Mittwoch, 20. September 2023

Nagorny Karabach - Kleine Exkursion

Stop The War!

"Nagorny Karabach" were the more dark part of the "Hamburger Schule". Martin Hermes, Ralf Lota Heydeck, Alexander Hoffmann, Stefan Schneider and Michael Trier played on this 1990/91 production so called "avantcorebeat".

They performed their great lyrics to a sound insprided by Suicide and other electro punk bands. And they did inspired cover versions of Kraftwerk´s "Radioaktivität" and "Als wär´s das letzte mal" by Deutsch-Amerikanische Freundschaft.

The cover of this What´s So Funny About-release used a part of a painting by Otto Dix.


Der Krieg ist aus 4:13
Abgehackt (Der Ekel) 3:20
Magic Mushrooms 4:05
Kleine Exkursion 8:20
Als wär's das... 2:58
Sei schön 3:35
Sweet Childness 2:45
Ecce Homo 4:57
Die Scharmützel mausern sich zum Feldzug 6:29
Radioaktivität 3:48
Weisst du noch 5:17

Nagorny Karabach - Kleine Exkursion
(256 kbps, cover art included)

Playgroup - Epic Sound Battles Vol. 2 (1983)

Great & rare record co-produced by Adrian Sherwood! This was intended as ON-U LP 26 yet never saw release on On-U Sound and was solely licensed to Cherry Red instead. The intended ON-U catalogue number even appears on the sleeve alongside the Cherry Red catalogue number.           

The difficulty of classifying Playgroup's musical output remained long after its dispersion. Steve Barker's sleeve notes to the 1991 compilation of tracks from the original 'Sound Battles' releases are therefore probably the best way to descirbe a band that wasn't and a genre that isn't:

"If you happen to be reading this sleeve in a record shop then don't worry too much about putting it back exactly where you found it. You can put it in any rack - for there is no one appropriate section for On-U Sound products. Retailers do not suffer this confusion alone. Joining them in a consensus of bewilderment are the majority of music critics, radio programmers, record company executives, promoters and agents - the business!
On-U Sound does not codify an accepted series of words, beats and notes to elicit a desired, timely and optimum response. There is no soiled or oblique message. What On-U Sound does do, by means of an informal and informed ever-growing band of singers and players, is accumulate signs and symbols of an intuitive order communicating direct experience. Texture is compatible with pattern, space with form. Play a game - play this album to a stranger, give no terms of reference.
Absorbed members of the Playgroup include veteran British breathman Lol Coxhill, Gerry Malekani guitarist for Manu Dibango. Jancsi Hosszu Hungarian virtuoso violinist, Bubbles Panman from Trinidad but exiled in Ladbroke Grove and collusionist Steve Beresford. As to the identity of the Prisoner he or she must remain masked. [*** Ed: Hint - a certain producer :-) ***]
Someone on their last billion brain cells once said to me, 'there is but one sound in the entire universe from which the many are derived', If this is true then I believe On-U Sound will be moving their offices quite soon, from Wapping to Mars.
Don't let your ears become your first defunct organs - play this music long and loud."


  1. Ballroom Control
  2. Going Overdrawn
  3. Going For A Song
  4. Haphazard
  5. Squeek Squawk
  6. Shoot Out
  7. Lost In LA
  8. Burned Again
  9. Night Shift

Bass - George Oban (Tracks: A2, A3, B4, B5)
Drums - Bruce Smith (Tracks: A2, A3, B4, B5), Style Scott (Tracks: A1, B1, B3)
Keyboards - Steve Beresford (Tracks: A2, A3, B3, B4, B5)
Percussion - Bonjo Iyabinghi Noah (Tracks: A1, A3, B1, B5)
Producer - Adrian Sherwood
Saxophone - Lol Coxhill (Tracks: A3, B3, B5)

Playgroup - Epic Sound Battles Vol. 2 (1983)
(320 kbps, cover art included)

Jacques Brel - Au Printemps (1958)

Jacques Brel's third album was his first to be conceived and recorded from the position of indisputable fame paved by the success of "Quand on N'a Que l'Amour" two years earlier. It also remains, so many years later, his most understated and, in turn, underrated.

Only one of the songs herein, "Litanies Pour un Retour," has seen anything approaching a high-profile English-language version (by Marc Almond), while a mere handful of its contents have appeared on subsequent compilations. Yet in many ways, it is the finest of Brel's Philips-era albums, bearing songs which may not have been raised to classic status by future translators, but are nonetheless remarkable for all that.

"Dites, Si C'etait Vrai," a poem first released on the "Quand on N'a Que l'Amour" EP two years earlier, is especially astonishing, oozing mystery in both the churchy accompaniment and Brel's dark tones. Two arrangers contributed to the album - Andre Popp and Francois Raubert; indeed, the latter would also step up to share co-composition credits with Brel on five of the album's nine tracks (Gaby Wagenheim would be co-credited on a sixth, the jaunty "Le Colonel"). For anybody familiar with Raubert's earlier work with Brel, it was doubtless no surprise to discover these to be the most flamboyant efforts in sight, with "Dors Ma Mie, Bonsoir" a virtual epic of concert piano and soaring strings, and broken into veritable mini-movements as well. From the same pens, "Litanies Pour un Retour" offers a delicate shopping list of an unnamed lover's virtues, while "La Lumiere Jaillira" drifts to stately organ, a cathedral of sound around a cavernously echoing voice. The most potent statement of the Brel/Raubert partnership, however, is "L'Homme Dans la Cite," which nudges the same fascination with revolutionaries and messiahs that flavored "Le Diable" on his debut. It is the accompaniment which captivates, however, rattling along to an understated military drumbeat while the orchestra builds almost imperceptibly (but, ultimately, unmistakably) behind the vocal, a sublime bolero.

Jacques Brel - Au Printemps (1958)
(256 kbps, cover art included)

Donovan - Catch The Wind (EP, Pye, 1965)

Donovan's folky 1965 recordings for Pye Records (they were released in the U.S. by Hickory Records) bear only a superficial resemblance to the more famous pop material he began issuing a year later when he switched to Epic Records. True, the fey gypsy and flower power sensibility was already present in songs like "Turquoise" (which is as gorgeous as it is ridiculous), but the pre-"Sunshine Superman" Donovan had a good deal more Woody Guthrie in him than he did Timothy Leary.

His work from this period has been compared (usually unfavorably) to Bob Dylan, but the strongest influence at play in these songs is probably Bert Jansch. In the end, the Pye tracks form a complete and distinct cycle in Donovan's canon, separate from - but not necessarily lesser than-his more ornate pop material.

Side A:
01. Catch The Wind
02. Every Man Has His Chain

Side B:
03. Josie
04. Why Do You Treat Me Like You Do

All tracks by Donovan P. Leitch.

· Donovan: vocals, acoustic guitar and mouth harp.
· Brian 'Liquorice' Locking: bass.
· Skip Alan: drums.

Donovan - Catch The Wind (EP, Pye, 1965)
(192 kbps, front cover included)

Sonntag, 17. September 2023

Chumbawamba – English Rebel Songs 1381-1914 (1988)

When Chumbawamba recorded the first version of "English Rebel Songs 1391-1914" in 1988, it was a very unusual step for a band of anarcho-punks. After all, a bunch of unaccompanied traditional folk songs was in direct contrast to the loud noise of electric music.

