a 20-album retrospective was released.

    Vladimir Semyonovich Vysotsky (January 25, 1938 – July 25, 1980) was an iconic Russian singer, songwriter, poet, and actor whose career has had an immense and enduring effect on Russian culture. Though his work was largely ignored by the official Soviet cultural establishment, he achieved remarkable fame during his lifetime, and to this day exerts significant influence on many of Russia's popular musicians and actors who wish to emulate his iconic status.

    His songs – over 600 of them – were written about almost any imaginable theme. The earliest were Outlaw songs. These songs were based either on the life of the common people in Moscow (criminal life, prostitution, and extreme drinking) or on life in the Gulags. Vysotsky slowly grew out of this phase and started singing more serious, though often satirical, songs. Many of these songs were about war. These war songs were not written to glorify war, but rather to expose the listener to the emotions of those in extreme, life threatening situations.
    Nearly all of Vysotsky's songs are in the first person, although he is almost never the narrator. When singing his criminal songs, he would adopt the accent and intonation of a Moscow thief, and when singing war songs, he would sing from the point of view of a soldier. This created some confusion about Vysotsky's background, especially during the early years when information could not be passed around very easily. Using his acting talent, the poet performed his role play so well that until told otherwise, many of his fans believed that he was, indeed, a criminal or war veteran. Vysotsky's father said that "War participants thought the author of the songs to be one of them, as if he had participated in the war together with them." The same could be said about mountain climbers; on multiple occasions, Vysotsky was sent pictures of mountain climbers' graves with quotes from his lyrics etched on the tombstones.
    Not being officially recognized as a poet and singer, Vysotsky performed wherever and whenever he could - in the theater (where he worked), at universities, in private apartments, village clubs, and in the open air. It was not unusual for him to give several concerts in one day. He used to sleep little, using the night hours to write. In his final years, he managed to perform outside the USSR and held concerts in Paris, Toronto, and New York City.
    With few exceptions, he wasn't allowed to publish his recordings with "Melodiya", which held a monopoly on the Soviet music industry. His songs were passed on through amateur, fairly low quality recordings on vinyl discs and magnetic tape, resulting in his immense popularity. Cosmonauts even took his music on cassette into orbit. – His writings were all published posthumously except for one poem printed in 1975.
    Every year on Vysotsky's birthday, festivals are held throughout Russia and in many communities throughout the world, especially in Europe. Vysotsky's impact in Russia is often compared to that of Bob Dylan in America.

    From the linernotes:
    "The present record contains the last performances by Vladimir Visotsky during his visit to Sofia. The spontaneity, the binding text between the songs and the whole atmosphere of the recording give us the chance to experience the pleasure of the direct contact with the poet, the actor, the musician and the person Vladimir Visotsky."

    The album was published in 1981 on the Balkanton label.

    1. Song about the pilot 05:05
    2. Yellow lights rush into my dream 05:04
    3. About the battle in the air 03:07
    4. The visit of the muse or song about the plagiarist 02:31
    5. Wild boar hunt 02:43
    6. Incident on the road 02:57
    7. At the start – the four leaders or who is running for what ? 04:51
    8. What a thing, what a thing ! 02:35
    9. Dialogue in front of the television set 04:11

    (320 kbps, cover art included)

    VA - Partisans Of Vilna - Songs Of WWII Jewish Resistance (1989)

    PhotobucketOn this album, some of today's leading Yiddish artists - like David J. Waletzky, Adrienne Cooper, Josh Waletsky, Irena Klepfisz, Michael Alpert, and Henry Sapoznik -  perform music (and recite poetry) associated with the Jewish partisans in the Vilna area during World War II.

    This collection of songs stems from the partisans (defiant freedom fighters) around the Vilna ghetto and woodlands in eastern Poland during World War II (though performed more recently for this album). The songs deal with the sorrows of occupation, of the then-contemporary murders, of life in a ghetto. They deal with everyday issues in a sense of escapism from what was not the everyday. They deal with the armed resistance movement fighting the Nazis sporadically in the forests, often alongside Russians working toward similar ends. The origins of specific songs range from theater productions within the ghetto to military marches to folk songs. Tying them together, however, is a constant sense of defiance. Whether overt as in the armed partisan marches, or covert as in the theater production pieces, there is a defiance of the authorities and of the times. There is also a sense of hope implanted within the otherwise often depressing works, in the chord structures somewhat, but more importantly within the lyrics, with references to the awaited dawn from the Kingdom of Night. The musical performance on the album leaves something to be desired, but the goal of the album in preservation of the culture and an important movement at an important time is served exceptionally nonetheless. For those interested solely in the music, this album should perhaps be avoided. For those interested in Eastern European Jewry of the time, and the culture in general, it may prove a powerful album.

