Samstag, 18. Februar 2023

Hanns Eisler - Klingende Dokumente II

The historical recordings featured on the four LPs "Klingende Dokumente" offer valuable clues to the life and work of one of the most versatile and influential composers of the 20th century. Alongside Alban Berg and Anton von Webern, Hanns Eisler was the third of Arnold Schoenberg´s pupils to be acknowledged as a "master" by his mentor. He was the first Marxist-inspired musician of talent and stature to succeed, from the late 1920s onwards, in overcoming the social isolation of bourgeois musical art through politically intelligent and socially relevant music written in an advanced idiom.

The included performance of his "Serious Songs" ("Ernste Gesänge") was not directed by Eisler himself. It has been included in this set because the composer made comments on this work in a conversation taped shortly before his death ("To win the future you must come to terms with the past" / "Wer die Zukunft haben will, muss die Vergangenheit bewältigen", from a conversation with Hans Bunge, 14 August 1962). These songs represent his last compositional effort. He did not live to see them performed. 

"Klingende Dokumente II" was released in 1974 on the NOVA label.


A1Unterricht bei Schönberg
A2Die Tage der Kommune
A3Inhalt und Form
A4Schwejk im Zweiten Weltkrieg
A5Über moderne Musik
B1Bei Prominenten zu Gast
B2Wer die Zukunft haben will, muß die Vergangenheit bewältigen
B3Ernste Gesänge für Bariton und Streichorchester

(320 kbps, cover art included)

Donnerstag, 16. Februar 2023

VA - Tighten Up, Vol. 1 & 2 (Trojan Records)

It was the phenomenal success of the Inspirations' "Tighten Up" single, that launched Trojan's legendary reggae series. Quickly cashing in with the astutely titled "Tighten Up" compilation, the rest is history.

That's the accepted version of the story, the actual one is more mundane, and much more calculating. Trojan had so far failed to interest the British public with its albums, and three excellent single-artist compilations released in 1968 excited little attention. In desperation, a market research study was conducted; the results were a wake-up call, for what reggae fans really wanted was a cheap sound system experience in their front rooms. Trojan responded in 1969 with a budget-priced album featuring an eclectic mix of recent tracks, kicking off with "Tighten Up" itself. The reaction was phenomenal, so much so that a follow-up set was released before the year was out.

"Tighten Up, Vol. 1-2" brings these two seminal sets together on a single CD. The first volume was surprisingly the weakest, and weighed down with reggae-fied pop covers. David Isaacs' "Place in the Sun" is the best of the batch, the two instrumentals the most fun, and the Uniques' "Watch This Squad" the oddest. Of the original numbers, "Tighten Up" itself (now inexplicably credited to producer Lee Perry) is the obvious draw, but equally crucial are Derrick Morgan's soulful, skinhead fave "Fat Man," and Brother Dan All--Stars' sweet "Donkey Returns."

In contrast to this shaky start, the second volume was stuffed with smash hits and acknowledged classics. The trio of instrumentals are absolutely lethal, with the biggest, the Upsetters' "Return of Django" having moonstomped its way into the U.K. Top Five. It's obvious this set held pride of place in many future 2-Toners record collections, with the Pioneers' "Longshot Kick de Bucket," Clancy Eccles' "Fattie Fattie," and the Upsetters' exuberant "Live Injection" all providing inspiration. From calculating Casanovas to the outright rude, from sufferers to celebrators of the new sound, in Britain "Them a Laugh and a Ki Ki" when presented with reggae in all its wonder. Great music never goes out of fashion, which is why this series' popularity has never faded.            

VA - Tighten Up Vol. 1 & 2 (Trojan)
(192 kbps, front cover included)

VA - Hot Shots Reggae Chartbusters ´71 (1971)

This is a nice compilation with classic reggae cuts, released on Trojan records in 1971.


Greyhound - Black And White
Jackie Edwards - I Must Go Back
Derrick Harriott - Groovy Situation
Nicky Thomas - Love Of The Common People
Bob & Marcia - Young Gifted And Black
Horace Faith - Black Pearl
Dave Barker & Ansel Collins - Monkey Spanner
Dave Barker & Ansel Collins - Double Barrel
The Maytals - 54-46 Was My Number
Freddie Notes & The Rudies - Montego Bay
James Chambers - Bongo Man
Jimmy London & The Impact All Stars - Shake A Hand
The Pioneers - Let Your Yeah Be Yeah
Bob Andy & Marcia Griffiths - Pied Pipe

VA - Hot Shots Reggae Chartbusters `71 (1971)
(about 200 kbps, front cover included)

Mittwoch, 15. Februar 2023

The Fugs - Be Free - The Fugs Final CD (Part 2)

It's hard to say what seems more remarkable - that the Fugs have somehow survived well into the 21st century, or that they've finally threatened to throw in the towel in the year 2010, 46 years after a handful of poets, beats, and activists became America's first great underground rock band.