But the album spoke very eloquently, showing the band was committed to learning - and disseminating teaching - from history. And the singing was far better than anyone expected. Fifteen years on, they've learned a lot more about their voices, about music, and about the world. Additionally, the use of folk samples on "Readymades" has increased their folk credibility (which should never have been in doubt in the first place). And the songs remain utterly relevant - anthems of the downtrodden and oppressed through the ages, from the 14th century to today and the miners' strike of 1984.

The songs actually range from real folk pieces, like "The Cutty Wren" with its potent political symbolism, to music hall ("Idris Strike Song") and the cynical marching pieces of soldiers ("Hanging on the Old Barbed Wire").


"The Cutty Wren (Part 1)"
"The Diggers Song"
"Colliers March"
"The Triumph of General Ludd"
"Chartist Anthem"
"Song on the Times"
"Smashing of the Van"
"The World Turned Upside Down"
"Poverty Knock"
"Idris Strike Song"
"Hanging on the Old Barbed Wire"
"The Cutty Wren (Part 2)"

(320 kbps, cover art included)

Kingston Trio - At Large (1959)

In the history of popular music, there are a relative handful of performers who have redefined the content of the music at critical points in history - people whose music left the landscape, and definition of popular music, altered completely. The Kingston Trio were one such group, transforming folk music into a hot commodity and creating a demand - where none had existed before - for young men (sometimes with women) strumming acoustic guitars and banjos and singing folk songs and folk-like novelty songs in harmony.

On a purely commercial level, from 1957 until 1963, the Kingston Trio were the most vital and popular folk group in the world, and folk music was sufficiently popular as to make that a significant statement. Equally important, the original trio - Dave Guard, Nick Reynolds, and Bob Shane - in tandem with other, similar early acts such as the Limeliters, spearheaded a boom in the popularity of folk music that suddenly made the latter important to millions of listeners who previously had ignored it. The group's success and influence transcended its actual sales. Without the enviable record of popularity and sales that they built up for folk music, it is unlikely that Columbia Records would ever have had any impetus to allow John Hammond to sign an unknown singer/guitarist named Bob Dylan, or to put Weavers co-founder Pete Seeger under contract, or for Warner Bros. to record the Greenwich Village-based trio Peter, Paul and Mary.

The Kingston Trio's first stereo album. "At Large", was also the first LP on which they adopted the more sophisticated recording techniques that would characterize their subsequent records, including multiple overdubs and separate recordings of the different players of vocals and instrumentation. It shows in the far more complex sound achieved by the trio throughout this album, with voices and instruments more closely interwoven than on their earlier studio recordings and achieving control over their volume that, even today, seems astonishing.
The group also sounds very energized here, whether doing Calypso-style numbers like Bob Shane's "I Bawled," soaring bluegrass-style harmony numbers such as "Corey, Corey," or the gossamer-textured "All My Sorrows."
The hits "M.T.A." and "Scarlet Ribbons" helped propel "Kingston Trio At Large" to the number one LP spot, but it was the rest of the album - including "Early in the Mornin'" (a skillful adaptation of the song best known to most of us by its opening line, "What do you do with a drunken sailor") and "The Seine," which anticipates the later trio's classic "Take Her Out of Pity" - that helped keep it at the top spot for 15 weeks, an amazing feat for a folk album. Dave Guard's banjo playing, in particular, shines throughout this album, and it was beginning here that Guard was to exert a separate influence on a whole generation of aspiring folk musicians and even one rock star (Lindsay Buckingham) with his banjo.

Kingston Trio - At Large (1959)
(320 kbps, cover art included)

Kurt Weill - Die Dreigroschenoper with René Kollo, Ute Lemper, Milva, Mario Adorf, Helga Dernesch and the RIAS Berlin Sinfonietta

The son of a cantor, Kurt Weill was one of the 20th-century lyric stage's great innovative geniuses. With Die Dreigroschenoper, he and collaborator Bertolt Brecht (and Brecht's often unacknowledged partner Elisabeth Hauptmann) created a cultural landmark that is still the most resonant emblem of the heady days of the Weimar Republic.

Although Brecht has usually taken the limelight for his acerbic social satire of bourgeois complacency - adapting the 18th-century John Gay's original Threepenny Opera, itself a parody of operatic conventions - Weill's sly amalgam of jazz, cabaret, and art song idioms vividly colors the work as one unforgettable number follows the next. While Brückner-Rüggeberg's 1958 recording has long held pride of place due to the authority of Lotte Lenya--Weill's original Jenny and lifelong muse--this 1990 release is a strong competitor and perhaps an even better introduction to the work.


John Mauceri, a passionate advocate of Weill's less well-known works for the Broadway stage, achieves a tight sense of ensemble from the composer's iconoclastic scoring and gives the abrupt transitions of the piece a highly effective, jagged-edged quality. The spoken part of the text is drastically cut, and on the issue of which musical direction to pursue - operatic technique or cabaret campiness - this version sensibly recognizes the diversity of authentic Weill performing styles, making room in its cast for the classically trained Helga Dernesch and René Kollo as well as Ute Lemper's cabaret smarts. The result is engrossing and gives the spotlight to Threepenny Opera's subversive blend of irony and humor.

Kurt Weill - Die Dreigroschenoper - RIAS Berlin Sinfonietta
(192 kpbs, front cover included)

Lin Jaldati - Jiddische Lieder (Amiga, 1982)

...another album produced by Charly Ocasek.

Lin Jaldati was sent to concentration camps when the Nazis occupied Holland. She didn't speak Yiddish, but learned Yiddish songs from her fellow prisoners. Jaldati survived Auschwitz; being a communist, she came to East Germany to help establish a socialist German state. She married Eberhard Rebling, a German Gentile communist who later became a member of the Central Committee of the Communist Party, and started to perform Yiddish songs for a German audience with Rebling accompanying her on piano. Later they were joined by their daughters Katinka and Jalda. Lin Jaldati dedicated her art and her life to communist East Germany. This didn't prevent her from being banned from performing in the late sixties; the hysteria had gone so far that even performing Yiddish songs was interpreted as a pro-Israel statement. For a long time Lin Jaldati, who was highly accepted by what later became the East German Yiddish and klezmer scene, was the only Yiddish performer in East Germany.
In the GDR there was no connection to the world centers of Yiddish culture. Israel was seen as an aggressor and song collections, for example from New York, were exchanged among friends but could not be found in any libraries. There were a few recordings by the Leipziger Synagogue choir, mainly religious songs, symphonically arranged. And the well known singer Lin Jaldati: she had survived Auschwitz. Occasionally, official politics made use of her good name. In 1966, she was allowed to release her interpretations of Yiddish resistance and folk songs on one side of a record, and in 1982 an entire record was released. This album, "Jiddische Lieder", with orchestra conducted by Martin Hoffmann, catches her in the last decade of her career. She can be heard intoning, speaking, shouting, and occasionally approximating notes amid the mostly world-weary singing.

  1. As der Rebe Elimelech
  2. Dem Milners Trern
  3. Nisim fun Rabejim
  4. Hungerik Dajn Ketsele
  5. Rabojsaj
  6. Schwartse Karschelech
  7. In Kamf
  8. Jome, Jome
  9. Schustersche Wajbelech
  10. Ojfn Bojdem
  11. Tsip Tsapekl
  12. A Semerl
  13. Dort bajm Breg fun Weldl
  14. S' brent

(192 kbps)

Pete Seeger - Darling Corey (1950)

Folksinger and banjoist Peter Seeger has made other recordings, including as a member of the Almanac Singers in 1941-1942, but "Darling Corey" is his first solo album. He devotes it to traditional folk songs, some of which were introduced to him by folklorist Alan Lomax, who employed him at the Archive of American Folk Song, part of the Library of Congress, in 1939-1940, and who penned the annotations for this collection.