    This album was produced by Josh Waletsky and Henry Sapoznik and released in 1989.

    01. S'iz Geven a Zumertog
    02. Yisrolik
    03. Unter Dayne Vayse Shtern
    04. Yid, Du Partizaner
    05. Blayene Platn
    06. Itzik Vitnberg
    07. Shtiler, Shtiler
    08. Zemlyanka
    09. Tsu Eyns, Tsvey, Dray
    10. Dos Meydl fun Vald
    11. Shtil di Nakht
    12. Zog Nit Keynmol

    Partisans Of Vilna - Songs Of WWII Jewish Resistance (1989)
    (256 kbps, cover art included)

    Rolando Alarcón - Canta a los Poetas Soviéticos (1971)

    The Chilean composer and singer/player Rolando Alarcon (1929 - 1973) is one of the pioneers of the New Chilean Song movement.
    He founded the folk band "Cuncumén" in 1955. In 1962 he left the band and in 1965, after the brief period with "Los De Las Condes", he released his first solo album: "Rolando Alarcón Y Sus Canciones", followed by "Rolando Alarcón" and "El nuevo Rolando Alarcón" (1967) where he turned to a more social implication and to the pop music. He also played on "La Peña de los Parra" and in "Chile Ríe y Canta" peñas.

    Canta a los poetas soviéticos is his eleventh album. It is a hommage to the soviet poet Yevgeni Yevtushenko and the singer Bulat Okudzhava.

    01. ¿Querrían los rusos la guerra? (Yevgeni Yevtushenko – Eduard Kolmanowski)
    02. Cuando mataron a Lorca (Yevgeni Yevtushenko)
    03. La prisa es la maldición del siglo (Yevgeni Yevtushenko)
    04. La isba (Yevgeni Yevtushenko)
    05. El último trolebús (Bulat Okudzhava)
    06. Canción del soldado americano (Bulat Okudzhava)
    07. Cancioncita sobre la puerta abierta (Bulat Okudzhava)
    08. ¿Escuchan los botines al pasar? (Bulat Okudzhava)
    09. Sharmanka (Bulat Okudzhava)

    Rolando Alarcón - Canta a los Poetas Soviéticos (1971)
    (160 kbps, front cover included)

    Vladimir Vysotsky - Selected Songs (Melodija)

    Until his death, Vladimir Vysotsky was a prophet without honor in his own country; although he wrote more than a thousand highly popular songs, he died without an official record release to his name. The reason for this studied neglect lay in the political tenor of his material. Vysotsky, who began performing in the 1960s, was quite critical of the Communist regime, and his lyrics took position on the Soviet status quo. His songs derived from the blatny pesny (literally, delinquent song) tradition, with its celebration of sex, drink, and street fights. Informally distributed cassettes ensured Vysotsky a wide and enthusiastic following. After his death, in 1980, Gorbachev granted his music an imprimatur and a 20-album retrospective was released.

    Vladimir Semyonovich Vysotsky was a Russian actor and poet, who wrote biting satire and performed his compositions to a rapt Russian audience. His social and political satire shed much needed light on the ironies and hardships of Soviet life. Walking a fine line between rebellion and conformity, he became immensely popular and died prematurely of alcoholism. The outpouring of grief upon his death was enormous and his music was issued in many forms - first cassette and vinyl, now CD.

    Tracklist in English:

    1. Fastidious Steeds
    2. She's Been to Paris
    3. 07 (Trunk Line)
    4. Crystal House
    5. Peak Mountaineer
    6. Here Paws of Fir-Trees Are Shivering
    7. It's Not Evening Yet
    8. In a Cold Weather
    9. Moscow-Odessa
    10. Variations on Gypsy Themes
    11. That's Us That Make the Earth Go Round
    12. Black Pea-Jackets
    13. "Yak" Fighter Plane
    14. Well, My Hands' Quivering Has Disappeared
    15. March of the Miners
    16. The Ships Ride and Then Set Course
    17. Song About Transmigration of Souls
    18. Song About Nothing, Or What Has Happened in Africa
    19. Morning Exercises
    20. White Silence

    Vladimir Vysotsky - Selected Songs (Melodija)
    (256 kbps, small front cover included)