"Be Free!" is subtitled "Final CD, Pt. 2", and given Tuli Kupferberg's death in 2010, this is the group's final recorded gesture. The Fugs that recorded this album between 2005 and 2009 are a different kettle of fish from the gleefully rude troublemakers who emerged in the '60s, but if guitarist Steve Taylor, bassist Scott Petito, and percussionist Coby Batty make this music sound almost professional (something they periodically managed in their heyday, truth be told), Kupferberg and Ed Sanders thankfully seem to have scarcely changed a bit. Sanders is a man who knows how to celebrate joy and isn't afraid to deliver his songs with the brio they deserve, and his celebrations of laughter ("The Laughing Song"), purposeful sloth ("Goofitude"), and throwing off the burden of white collar culture (a song adapted from Herman Melville's Bartelby the Scrivener) ring clear and true, as does a witty but forceful attack on the CIA. Taylor's "Hungry Blues" isn't as ambitiously poetic as the other tunes here, but it's impassioned and all too timely. And if Kupferberg mostly sounds like a cranky old man on Be Free, he's a hilarious, inspired, and eloquent cranky old man, and the playful snark of "This Is a Hit Song" and "I Am an Artist for Art's Sake" is vital, beautiful stuff. But Kupferberg saves his best moments for the album's closing track, "Greenwich Village of My Dreams," a reverie in which many of the great bohemian heroes of the 20th century come together in a string of fantastic moments both real and imagined; it's also a tribute to the time and place that brought the Fugs together in the first place, and it's an ideal way to bring this group's story to a close.


1 Bee Free
2 Backward Jewish Soldiers
3 My Darling Magnolia Tree
4 Goofitude
5 This Is A Hit Song
6 The Laughing Song
7 Hungry Blues
8 Loose Peach Gown
9 Bartleby The Scrivener
10 Imgrat
11 The CIA Made Me Sing Off-Key
12 The British Journalist
13 I Am An Artist For Art´s Sake
14 Greenwich Village Of My Dreams

The Fugs - Be Free - The Fugs Final CD (Part 2)
(320 kbps, cover art included)

Ian & Sylvia - Live At Newport

Ian Tyson and Slyvia Fricker had first teamed up in the late 1950s in Toronto and had moved to the New York City folk scene at the start of the next decade where they were signed by Albert Grossman, who was better known as the manager of not only Bob Dyland and Peter, Paul, and Mary.
Besides their two-part harmonies, Ian & Sylvia were known for their wide ranging repertoire of songs, which included not only folk and country songs (e.g., "Some Day Soon"), but blues (e.g., "Maude's Blues (Losing Is An Easy Game"), bluegrass, spirituals, gospel, and even French-Canadian songs (e.g., "Un Canadien Errant").
Divided about equally between material from their appearances at the 1963 and 1965 Newport Folk Festivals, these 14 tracks present concert versions of many of the duo's best songs, including "You Were on My Mind," "Someday Soon," "Song for Canada," and "Four Strong Winds." Eric Hord adds lead acoustic guitar on the 1963 cuts; Rick Turner does the same on the ones from 1965.

Ian & Sylvia recorded studio versions of all of the songs on their '60s Vanguard albums, which makes this disc a sort of souvenir that's essential only for big fans, although the sound and performances are decent.

1. Introduction: Ed McCurdy
2. Oh Katy Dear
3. Un Canadien Errant
4. V'Le Le Bon Vent
5. The Greenwood Sidie (The Cruel Mother)
6. Royal Canal
7. C.C. Rider
8. Red Velvet
9. Song For Canada
10. Travelling Drummer
11. Someday Soon
12. Play One More
13. You Were On My Mind
14. Maude's Blues (Losing Is An Easy Game)
15. Four Strong Winds

Ian & Sylvia - Live At Newport
(ca. 192 kbps, cover art included)       