There are songs about long-lost loves who come back to their beloveds ("John Riley") and about "no good" wives who get their heads cut off by their husbands ("I Had a Wife"). The title song is about a moonshiner and his woman, and "East Virginia Blues," which begins, "I was born and raised in East Virginia," is a romantic lament. Lomax acknowledges in his notes that Seeger himself was born in New York City, the son of a musicologist and a "longhair" violinist, and attended Harvard. It is not surprising that he makes no attempt to affect the kind of rural accent that might be expected in these songs. Instead, he picks his banjo steadily and renders the songs in a clear, direct manner, as if in the aural version of a musicologist's transcription. In so doing, he preserves some valuable musical folklore.                

A1John Riley
A3Devilish Mary
A4Come All Fair Maids
A5East Virginia Blues
A6I Had A Wife
B1Skillet Good And Greasy
B2Darling Corey
B3Banjo Pieces
B4Jam On Jerry's Rocks
B5Penny's Farm
B6Danville Girl
B7Get Along Little Dogies

Pete Seeger - Darling Corey (1950)
(256 kbps, front cover inlcuded)

Dienstag, 29. August 2023

Inti-Illimani - Hacia La Libertad (1975)

For well over 30 years, Inti-Illimani (the name translates as "Sun God") has held a beacon for Chilean music, both the traditional folk styles and the more contemporary nueva cancion. Back in 1967 a group of students at Santiago's Technical University formed a band to perform folk music. Taking their name from the Aymaran Indian language of the Andes, they began playing traditional music - something few did back then - and quickly earned a reputation around the capital, becoming more and more adept on their instruments.

By the '70s they'd grown into a political beast, taking on the nueva cancion (literally "new song") of many young groups, and being quite outspoken lyrically - enough to be forced into exile in 1973, where they'd stay for 15 years. However, they refused to be cowed by the Chilean dictatorship.

Basing themselves in Rome, Italy, they continued to record, and toured more heavily then ever before, earning a powerful reputation around the globe, and becoming very unofficial ambassadors of Chilean music, as well as opponents to the ruling regime. In addition to performing with a number of famous, political figures like Pete Seeger and Mikis Theodorakis, they were included on the famous 1988 Amnesty International Tour, along with Sting, Peter Gabriel, and Bruce Springsteen. It was, perhaps, their highest profile moment, at least in worldwide terms, and set the stage for their return to their homeland, where they've continued to be outspoken.

While they've remained a force in world music, their career in the U.S. was hampered by the lack of any consistent record deal until 1994, when they signed with Green Linnet offshoot Xenophile. Prior to that, only a few of their 30-plus discs made it into domestic U.S. record bins. The eight-piece lineup remained stable until 1996, when Max Berru decided to retire from music after almost three decades, shortly after the group had been celebrated with a "Best Of" disc in Italy (not to be confused with the 2000 "Best Of" on Xenophile, which collected tracks from their last four releases only). Instead of replacing him, they've continued since as a septet. 1997 saw the band honored with a U.C. Berkeley Human Rights Award for their labors in the past. Since then, although they've continued to release albums and tour, they've cut back on their earlier hectic schedule, but also widened their musical horizons, as 1999's "Amar de Nuevo" looked at the complete spectrum of Latin roots music and its Creole heritage.                

"Hacia La Libertad" was originally released in 1975 by the Italian label Dischi dello Zodiaco, later to be reprinted by other European labels.
It was the fourth studio album recorded and released by the band in the exile in Italy.


01. Arriba quemando el sol
02. El arado
03. Cancion a Victor
04. Ciudad Ho Chi Min
05. Chiloé
06. Vientos del pueblo
07. Hacia la libertad
08. Cai cai vilu
09. Canto de los caidos

Inti-Illimani - Hacia La Libertad (1975)
(320 kbps, cover art included)

Hein & Oss - Deutsche Lieder 1948/49 (1974)

This album was released in 1974 on the Songbird label by famous folk singer, songwriter and pair of twin brothers Heinrich and Oskar Kröher.

"Hein & Oss" call themselves "The People´s Singer" and were activ on stage for more than the last fifty years. Long before there was a new folk song movement, the vocal and guitar duo was popularizing democratic folk songs: work songs , songs of freedom of 1848-49, songs from the Hambach Festival , partisan songs, soldier songs against the drill, sailor songs and cowboy songs, songs from hiking , from drinking and of the unrest.

The 1848 Revolutions were a series of loosely coordinated protests and rebellions in the German Confederation which sought to challenge the status quo. The revolutions, which stressed pan-Germanism, emphasised popular discontent with the traditional, largely autocratic political structure of the thirty-nine independent states of the Confederation that inherited the German territory of the Holy Roman Empire. Furthermore, they demonstrated the popular desire for increased political and social freedom, democracy, and national unity within liberal principals of socioeconomic structure.

The revolution of 1848–49 marks a turning point in history. Throughout Germany the middle classes, workers, peasants, artisans, students, and the lower middle classes rose up against the ruling feudal nobility in order to create a unified, democratic state. The songs of freedom from the revolutionary years 1848 - 1949 are the expression of the struggle against feudalism, and they reflect the events of the time, the hopes and disappointments of the struggling democrats.


Trotz alledem
Vetter Michels Vaterland
Das Blutgericht
Die freie Republik
Das Reden nimmt kein End'
Ça ira
Mein Deutschland, strecke die Glieder
Fürstenjagd/ Heckerlied
Deutscher Nationnalreichtum
Das Lied von Robert Blum
Der gute Bürger
Badisches Wiegenlied
Achtzehnter März

Hein & Oss - Deutsche Lieder 1948/49 (1974)
(192 kbps, front cover included)

Bonnie Dobson - At Folk City (1962)

For Bonnie Dobson, protest singing must have run deep in her veins. The Toronto-born singer-songwriter was the daughter of a trade unionist who would send her to socialist camps when she was barely into her early teens. "As a teenager I went off to summer camp in Quebec, and also in Ontario," she told Randy Jackson at "We used to have people like Pete Seeger and Leon Bibb come up and give concerts on the weekends and that's when I really got into it and started playing the guitar and got really keen, really interested."

While pursuing an English degree at the University of Toronto and when her folk music was nothing more than a hobby, she was offered a chance to tour the U.S. with Sonny Terry and Brownie McGee. That 1960 summer tour stretched out for a couple of years, and by 1960 Dobson, who never did make it back to complete her degree, ended up in Greenwich Village at the legendary Gerdes Folk City to record a live set of songs for the Prestige label. Most of At Folk City featured Dobson's sober, high-pitched warble, and most probably drew comparisons to the great Joan Baez at the time. And like the bulk of Dobson's records, At Folk City was hardly a million-seller. But tacked on at the end of side two was a song that would become a touchstone for hippies and peaceniks during those turbulent years at the close of the 1960s.

The anti-nuke 'Morning Dew' chronicled the chilling prospects of total nuclear annihilation just as the U.S.-Soviet arms race was really starting to escalate in earnest. Dobson had drawn inspiration several years earlier back home in Canada after seeing Stanley Kramer's post-apocalyptic expose. "I saw a film called On the Beach and it made a tremendous impression on me," she recalled, "particularly at that time because everybody was very worried about the bomb and whether we were going to get through the next ten years." 'Morning Dew' is a supremely haunting piece of music, Dobson's vocals especially so, as she sings of the survivors after a nuclear attack ("Oh, where have all the people gone? / Won't you tell me where have all the people gone?").