VA - Vanguard Newport Folk Festival Sampler

Founded in 1959 by Theodore Bikel, Oscar Brand, Pete Seeger, George Wein, and Albert Grossman, and modeled after the already established and successful Newport Jazz Festival, the Newport Folk Festival ran in its original configuration throughout the '60s before running out of gas in 1971 (the festival was revived in 1985 and has run annually ever since, although it has little more than its name in common with the festival's original run). Vanguard Records was on hand to record several of the mid-'60s lineups and as this sampler shows, there was a lot of vitality in the performances. Highlights here include Johnny Cash's spry version of his "Big River," a powerful, ominous, and spooky acoustic rendition by John Lee Hooker (complete with foot stomping) of "Hobo Blues," and a delightful duet between Joan Baez and Donovan on the latter's "Colours."

Any sampler worth its salt should leave the listener wanting to investigate further, and this introduction to the riches of Vanguard’s “Newport Folk Festival” set of albums does the job admirably. With one 13-track selection, it shows the quality and diversity of the music as it was presented at Newport from the first festival in 1959. The festival was founded under the guidance of a board of directors that originally included Theodore Bikel, Pete Seeger, Oscar Brand, Albert Grossman and George Wein, the latter having been the driving force of the well-established Newport Jazz Festival. The new festival arrived at a time when folk music was achieving mainstream popularity and much political relevance during the Cold War. It was a time when folk was seen as a very accessible musical form to play, sing along to or simply as a social unifier. The Newport Folk Festival was an annual event from 1959 through most of the 60s until it took a break from 1971 to 1985, when it successfully revived in a broader musical format. This sampler features music from the years up to the mid-60s, when it was at its most influential.

1 Johnny Cash – Big River
2 The Kingston Trio – When The Saints Go Marching In
3 The Staples Singers – Pray On My Child
4 Judy Collins – Turn Turn Turn
5 The Stanley Brothers – How Mountain Girls Can Love
6 John Lee Hooker – Hobo Blues
7 Pete Seeger – It Takes A Worried Man
8 The New Lost City Ramblers – Gold Watch And Chain
9 Muddy Waters – I Can't Be Satisfied
10 Joan Baez & Donovan – Colours
11 Roy Acuff & His Smokey Mountain Boys – Steel Guitar Chimes
12 The Kentucky Colonels – Get Down On Your Knees And Pray
13 Doc Watson – Beaumont Rag

VA - Vanguard Newport Folk Festival Sampler
(320 kbps, cover art included)

Montag, 13. Februar 2023

The Fugs - The Real Woodstock Festival (Live 1994)

Given the American social and political climate during the mid '80s, the semi-permanent reunion of founding Fugs Tuli Kupferberg and Ed Saunders could not have been more culturally apropos. "The Real Woodstock Festival" is a live two-disc set featuring Kupferberg and Saunders accompanied by Steve Taylor on guitar and backing vocals, Coby Batty on percussion and backing vocals, and Scott Petito on bass.
Also joining the festivities are two counter-cultural icons: beat poet Allen Ginsberg and "Country" Joe McDonald -- the only artist to have performed at the original event in 1969 and the Fugs "Real Woodstock Festival" in 1994.
Ironically, unlike any of the other events bearing the 'Woodstock' albatross, "The Real Woodstock Festival" was actually held in the town of Woodstock, New York -- where Ed Saunders has maintained a permanent residency since the early '70s. Likewise the two performances were held on the true anniversary of the original event -- August 13 & 14.

The loose camaraderie and rag tag frenetic madness that defined the Fugs 'high art' of blending music with socially conscious poetry is certainly alive and well on this collection. In addition to performing a handful of new compositions, Kupferberg and Saunders revived some of their most treasured works from every phase of their career. From their days on the uncompromising ESP label, "Frenzy," "CIA Man," "Morning, Morning," "How Sweet I Roamed From Field To Field" and "The Post-modern Nothing" have been modernized with new arrangements, yet remain as poetic and arguably even more relevant in this context. Likewise, there are a few rarities from the Fugs tenure on Reprise Records in the late '60s: "Crystal Liaison," "I Want To Know" and the rarely performed "When The Mode Of The Music Changes." The latter undoubtedly contains further portents as less than an hour away from this celebration, Woodstock '94 was co-opting an entire generation.

The Fugs - The Real Woodstock Festival 1
The Fugs - The Real Woodstock Festival 2

(192 kbps, front cover included)

Pete Seeger - Live At Newport (1963)

As one of the main folk labels of the 1960s folk revival, Vanguard Records extensively recorded performances at the Newport Folk Festivals of 1963, 1964, and 1965, but released the results only sparingly on a series of various-artists LPs at the time, in part because many of the performers captured on tape had exclusive recording contracts with other companies.