This live album is very much a relic of its age: reverently interpreted folk songs with a high, clear voice, conscientiously chosen to represent numerous regions and styles. So you get a French song, Australian Christmas carols (no joke that), anti-nuclear protest ("Two Carols for a Nuclear Age"), an "Irish Exile Song," and more. Certainly it's honorably intentioned and listenable, but it's not that inspiring. The notable exception is Dobson's self-penned "Morning Dew," her moving and melodic song about the damage of nuclear holocaust, which makes its first appearance on record here.


A1 Once My True Love
A2 Love Henry
A3 Irish Exile Song
A4 Shule Aroon
A5 Bonnie's Blues
B1 Peter Amberley
B2 C'est L'Aviron
B3 The Holly Bears A Berry
B4 Two Carols For A Nuclear Age
B5 Morning Dew

(192 kbps, cover art included)

Montag, 28. August 2023

Elizabeth Cotten ‎- Freight Train And Other North Carolina Folk Songs And Tunes (1958)

Elizabeth "Libba" Cotten (1895-1987), best known for her timeless song "Freight Train," built her musical legacy on a firm foundation of late 19th- and early 20th-century African-American instrumental traditions. Through her songwriting, her quietly commanding personality, and her unique left-handed guitar and banjo styles, she inspired and influenced generations of younger artists. In 1984 Cotten was declared a National Heritage Fellow by the National Endowment for the Arts and was later recognized by the Smithsonian Institution as a "living treasure." She received a Grammy Award in 1985 when she was ninety, almost eighty years after she first began composing her own works.

Recorded in 1957 and early 1958 by Mike Seeger, "Freight Train and Other North Carolina Folk Songs and Tunes" collects the influential debut sides cut by a then-62-year-old Elizabeth Cotten; even decades after their first release, they remain a veritable primer in the art of finger-picked style guitar playing. The quaint, homespun quality of the material - much of it recorded at Cotten's home with her grandchildren looking on in silence - adds immensely to its intimacy and warmth; the sound quality varies wildly from track to track, but the amazing instrumental work shines through regardless on tracks like the opening "Wilson Rag" and the now-standard "Freight Train."               


1 Wilson Rag 1:35
2 Freight Train 2:42
3 Going Down The Road Feeling Bad 2:09
4 I Don't Love Nobody 1:10
5 Ain't Got No Honey Baby Now 0:53
6 Graduation March 2:29
7 Honey Babe Your Papa Cares For You 2:11
8 Vastopol 2:08
9 Here Old Rattler Here / Sent For My Fiddle Sent For My Bow / George Buck 3:45
10 Run…Run / Mama Your Son Done Gone 2:15
11 Sweet Bye And Bye / What A Friend We Have In Jesus 3:00
12 Oh Babe It Ain't No Lie 4:40
13 Spanish Flang Dang 2:49
14 When I Get Home 2:21

Elizabeth Cotten ‎- Freight Train And Other North Carolina Folk Songs And Tunes (1958)
(320 kbps, cover art included)                                 

VA - Cowboy Songs On Folkways

The album features a richly varied set, from Leadbelly to Woody Guthrie, drawn from the vast Folkways archives and dating from the early 40s to the 60s.

VA - Cowboy Songs On Folkways
(192 kbps, front cover and linernotes included)

Sonntag, 27. August 2023

Richie Havens - Cuts To The Chase

Here´s anther Richie Havens album, called "Cuts To The Chase". Although this recording from the 90s doesn´t have the same resonance as his great 1960s LPs, Guitarist and composer Richie Havens keeps making thought-provoking, poignant and intensely personal music, with few (if any) romantic songs and frank discussions of issues without violent or sexist rhetoric.

This was Havens' first solo release after some years of rest, and it contains only one original. But his covers of songs by Sting, Kris Kristofferson, Bob Lind and Marty Balin become his own memorable statements, while guitarist Billy Perry and guest guitarist Greg Chansky provide three new compositions. This album is a worthy vehicle for the 1990s.


Part I: The Declaration
1 Lives In The Balance 4:22
2 They Dance Alone 5:23
3 My Father´s Shoes 2:44
4 Darkness, Darkness 4:24
5 The Hawk 4:36
6 Young Boy 3:23
7 The Times They Are A-Changin´ 4:54

Part II: Independence
8 Fade To Blue 5:39
9 Intro/Old Love 6:25
10 How The Nights Can Fly 5:14
11 Comin´ Back To Me 3:26
12 Don´t Pass It Up 4:50
13 At A Glance 3:40

Richie Havens - Cuts To The Chase
(192 kbps, front cover included)

Pete Seeger - Waist Deep In The Big Muddy And Other Love Songs (1967)

One of Pete Seeger's most well-known protest albums - he provoked a storm of controversy when CBS censors would not allow the singer/songwriter to perform "Waist Deep in the Big Muddy," a Vietnam parable based on an actual incident that occurred during World War II when a soldier who couldn't swim drowned when his commanding officer forced him to ford a river without knowing how deep it was, on The Smothers Brothers Comedy Hour - "Waist Deep in the Big Muddy and Other Love Songs" is intriguing for other reasons as well.

Just two years after Seeger supposedly threatened to take an axe to the power supply during Bob Dylan's electric set at the 1965 Newport Folk Festival, side one of this album features Seeger and his acoustic guitar backed by electric guitarist Danny Kalb (of the Blues Project) and a rockish rhythm section. (The opening "Oh Yes I'd Climb" adds a middle-of-the-road string section for good measure!) The electric instruments are actually most tasteful in their integration, if not downright wimpy. You'll be hard-pressed to actually hear the bass player most of the time.

Side two is more traditional for Seeger, strictly acoustic material including a couple of traditional songs interspersed among some less-than-subtle protest material, including "My Name Is Liza Kalvelage," its lyrics taken almost verbatim from a television news story about San Jose housewives picketing a nearby napalm storage yard, and "Those Three Are on My Mind," about the murders of civil rights workers in Mississippi in 1963. Overall, this is probably a better album than the similar "Dangerous Songs!" from 1966, with a higher number of trenchant observations and a little less finger-pointing.  - Stewart Mason, allmusic  


1Oh Yes I'd Climb (The Highest Mountain Just For You)4:06
2Seek And You Shall Find7:50
3The Sinking Of The Reuben James2:42
4Waist Deep In THe Big Muddy2:54
5Last Night I Had The Strangest Dream2:51
6Down By The Riverside3:13
7Nameless Lick0:56
8Over The Hills1:38
9East Virginia2:34
10My Name Is Lisa Kalvelage3:57
11My Father's Mansion's Many Rooms2:24
12Melodie D'Amour1:51
13Those Three Are On My Mind3:02
Unreleased Bonus Tracks:
14Come All Ye Fair And Tender Ladies3:59
15Los Quatros Generales2:57

Pete Seeger - Waist Deep In The Big Muddy And Other Love Songs (1967)
(256 kbps, cover art included)     

Richie Havens - Stonehenge (1970)

Stonehenge is the 1970 album by folk rock musician Richie Havens.

More production that usual for this American Folk music "treasure" - I surmise Richie Havens himself wouldn't be comfortable with that tried but true (pause) cliche, but this trove has it all: some of his most melodic and personal statements, all completely believable: "Open Our Eyes", "Ring Around The Moon", "There's A Hole In The Future", among others here have an inescapable pull, resonant now for four decades.