One of those artists was Pete Seeger, and 30 years later Vanguard is able to issue an album assembled from Seeger's 1963-1965 Newport appearances, all of it previously unreleased. In some ways, it's a fairly typical Seeger live album, on which he covers then-contemporary material by other folksingers (Matt McGinn's humorous "Manyura Manyah"); sings in a foreign language ("Malaika"); tells a children's story ("The Foolish Frog"); plays banjo tunes ("Old Joe Clark"); revives the work of his influences (Leadbelly's "Midnight Special," performed with Lafayette Leake and Willie Dixon); and includes his own originals ("Oh Had I a Golden Thread," "Where Have All the Flowers Gone"), all the while instructing and encouraging his audiences to sing along.

One unusual aspect of the Newport performances, however, is the inclusion of an excerpt from a "workshop" appearance, at which Seeger is questioned about his banjo style and explains some of his techniques. Another one-time occurrence is the group closer on "Down by the Riverside," in which he leads a stage full of fellow performers including Joan Baez and Peter, Paul and Mary. Those are moments that make this a special Pete Seeger recording, not just another one of his many live albums.    


1 Introduction 0:51
2 Manyura Manyah 5:38
3 Malaika 2:06
4 Oh Mary Don't You Weep 4:34
5 The Foolish Frog 7:43
6 Deep Blue Sea 4:04
7 Never Wed An Old Man 2:31
8 Old Joe Clark / Oh Had I A Golden Thread 3:52
9 Holy Ground 3:52
10 Darlin' Corey / Skip To My Lou / Going Across The Mountains 10:47
11 Midnight Special 2:52
12 It Takes A Worried Man 5:28
13 Coal Creek March 2:13
14 Where Have All The Flowers Gone 2:17
15 Down By The Riverside 5:02

Pete Seeger - Live At Newport
(256 kbps, front cover included)       

Sonntag, 12. Februar 2023

Sarah Vaughan - No Count Sarah (1958)

Sarah Vaughan recorded in a variety of settings while with Mercury and EmArcy in the 1950s, but this particular matchup with the Count Basie Orchestra (pianist Ronnell Bright substitutes for Count, thus the title) is pure jazz.

During the classic encounter, Vaughan fits in comfortably with the band, whether singing lyrics (such as "Darn That Dream," "Cheek to Cheek," or "Doodlin'") or scatting sensuously on "No Count Blues." The wit and constant swing (in addition to the spontaneous creativity), makes this one of the best of all Sarah Vaughan recordings. Highly recommended.



  1. "Smoke Gets in Your Eyes" (Otto Harbach, Jerome Kern) – 3:58
  2. "Doodlin'" (Horace Silver) – 4:34
  3. "Darn That Dream" (Eddie DeLange, Jimmy Van Heusen) – 3:43
  4. "Just One of Those Things" (Cole Porter) – 2:31
  5. "Moonlight in Vermont" (John Blackburn, Karl Suessdorf) – 3:19
  6. "No 'Count Blues" (Thad Jones, Sarah Vaughan) – 5:27
  7. "Cheek to Cheek" (Irving Berlin) – 5:09
  8. "Stardust" (Hoagy Carmichael, Mitchell Parish) – 3:17
  9. "Missing You" (Ronnell Bright) – 3:28

Sarah Vaughan - No Count Sarah (1958)
(256 kbps, cover art included)         

Bob Dylan - Studs Terkel´s Wax Museum (1963)

On the morning of April 25 1963, directly after the conclusion of his final Freewheelin’ Bob Dylan album session, Bob journeyed to Chicago for a live club appearance and a radio interview. The gig, on the evening of the same day, was at a newly opened club called The Bear, in which manager Albert Grossman was a partner. But the primary reason for the 700-mile excursion west was for Dylan to appear on a radio show the following evening, hosted by the extraordinary Studs Terkel.
Capturing the entire broadcast, during which Dylan is questioned and discusses with Studs his thoughts and ideas behind both the songs he performs and others he had written by this juncture, this CD contains a legendary event during which a 21 year old Bob Dylan also performs full acoustic versions of 7 self penned numbers.
Across just over an hour of airtime, Studs and Bob chat like old friends as Dylan is prompted towards playing certain tracks from his then fairly slim body of work, but comes up trumps by pulling songs not just from his imminent second record, but including one from the album after that and showcasing 3 songs that wouldn’t see the light of day on record until the 1990s.
Serving both as a historic document of a little known event in the career of a true musical icon, but also as a wholly enjoyable listening experience that stands up to numerous repeat listens.