His world view is universal, if you will, and the final, the long (for its' time) at 7:58 "Shouldn't All The World Be Dancing?", is a sentiment which critics could make careers at, by mocking the song title as naive and tired, but Havens makes it a near-desperate plea for understanding and unity. Different voices weave in and out of the kaleidoscope, and it may be considered a modified rapp.
Havens, along with Mitchell, and Safa, represents the very best of that Monterey-to-Woodstock era. Although this '70 work follows that period, there is no sense of resignation in any track. In any note.


"Open Our Eyes" (Leon Lumpkins) – 2:56
"Minstrel from Gault" (Havens, Mark Roth) – 3:35
"It Could Be the First Day" - 2:22
"Ring Around the Moon" (Greg Brown, Havens) - 2:08
"It's All Over Now, Baby Blue" (Bob Dylan) - 5:01
"There's a Hole in the Future" - 2:07
"I Started a Joke" (Barry Gibb) - 2:58
"Prayer" - 2:56
"Tiny Little Blues" - 2:08
"Shouldn't All the World Be Dancing?" - 8:04

(320 kbps, cover art included)

Freitag, 11. August 2023

Lin Jaldati - Lin Jaldati singt (Eterna, 1966)

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Jewish Music in Post-War Germany, Part 2

Lin Jaldati: Communist First, Jewish Second

The first purveyors of Yiddish song in post-war Germany were Jews, but most of them did not actually speak Yiddish natively; they had acquired it some time later. From the very beginning, German interest in Judaism involved transforming real living assimilated Jews into a more exotic Eastern European variant.

Lin Jaldati, a Dutch Jew, was probably the most famous of these Yiddish students. Bron Rebekka Brilleslijper in 1921 in Amsterdam to a Sephardic family, Jaldati was taught Yiddish by a cantor shortly before the war. In 1944 she was deported to Auschwitz; as a Communist and aJew, she had two strikes agaisnt her. But she survived and rejoined the Communist Party soon after being freed. In 1952 she immigrated to East Germany, attracted by the opportunity to help the new socialist state. She took along her songs. In 1964 seh released her first album; by 1966, she had released her first book, a collection of Yiddish songs called Es brennt, Brüder, es brennt. In the introduction she wrote a short history of the Jews in Europe since the Middle Ages; she also noted their early involvement in Communist agitation.

Jaldati´s Jewish identification was secondary to her Communist affiliation, which would have appealed to German audiences who could congratulate themselves on their tolerance without having to feel threatend by someone who indentified above all as Jewish. Jaldati´s daughter, Jalda Rebling, explained that her mother "always said, that I´m Jewish is a fact: I´m not ashamed of it, and I´m also not particularly proud of it, that´s just the way it is".

Lin Jaldati was interned in Westerbork and Bergen-Belsen with Anne Frank and her familiy, and was actually the person who told Otto Frank that his daughters had died in the concentration camps. In the 1980s, Jaldati toured the world with a programme taht commemorated what would have been Frank´s 50th birthday.


Ist das alles schon wieder vergessen
An meine Landsleute
Lied einer deutschen Mutter
Nichts oder alles
Die Ballade vom Wasserrad
Das Lied der Kupplerin
Song von den träumen
Spanisches Wiegenlied
Lied der Mausmutter
Auf Wiedersehn
Hej zigelech
Dort balm breg fun weldl
A jiddische mame
Der balagole un sajn ferdl
Es brent
Amol is gewen a jidele
Jüdisches Partisanenlied

Voice: Lin Jaldati
Piano: Eberhard Rebling

Lin Jaldati - Lin Jaldati singt (Eterna, 1966)
(320 kbps, cover art included)

Kurt Weill - The Threepenny Opera (Off-Broadway Cast, Theatre de Lys, NY, 1954)

"Die Dreigroschenoper", Kurt Weill and Bertolt Brecht's radical reinterpretation of John Gay's 18th century operetta "The Beggar's Opera", was a sensation in Europe after its German premiere in 1928. But the show, with its decadent portrait of the underworld, was less appealing to Americans when it appeared as "The Threepenny Opera" on Broadway in 1933 and became a quick flop. It took another 21 years and a new English adaptation by Marc Blitzstein for "The Threepenny Opera" to succeed in New York.

Playing at a small Greenwich Village theater, the new version ran 2,611 performances (longer than any Broadway musical up to that time), meanwhile establishing off-Broadway as a legitimate extension of the theater. The cast album, the first such recording ever made of an off-Broadway show, suggests what it was that packed them in downtown. The music is played by an eight-piece band - keyboards, two clarinets, two trumpets, trombone, percussion, and banjo or guitar - making for spare arrangements that support the heavily literate songs in which Brecht comments sardonically on the world. The cast is led by a strong Polly Peachum, sung by soprano Jo Sullivan, and by Lotte Lenya (Weill's widow) in the role of Jenny Towler, here given the revenge fantasy "Pirate Jenny." Gerald Price confidently handles "The Ballad of Mack the Knife," soon to become a surprising pop hit.

Lotte Lenya (Jenny)
Bea Arthur (Lucy Brown)
Charlotte Rae (Mrs. Peachum)
Jo Sullivan (Polly Peachum)
Scott Merrill (Macheath "Mack The Knife")
Martin Wolfson (Mr. J.J. Peachum)
Gerald Price (The Streetsinger)
George Tyne (Tiger Brown).

Theatre de Lys, Greenwich Village, NY 03/10/1954

01. Prologue (Spoken)
02. Overture
03. The Ballad of Mac the Knife
04. Morning Anthem
05. Instead-Of-Song
06. Army Song
07. Wedding Song
08. Love Song
09. Ballad of Dependency
10. The World Is Mean
11. Melodrama and Polly's Song
12. Pirate Jenny
13. Tango Ballad
14. Ballad of the Easy Life
15. Barbara Song
16. Jealousy Duet
17. How to Survive
18. Useless Song
19. Solomon Song
20. Call from the Grave
21. Death Message
22. Finale The Mounted Messanger
23. Ballad of Mac the Knife

Marc Blitzstein, the son of a wealthy banker, was born in Philadelphia on 2nd March, 1905. His father was a socialist, but Blitzstein later recalled that he was "as modern in social thinking as he was conservative in musical taste". A child prodigy, he performed as a soloist with the Philadelphia Orchestra when he was only fifteen. He studied at the Curtis Institute of Music and later trained with Nadia Boulanger in Paris and Arnold Schonberg in Berlin.

Blitzstein wrote plays as well as music and joined the Group Theatre in New York City where he worked with Harold Clurman, Lee Strasberg, Elia Kazan and Clifford Odets. Members of the group tended to hold left-wing political views and wanted to produce plays that dealt with important social issues.

In 1932 Blitzstein wrote "Condemned", a play about the execution of Sacco and Vanzetti. The following year he married the novelist, Eva Goldbeck. Blitzstein was openly homosexual and the couple had no children. Eva introduced her husband to the work of Bertolt Brecht, a German writer who she had translated into English. Blitzstein wrote in 1935: “It is clear to me that the conception of music in society… is dying of acute anachronism; and that a fresh idea, overwhelming in its implications and promise, is taking hold. Music must have a social as well as artistic base; it should broaden its scope and reach not only the select few but the masses”. Soon afterwards he joined the American Communist Party. He also contributed to left-wing journals such as "New Masses".