The 1963 Terkel performance and interview is a must have for any serious collector. Bob has come into his own as a performer even at this early date. The songs are well done, and Bob's wit shines through on the interview.

Bob Dylan - Studs Terkel´s Wax Museum (1963)
(192 kbps, cover art incuded)

Ian & Sylvia - So Much For Dreaming (1967)

From 1967, “So Much For Dreaming” was the sixth of seven albums that Ian and Sylvia issued on Vanguard Records during the sixties, and came a year or so after they had established their position as key folk-rock artists with their oft-covered songs like ‘Four Strong Winds’ and ‘Early Morning Rain’. The Canadian pair were married by this point, but had started as a singing duo on the Toronto folk club circuit in 1959. After some help and prompting from Pete Seeger, in 1962 they relocated to New York where they were spotted at Gerde's Folk City by Albert Grossman who pointed them towards Vanguard. After an initial album of mostly traditional folk songs, the pair hit their stride with their own songs, and gradually began to add extra instrumentation that helped then define the New York folk-rock sound that became so influential around the world. On this album they are augmented by drummer Alvin Rogers, Fender bassist Robert Bushnell and guitarist David Rae, the latter being briefly a member of Fairport Convention during 1972.

This album opens with the lilting Joni Mitchell song ‘The Circle Game’, that they had recorded even before Joni had. Continuing the contemporary approach, Ian's title track comes next and helps to set the tone and feel for the album, with the pair's floaty vocals overlapping each other as the track builds with additional orchestration from Trade Martin. More of Ian's songs follow, including ‘Wild Geese’ and ‘Summer Wages’ with the latter cautionary tale being one that he sang many times over the years. Sylvia's own songs here are the rhythmic ‘Hold Tight’ and the more reflective album closer ‘Grey Morning’. They come together with their co-arrangement of ‘Come All Ye Fair And Tender Ladies’ making it one of the best and most attractive examples of their ability to re-mould a song and make it their own. Another traditional song that they rearrange is ‘Cutty Wren’ that shows that they hadn't forgotten their roots and how they could bring a new twist to such a song, in this case with their interchanging vocal lines against some tinkling percussion. ‘Si Les Bateaux’ from Gilles Vignault and Robert Petway's ‘Catfish Blues’ are two more 'outside' songs, with Vignault's being a gentle French song constructed with differing sections, while Petway's is a funky blues sung effectively and commandingly by Sylvia on her own.

The album sold reasonably well, reaching #130 on Billboard, though their earlier albums “Northern Journey” and “Early Morning Rain” had fared better reaching up into the 70s. They were soon to make a move to MGM Records, but were not to really replicate the quality and accessibility of the Vanguard albums where they forged their most memorable work and cut their very best songs.  

A1Circle Game2:58
A2So Much For Dreaming3:00
A3Wild Geese3:54
A4Child Apart3:26
A5Summer Wages4:01
A6Hold Tight2:38
B1Cutty Wren2:55
B2Si Les Bateaux3:40
B3Catfish Blues3:33
B4Come All Ye Fair And Tender Ladies3:23
B5January Morning3:03
B6Grey Morning2:48

Ian & Sylvia - So Much For Dreaming (1967)
(192 kbps, cover art included)

Joseph Spence - The Complete Folkway Recordings 1958

Born on the island of Andrus in the Bahamas, Joseph Spence created an idiosyncratic (and inimitable) guitar style rife with percussive and improvisatory vamps around staid hymns and such "square" standards as "Coming in on a Wing and a Prayer." He was a folk guitarist's Thelonious Monk, and his growling vocal counterpoint and surprising inventions are one of folk music's great delights.                

These recordings of Joseph Spence, made by Samuel Charters in 1958, display one of the most inventive guitar styles ever put to tape. Spence improvised on traditional tunes in a manner comparable to African-Americans Elizabeth Cotten and Mississippi Fred McDowell, like them adding rhythmic and melodic accents and changes in unexpected ways. In addition to his guitar work, he possessed an unparalleled vocal style. The closest match is the deep-voiced blues singer Howlin' Wolf.