Like other former members of the American Communist Party who worked in the entertainment industry, Blitzstein's name appeared in "Red Channels". In 1958, Blitzstein received a subpoena to appear before the "House Committee on Un-American Activities". Blitzstein admitted his membership of the Communist Party but refused either to name names, or co-operate any further. As a result he was blacklisted.

Kurt Weill - The Threepenny Opera (Off-Broadway Cast, 1954)
(192 kbps, front cover included)

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

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

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

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

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

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


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

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

Donnerstag, 10. August 2023

Linton Kwesi Johnson - In Dub, Vol. 3

Poet and social critic (as the name Poet and the Roots suggests) Linton Kwesi Johnson — born in Jamaica, raised in London — helped bridge the gap between reggae and punk, infusing the music with powerful political content and an urge for freedom rooted in his experience as a black man living in Brixton.

Linton Kwesi Johnson has garnered serious respect among reggae aficionados both as a stirringly political poet ("Inglan is a Bitch" stands as an excellent chronicle of a Jamaican immigrant in Ol' Blighty) and as a consummate master of dub. It's a tricky balance, in that Johnson must simultaneously stand on his ability with words and on his ability to work without them.

"LKJ In Dub, Volume 3" continues a series that began in 1980 and, inasmuch as dub whittles reggae down to its barest, most primal essence -- the beat and the bassline -- Johnson pushes dub even further. Recorded in Switzerland, this collection is a perfect distillation of dub's power: achingly sparse and profoundly deep.


1 Dirty Langwidge Dub 7:15
2 Rootikal Dub 6:58
3 Liesense Fi Dub 6:51
4 Dubbin Di Tradition 4:24
5 Time Fi Dub 6:39
6 Row Man Tik Dub 5:57
7 Mensch Dub 5:23
8 Afro-German Dub 6:47
9 Dubbin Di Diaspora 6:57
10 Poetic Dub 6:25

Linton Kwesi Johnson - In Dub, Vol. 3
(192 kbps, cover art included)

Lin Jaldati - Jiddische Lieder - Live, Köln, 3. Juli 1987

This is a concert recording from 1987, July 3, in Cologne, West Germany. Lin Jaldati performs both traditional and composed Yiddish songs, accompanied by her husband Eberhard Rebling on piano and by their daughters Kathinka Rebling on violin and Jalda Rebling, vocals.

Lin Jaldati was sent to concentration camps when the Nazis occupied Holland. She didn't speak Yiddish, but learned Yiddish songs from her fellow prisoners. Jaldati survived Auschwitz; being a communist, she came to East Germany to help establish a socialist German state. She married Eberhard Rebling, a German communist who later became a member of the Central Committee of the Communist Party, and started to perform Yiddish songs for a German audience with Rebling accompanying her on piano.

Later they were joined by their daughters Katinka and Jalda. Lin Jaldati dedicated her art and her life to communist East Germany. This didn't prevent her from being banned from performing in the late sixties; the hysteria had gone so far that even performing Yiddish songs was interpreted as a pro-Israel statement. For a long time Lin Jaldati, who was highly accepted by what later became the East German Yiddish and klezmer scene, was the only Yiddish performer in East Germany.

Lin Jaldati - Jiddische Lieder - Live, Köln, 3. Juli 1987
(192 kbps, front & back cover included)

Helmut Qualtinger - Der Qualtinger - Ein kabarettistisches Porträt

Helmut Qualtinger (born October 8, 1928 in Vienna, Austria; died September 29, 1986 in Vienna) quit university to become a newspaper reporter and film critic for local press, while beginning to write texts for cabaret performances and theater plays. Qualtinger debuted as an actor at a student theater and attended the Max-Reinhardt-Seminar as a guest student.
Beginning in 1947, he appeared in cabaret performances. In 1949, Qualtinger's first theatrical play, "Jugend vor den Schranken", was staged in Graz. Up to 1960, he collaborated on various cabaret programmes with the nameless Ensemble (Gerhard Bronner, Carl Merz, Louise Martini, Peter Wehle, Georg Kreisler, Michael Kehlmann).

Qualtinger was famous for his practical jokes. In 1951, he managed to launch a false report in several newspapers announcing a visit to Vienna of a (fictional) famous Inuit poet named Kobuk. The reporters who assembled a the railroad station however were to witness Qualtinger, in fur coat and cap, stepping from the train. Asked about his "first impressions of Vienna", the "Inuit poet" commented in broad Viennese dialect, "It's hot here."

The album "Der Qualtinger - Ein kabarettistisches Porträt" is a good overview, presenting highlights by Helmut Qualtinger, often in colaboration with Gerhard Bronner and Carl Merz, recorded between 1956 and 1960.

(192 kbps, cover art included)

Ernst Busch - Der rote Orpheus

"Der rote Orpheus" is a collection of original recordings from the 1930s of Ernst Busch singing Brecht/Eisler and other popular working-class songs. The songs were recorded in Berlin before Hitler's rise to power, and in the Soviet Union after Busch's flight from Germany.

This collection was released in 1996 by "Edition BARBArossa".


1 In Hamburg an der Elbe 3:09
2 Min Jehann 2:55
3 Seeräuber Ballade 3:14
4 O Suzannah (Alabama-Song) 3:12
5 Californische Ballade 2:42
6 Die Ballade von den Säckeschmeißern 3:19
7 Anrede an ein neugeborenes Kind 2:52
8 Ballade vom Nigger Jim 2:48
9 Ballade vom Soldaten 2:51
10 Das Lied vom Schlaraffenland 2:57
11 Der Bäcker backt uns Morgenrot 3:08
12 Bandera Roja 2:19
13 U.H.P. (Union De Hermanos Proletarios) 2:55
14 Ballade der XI. Brigade 3:09
15 Los Cuatro Generales 2:39
16 Lied der Interbrigaden 2:26
17 Lied der Einheitsfront 2:45
18 De brave Peter 3:12
19 Myn Tohan 2:59
20 Solidaritätslied 2:29

Ernst Busch - Der rote Orpheus
(320 kbps, cover art included)

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

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

Bertolt Brecht, at the HUAC, 30. Oktober 1947
A historical document, presented by Eric Bentley: Like Gerhart and Hanns Eisler, also Bertolt Brecht had to answer the questions of the Members of the House Committee on Un-American Activities (HCUA), that was built to opress communist tendencies, which apparently infiltred the american society. After the Second World War and in aftermath of the first big wave of pursuit against communists, the HUAC get propagandistic importance and prepared some legal proceedings against communist expatriates. Hereafter we offer the recording of the interrogation of Bertolt Brecht in octobre 1947. The listeners get an impression of Bertolt Brechts bad, but self-confident spoken English (the exile-friends of Brecht laugh about and learned to like that pronunciation) and also of the trick of Brecht’s answers. The most interesting and surely absurd part of the questioning begins, when Brecht and the questioners quarrel about the interpretation of Brecht’s play »Die Maßnahme« (The Decision). The original recordings are introduced and commented by Eric Bentley. An important and interesting document of communist and anti-communist history.
The liner notes include an introduction by Bentley and complete transcript of the recording.

(128 kbps, cover included)

Mittwoch, 9. August 2023

VA - Unser Zeichen ist die Sonne (1985 Amiga)

Bild anzeigen
This album features live recordings from the concert "Ich liebe mein Land - 35 Jahre DDR in Liedern", organized by the Free German Jouth (FDJ) at the "Palast der Republik" in East Berlin on September 27, 1984.