Charters met Joseph Spence, who was well-known to people on the island of Andros in the Bahamas, somewhat unintentionally while looking for Bahamian folk music. The recordings were made with field equipment, and the sound quality reflects this. As with all field recordings, this is a blessing and a curse. The lack of a studio preserves the "authenticity" of the folk sound, while the vocals on some tracks end up too low in the mix, thus de-emphasizing one of the most interesting aspects of the music.

Nonetheless, the songs on this collection are intriguing and novel, even to the seasoned folk music listener. Spence's complexity of guitar work and uniqueness of vocal style are an unmatched combination.       
Joseph Spence - The Complete Folkway Recordings 1958
(256 kbps, cover art included)

VA - Blues at Newport - Newport Folk Festival 1959 - 1964

"Blues at Newport - Newport Folk Festival 1959-64" offers fine performances by John Hurt, Skip James, Rev. Gary Davis, Robert Wilkins, and others. It is a compliation of blues performances recorded live at the Newport Folk Festivals, 1959-1964, produced by Samuel Charters for the Vanguard Records label.

"You have so many memories, if you were old enough and lived close enough and knew enough to get to the Newport Folk Festival in its great days in the 1960s….And, just as certainly, you remember the blues, which was one of the richest strands in the rich weave of music and culture that was the Festival….Part of the emotional response to the blues singers was that most of them had been forgotten in the years since they’d made their handfuls of recordings for the old ‘race’ labels of the 1920s….It’s true that memories can sometimes be insubstantial, or that time can change what you heard or saw, and maybe you’ve romanticized the playing you remember or the singers you shouted for — but here on this collection of live recordings from the Newport Festival blues concerts you can hear that the music was as great as you remember it was. And if you’re hearing it for the first time — this is what it was like to be there." — Sam Charters

(320 kbps, cover art included)

The Fugs - Songs From A Portable Forest (1990)

This compilation is a ‘best of' highlighting recordings from the ‘80s reincarnation of the Fugs. Along for the ride are founding members Tuli Kupferberg and Ed Saunders. Although this disc doesn't contain any previously unissued material, there are a few tracks from "Star Peace" -- which is currently out-of-print on CD. 

"Songs From A Portable Forrest" also gathers key tracks from "Refuse To Be Burnt-Out" and "No More Slavery". The ‘80s Fugs remained an amalgam of Dadaist beat poetry and reckless abandon garage rock with a message promoting all that is sensually pleasurable. Perhaps due to the sheer volume of new compositions Saunders added to the ‘80s cannon, "Songs From A Portable Forrest" is a bit heavier on his, rather than Kupferberg's contributions. That said however, two of Tuli's finest are included here. "If You Want To Be President" from "Refuse To Be Burnt-Out" as well as an adaptation of "Dover Beach from "No More Slavery" -- which was actually written by 19th Century Oxford poet Matthew Arnold. Kupferberg's bold touch can be heard in the unique arrangement that couples the poem with a traditional Jewish melody. Chief among Saunders compositions are works incorporating pivotal motifs during the initial revival of the Fugs name and spirit. "Keeping The Issues Alive" and "Refuse To Be Burnt-Out" -- the latter of which is an apt cenotaph to "those guys in the Fugs who have since died," according to Saunders. Speaking of the past, only a revamped "Nova Slum Goddess" is offered on this collection from the ‘60s Fugs repertoire. While "Songs From A Portable Forrest" is a good launch pad, enthusiasts keen on hearing more should also be aware of the 1995 live release "The Real Woodstock Festival" -- which also features guest appearances by "Country" Joe McDonald and Allen Ginsberg.

1 No More Slavery 4:07
2 Cold War 3:50
3 Dreams Of Sexual Perfection 11:14
4 Dover Beach 3:31
5 Liberty Not War (Hands Reach Out) 3:38
6 Technology (Is Going To Set Us Free) 2:30
7 What Would Tom Paine Do? 2:48
8 World Wide Green 4:40
9 If You Want To Be President 2:35
10 Nova Slum Goddess 3:26
11 Refuse To Be Burnt Out 4:17
12 Keeping The Issues Alive 7:08

The Fugs - Songs From A Portable Forest (1990)
(320 kbps, cover art included)

Sonntag, 5. Februar 2023

Allen Ginsberg - Howl And Other Poems (1959)

Allen Ginsberg wrote his epic poem “Howl” in mid-‘50s San Francisco and Berkeley, and the rest is literary history. The work, first read in public in 1955 and published in 1956 before emerging victorious in a 1957 court ruling that it was not obscene, has been hailed as one of the most important poems of the 20th century, and it inspired a wave of Beat poetry.

Fantasy Records became the unofficial audio home of the movement, documenting not only Ginsberg but several other poets of the day.

Allen Ginsberg´s poetry broke so many social taboos that copies were impounded as obscene, and the publisher, poet Lawrence Ferlinghetti, was arrested. The court case that followed found for Ginsberg and his publisher, and the publicity made both the poet and the book famous. Ginsberg went on from this beginning to become a cultural icon of sixties radicalism. This works seminal place in the culture is indicated in Czeslaw Milosz's poetic tribute to Ginsberg: "Your blasphemous howl still resounds in a neon desert where the human tribe wanders, sentenced to unreality".

The "Howl and Other Poems" vinyl LP was first released in 1959, repackaged for the burgeoning hippie generation in 1969, and remained in print until 1985, when the company ran out of vinyl LPs. In 1998 there was a cd reissue.

1. Howl
2. Footnote to Howl
3. A Supermarket in California
4. Transcription of Organ Music
5. America
6. In the Back of the Real
7. Strange New Cottage in Berkeley
8. Europe! Europe!
9. Kaddish (part 1)
10. The Sunflower Sutra

Allen Ginsberg - Howl And Other Poems (1959)
(128 kbps, small front cover included)

The Fugs - Virgin Fugs

"Virgin Fugs" collects outtakes from the April 1965 and July 1965 sessions that yielded the Fugs' first album.

It does, however, contain some barrier-breaking (in terms of subject matter) compositions of note, such as "Coca Cola Douche," "CIA Man," "The Ten Commandments" (credited to GOD and Tuli Kupferberg), and "I Saw the Best Minds of My Generation Rot," which is Allen Ginsberg prose set to music by Ed Sanders.

Several of the songs were given far more professional, full rock arrangements on the live album "Golden Filth" (recorded in 1968), if you want to hear them in less grating contexts. View this album as comedy, or as a political message, and not as outstanding music. Of course, this album is brilliant, enjoyable, and listenable again and again. Simply don't expect Hendrix - these guys aim to offend. And listen with a smile...

The Fugs - Virgin Fugs (2005 Reissue)
(192 kbps, ca. 47 MB)

Lightnin´ Hopkins - Same

Sam Hopkins was a Texas country bluesman of the highest caliber whose career began in the 1920s and stretched all the way into the 1980s. Along the way, Hopkins watched the genre change remarkably, but he never appreciably altered his mournful Lone Star sound, which translated onto both acoustic and electric guitar. Hopkins' nimble dexterity made intricate boogie riffs seem easy, and his fascinating penchant for improvising lyrics to fit whatever situation might arise made him a beloved blues troubadour.

Born in 1912 to a poor sharecropping family in the cotton country between Dallas and Houston, Hopkins left home when he was only eight years old with a guitar his brother had given him. He made his living however he could, sticking to the open road, playing the blues, and taking odd jobs when money was short.

Hopkins didn’t begin recording until 1946, when he was dubbed “Lightnin’” during his first session, and he soon joined Muddy Waters and John Lee Hooker on the national R & B charts. But by the time he was “rediscovered” by Mack McCormick and Sam Charters in 1959, his popularity had begun to wane. A second career emerged - now Lightnin’ was pitched to white audiences, not black ones, and he became immensely successful, singing about his country roots and injustices that informed the civil rights era with a searing emotive power.

Lightnin´ Hopkins - Same
(256 kbps, front & back cover included)

Samstag, 4. Februar 2023

Allen Ginsberg - The Lion For Real

Irwin Allen Ginsberg (June 3, 1926 – April 5, 1997) was an American poet and one of the leading figures of both the Beat Generation of the 1950s and the counterculture that soon would follow. He vigorously opposed militarism, economic materialism and sexual repression and was known as embodying various aspects of this counterculture, such as his views on drugs, hostility to bureaucracy and openness to Eastern religions. He was one of many influential American writers of his time known as the Beat Generation, which included famous writers such as Jack Kerouac and William S. Burroughs.

Recorded in the late '80s, "The Lion for Real" consists primarily of brief poems set to avant-jazz. Producer Hal Willner has assembled a group that at various times features Marc Ribot, Bill Frisell and Arto Lindsay, and they skillfully navigate the emotional tones and wit in Ginsberg's poems.