It is a compilation of songs of the "Singebewegung", popular hit songs, socialist classics and so-called "Aufbau-Lieder", written especially for the GDR youth and encouraging a joyful common purpose in the building of the new socialist state.

From the programme of the event: „Aber der Vers muß gut sein, und das Lied muß klingen. Und dazu wünsch ich allen Sängern musikalische Kehlen und strapazierfähige Stimmbänder, die unsere Kampflieder auch in verrauchten Kantinen und auf freien Marktplätzen durchsetzen können, selbst wenn das Mikrofon mal nicht mitmacht. Toi, toi, toi. Euer alter Ernst Busch." („Junge Welt" , 12,/13.10.83)


Side A:
01 Alle Chöre und Orchester - Wir lieben das fröhliche Leben
02 Arbeiterfolk Zwickau - Ich liebe mein Land
03 Gerhard Neef, Arbeiterfolk Zwickau und alle Chöre - Jugend erwach (bau auf, bau auf)
04 Klampfenchor Friedrichshain - Freie Jugend, neues Leben
05 Alle Chöre und Orchester - Aufbauwalzer
06 Jugendchor"Carl von Ossietzky Berlin und Instrumentalgruppe - Im August blühn die Rosen
07 Blamu-Jatz-Orchestrion - Laurentia
08 Fred Frohberg, Instrumentalgruppe und Blamu-Jatz-Orchestrion - Ami go home
09 Oktoberklub - Unter einem Hut
10 Alle Chöre und Orchester - Dank euch, ihr Sowjetsoldaten

Side B:
11 Hartmut König, Oktoberklub und Instrumentalgruppe - Sag mir, wo du stehst
12 Soldatenchor des Wachregiments "Feliks Dzierzynski" - Du hast ja ein Ziel vor den Augen
13 Rundfunk-Kinderchor Berlin - Uns`re Heimat
14 Rundfunk-Kinderchor Berlin - Blaue Wimpel im Sommerwind
15 Rundfunk-Kinderchor Berlin - Der einfache Frieden
16 Chor der Berliner Parteiveteranen "Ernst Busch" und Instrumentalgruppe - Wir sind von den Jungen die Alten
17 Perry Friedman - Der kleine Trompeter
18 Rundfunk-Jugenchor Wernigerode - Thälmann-Lied
19 Oktoberklub und alle Chöre - Wir sind überall

(320 kbps, cover art included, full album in one track)

The Weavers - At Carnegie Hall, Vol. 2 (1960)

By April 1, 1960, when they recorded their fifth Vanguard album (which was their third live disc and second to be recorded at Carnegie Hall), the Weavers had overcome the loss of Pete Seeger and fully integrated his replacement, Erik Darling, who proved a banjo virtuoso and exuberant humorist (listen to his kazoo solo on "Bill Bailey Come Home").

They had an excellent act, mixing old favorites dating back to the days of the Almanac Singers ("The Sinking of the Reuben James") and newer songs that would become standards of the folk boom ("Last Night I Had the Strangest Dream").
And, at least at this point, they seemed to be riding the crest of that boom, which they had inspired with their 1955 Carnegie Hall show, recorded for their first Vanguard album, The Weavers at Carnegie Hall (1957), which belatedly jumped into the album charts a couple of months after this album became their chart debut at the start of 1961.

In retrospect, however, the cannily titled Vol. 2 (you'd think it was more from the first concert, wouldn't you?) represented the peak of the Weavers' comeback; in '60s terms, with their bow ties and tuxedos, they seemed like something from an earlier time compared to the collegiate earnestness of the Kingston Trio and the political seriousness of Peter, Paul and Mary (who debuted the following year) - and, of course, they were. But with "The Weavers at Carnegie Hall, Vol. 2" however briefly, they finally exorcised the ghost of Seeger and demonstrated that they were a valid and popular act on their own.

The Weavers - At Carnegie Hall, Vol. 2 (1960)
(320 kbps, front cover included)

The Almanac Singers - Which Side Are You On?

The Almanac Singers were a group of folk musicians who achieved popularity in the radical left/anti-fascist circles of early 1940s America, using the music of the people and the soil in a classic leftist way to promote their intellectual concerns.

As much a political and philosophical collective as they were an actual singing group, the Almanac Singers, whose entire recorded output was done in the span of a year between March 1941 and February 1942, were in many ways the godfathers of the urban folk revival that broke into the commercial radar (and the pop charts) two decades later. They are the very root of the politicised modern American folk music which rose from the ashes in the early 1960s to take over the world...

Anchored by the hybrid banjo sound (part Appalachian, part his own invention) of Pete Seeger, the group also included, at one point or another, Lee Hays, Millard Lampell, Bess Lomax, Arthur Stern, Sis Cunningham, Josh White and his wife Carol White, and when it suited him, Woody Guthrie, who famously noted that the Almanac Singers were "the only group in the world that rehearsed on stage."

A lesson in applied folk song, the group played Southern folk songs given a whole new utility by being filtered through a left-leaning political agenda and a strong belief in the power of labor unions. The Almanac Singers may have sounded like a stylized and urban version of a mountain string band, but they were hardly the folks you'd call to play a Saturday night sugaree. Hit the picket line on Monday morning, though, and this was your band.

This 31-track, single-disc set from Britain's Rev-Ola Records contains virtually everything of note that the Almanac Singers recorded, including an intimate, unassuming version of Guthrie's "Hard, Ain't It Hard," a decidedly non-blues take on "House of the Rising Sun," and a stirring rendition of "The Sinking of the Rueben James." The sound is wonderful, bringing out the loose (and as Guthrie reminds) unrehearsed intimacy that was the Almanac Singers greatest strength. Everything you need is here.

The Almanac Singers - Which Side Are You On?
(192 kbps, front cover included)

Pete Seeger - If I Had A Hammer - Original Recordings 1944 - 1950 (Naxos)

"If there was a Mount Rushmore of influential folk performers, Pete Seeger would be the first one carved into stone, head raised and singing to the heavens. In the more than sixty years since folk music made its journey from the backwoods, hills, and valleys of America to the concrete jungles of New York City, no one person has had a greater impact or a more pronounced presence on the music than Seeger and his long-necked five-string banjo. In retrospect, even the monumental accomplishments of his friend and frequent musical companion, Woody Guthrie, pale in comparison with Seeger’s. Although Guthrie penned the folk world’s anthem, “This Land is Your Land,” and was the lightning rod for countless aspiring folk singers, it was Seeger who transcended Guthrie’s era and others that came after it; writing, performing, teaching, preaching, reviving folk traditions, and then ensuring their perpetuation. If there was a cause, be it musical, populist, or conservationist, you could count on Seeger to be there, singing out his support. He is as American as Abraham Lincoln in his nobility, his love for his country, and his relentless support of the rights of the individual.

A member of an esteemed family of musicians and folklorists, Seeger was born on 3 May 1919 in New York City. His father, Charles, was a noted ethnomusicologist; his mother, a concert violinist. Seeger attended college at Harvard, but dropped out after becoming entranced with folk music after his father took him to a folk festival in Asheville, North Carolina. In 1938, he hoboed around the U.S., riding the rails while meeting performers such as Lead Belly, Woody Guthrie, and Earl Robinson. His father introduced him to Alan Lomax, and Seeger spent the next two years learning to play the banjo and studying the vast folk music archives at the Library of Congress.

When the Almanac Singers were formed before World War II, Seeger helped lead and organize the group, playing at rallies and contributing pro-union and anti-fascist songs. After serving in the army during the war, Seeger continued his support for labour unions by helping to found People’s Songs, the notorious leftist organization of the late ’40s. During this time, Seeger rode the campaign trail with Henry Wallace and after the demise of People’s Songs, helped organize the Weavers, the group that set the standard for the oncoming ‘folk music revival’. The Weavers soon became victims of the blacklist, which all but destroyed their careers in the early 1950s. In 1955, Seeger himself became a martyr when he invoked the Fifth Amendment, refusing to answer any questions posed by the HUAC (House Un-American Activities Committee) about his political background.

Surviving the Communist witch-hunts, Seeger inspired thousands of would-be musicians to learn to play the five-string banjo with his many recordings for the Folkways label. As ‘Johnny Appleseed’, Seeger penned a long-running column in Sing Out! the folk music Bible that helped disseminate folk songs through articles, printed transcriptions, and record reviews. Since Seeger could not get any gigs himself, he passed his folk traditions on to others through his column, keeping his music alive.

In the ’60s, he was banned from appearing on television’s Hootenanny programme, but continued on, joining the peaceniks and protesting the war in Vietnam. In the process, he penned some of the decade’s best-loved songs, including the Byrds’ “Turn, Turn, Turn” and “Where Have All the Flowers Gone”. Seeger also was responsible for helping transform an ages old hymn (“We Shall Overcome”) into the anthem of the anti-war movement.

Seeger’s dedication toward conservation led to his spearheading the cleanup of the Hudson River, which he counts as one of his proudest achievements. Through all these years, Seeger soldiered on, and today, in his mid-80s, he is the patron saint of folk music. He has outlived Guthrie by more than three decades, yet modestly dismisses his role as America’s folk laureate.

During his long career, Pete Seeger has managed to deftly juggle traditional folk ballads and instrumentals with topical and political songs that were both timely as well as powerful. We have included a generous and balanced sampling of these on this CD. Songs in the former category include the country dance tune Cindy, the cowboy song Git Along Little Dogies, and a medley of instrumentals played on the banjo (Banjo Pieces). Seeger’s abilities on the banjo have always been understated in comparison with his talents as a singer and performer. But Seeger’s musical versatility on the banjo enabled him to play traditional country, blues, classical, jazz, Spanish, and other ethnic styles with great virtuosity.

As a youngster learning to play in the late ’30s, Seeger was especially attracted to records by Uncle Dave Macon, the grand old man of the Grand Ole Opry. As a result, Seeger’s first 78 for the Charter label featured renditions of two songs made famous by Macon, Cumberland Mountain Bear Chase (which Macon recorded as “Cumberland Mountain Deer Race”, based on an 1850s poem entitled “The Wild Ashe Deer”) and Keep My Skillet Good and Greasy (Macon’s first hit in 1924). The latter song was paired on one side with Jimmie Rodgers’ “T” for Texas (aka “Blue Yodel”).

Like Woody Guthrie, Pete Seeger liberally borrowed melodies from traditional sources. Solidarity Forever featured words by Ralph Chaplain, one of the early leaders of the I.W.W. (The Industrial Workers of the World, commonly known as the ‘Wobblies’). Burl Ives sings Chap-lain’s lyrics to the tune of “Battle Hymn of the Republic” which is followed by Seeger’s talking blues verses. The song became popular on scores of picket lines. Ironically, Ives would violate the concept of solidarity by not only cooperating with the HUAC in 1952, but also fingering many of his fellow folk singers, including Seeger, as having attended Communist supported functions.

Theodore Bilbo (1877-1947) was a senator and former governor of Mississippi who, in 1945, wrote letters to constituents using racially offensive terminology. Bob and Adrienne Claiborne were New Yorkers who took particular offense to Bilbo’s insensitivity and penned the biting Listen, Mr. Bilbo, explaining how some of America’s most important personages came from other lands. The song first appeared in the March 1946 issue of People’s Songs Bulletin.

The gathering storm clouds of the HUAC inspired Seeger and Lee Hays to pen The Hammer Song (aka “If I Had a Hammer”), written to warn of the dangers to liberty loosed by Senator Joseph McCarthy. It was one of two songs issued on the first 78 recorded by the Weavers in 1949. The other side was Banks of Marble, a song that was triggered by the post-war recession and subsequent rising unemployment of 1948. A struggling apple farmer from Newburgh, New York named Les Rice wrote the song, which was introduced by Seeger to a hootenanny audience in New York. In time, members of labour unions would include their own verses describing other wretched working conditions among laborers.

Talking Atom (aka “Talking Atomic Blues”) was written by a Los Angeles newspaperman named Vern Partlow. Performed in the style of Woody Guthrie’s “Talking Dust Bowl Blues” (itself a take on Chris Bouchillon’s original “Talking Blues” from 1926), the song was discovered by singer Sam Hinton in a 1947 issue of People’s Songs Bulletin. Partlow ended up being targeted himself by the HUAC, got fired from his job, and ended his days working in a paper box factory in Colorado.

Another early Weavers song, Wasn’t That a Time, was written by Walter Lowenfels and Lee Hays, using classic images from U.S. history to show how the HUAC was violating Americans’ civil rights. The HUAC’s response was to accuse Hays and Seeger of ridiculing these American events. After he testified before the committee (and revealing nothing), Seeger sang Wasn’t That A Time for the throng of reporters waiting outside.

Impressions of Pete Seeger are as varied as are his talents. Carl Sandburg called him ‘America’s tuning fork’. The Limeliters’ Lou Gottlieb said of Seeger, “He was the slickest professional amateur I have ever seen in my life.” Awarded the presti-gious Kennedy Center Honor in 1994, Seeger was called “the living embodi-ment of America’s traditions in folk music.” As the genre’s elder statesman, Seeger has not only outlived all of his erstwhile roommates in the old Almanac House, but also his vitriolic detractors from the deepest, darkest years of the blacklist era. Today, Seeger and his wife of sixty years, Toshi, live modestly in a house he built himself in upstate New York.
In his autobiography, Seeger told a story that summed up his own ever-positive personality and attitude towards life. As he tells it, there was a small peace demonstration in Times Square that consisted of a young Quaker carrying a sign. A passerby ridiculed him and queried, “Do you think you’re going to change the world by stand-ing here at midnight with that sign?” The young man replied calmly, “I suppose not. But I’m going to make sure the world doesn’t change me.” - Cary Ginell

1 Cindy 2:30
2 The Young Man Who Wouldn't Hoe Corn 1:18
3 The Erie Canal 1:35
4 Casey Jones 1:55
5 Solidarity Forever 2:56
6 U.A.W. - C.I.O. 2:08
7 Listen, Mr. Bilbo 2:42
8 Roll The Union On 2:43
9 Devilish Mary 1:22
10 Danville Girl 1:34
11 I Had A Wife 0:40
12 Talking Atom 2:55
13 Newspaper Men 3:12
14 Cumberland Mountain Bear Chase 2:43
15 Keep My Skillet Good And Greasy 0:56
16 ''T'' For Texas 2:08
17 John Riley 2:30
18 Darling Corey 2:44
19 Git Along Little Dogies 1:31
20 Penny's Farm 1:50
21 The Jam On Jerry's Rocks 1:39
22 Come All Fair Maids 2:34
23 Wasn't That A Time 2:59
24 The Hammer Song (If I Had A Hammer) 2:02
25 Banks Of Marble 2:56
26 Banjo Pieces (My Blue-Eyed Gal/ Cripple Creek/ Old Joe Clark/ Ida Red)

(320 kbps, cover art included)