This doesn't contain any of Ginsberg's major works, but it's a welcome reminder of his irascible humor and mischievousness.            

A2Complaint Of The Skeleton To Time
A3Xmas Gift
A4To Aunt Rose
A5The Lion For Real
A7The Shrouded Stranger
A8Gregory Corso's Story
B1Cleveland, The Flats
B2The End
B3Stanzas: Written At Night In Radio City
B5Hum Bom!
B6Kral Majales
B8Ode To Failure

Allen Ginsberg - The Lion For Real
(320 kbps, cover art included)

Alles Lalula - Songs & Poeme - Originalaufnahmen von Valentin über Schwitters bis zur Beat-Generation

This is the first half of a four cd set spanning compilation presenting poems, songs and litaruture beyond the mainstream. The first set brings original recordings from Karl Valentin to dada artists like Kurt Schwitters and Richard Huelsenbeck to the Beat Generation.

Strongly recommended!

CD 1:
01 Richard Huelsenbeck / Hans Richter - Prolog
02 Wladimir Majakowski - Würden Sie denn
03 Filippo Tommaso Marinetti - La Battaglia di Adrianopoli
04 Karl Valentin - Valentin singt und lacht selbst dazu
05 Karl Valentin & Liesl Karlstadt - Liesl Karlstadt singt chinesisch
06 Kurt Schwitters - Die Sonata in Urlauten
07 Kurt Schwitters - An Anna Blume
08 William Butler Yeats - The Song of the Old Mother
09 Gertrude Stein - If I Told Him: A completed Portrait Of Picasso
10 Camille Bryen - Tete de Coq
11 Alexej Krutschonych Frühling mit Beköstigung?
12 - 14 Raoul Hausmann - bbbb /fmsb / kp´erioum
15 Murice Lemaitre - Lettre Rock
16 Francois Dufrene - Batteries vocales
17 Brion Gysin - I Am That I Am
18 Ezra Pound ´- Mouers contemporaines
19 - 23 H. C Artmann - blauboad 1 &2 / kindafazara / etc.
24 Allen Ginsberg - Footnote to Howl
25 William S. Burroughs / Brion Gysin - Recalling All Active Agents
26 Hans Arp - Aus der "Pyramidenrock"
27 Brion Gysin - Come To Free the Words
28 - 29 Henri Chopin - Indicatif 1 / La fusée Interplanétaire
30 Konrad Bayer - der sechste sinn (Ausschnitt)

CD 2:
01 Mimmo Rotella - 7 Poèmes Phonétiques
02 LeRoi Jones - Sweet - Black Dada Nihilismus
03 William S. Burroughs - Burroughs called the law
04 Ernst Jandl - auf dem land
05 Napoleon XIV - They're Coming to Take Me Away, Ha-Haaa!
06 Richard Huelsenbeck - Kapitän Kuckjohns Lautgedicht
07 Richard Huelsenbeck - Chorus sanctus
08 Ermst Jandl - falamaleikum
09 Ermst Jandl - talk
10 Ernst Jandl - schtzngrmm
11 John Lennon, Yoko Ono - No Bed for Beatle John
12 Joseph Beuys - Ja Ja Ja Ja Ja, Nee Nee Nee Nee Nee (Ausschnit)
13 Taj Mahal - A Little Soulful Tune
14 Wolfgang Bauer - Tornado
15 Wolfgang Bauer - November
16 Otto Nebel - Generalverrammlung
17 Sten Hanson - Railroad Poem
18 Benno Höllteuffel - xangl
19 Benno Höllteuffel - schbas muas sei ...
20 Benno Höllteuffel - jawarum
21 Benno Höllteuffel - as resal
22 Benno Höllteuffel - de groskobfadn griang nia gnua
23 Benno Höllteuffel - anschdendige nama
24 Benno Höllteuffel - schbruch
25 Erst Jandl - ottos mops
26 Charles Amirkhanian - Each 'LL
27 John Giorno - Suicide Sutra
28 Bernhard Heidsieck - Canal Street 35
29 Don van Vliet - Apes-Ma

Alles Lalula - Songs & Poeme Vol. 1 - cd 1
Alles Lalula - Songs & Poeme Vol. 1 - cd 2
(320 kbps, cover art included)

Tuli Kupferberg - No Deposit No Return (An Evening of Pop Poetry with Tuli Kupferberg) (1966, vinyl rip)

Prior to his notable presence as the spiritual figurehead and founding member of the funky, folky Fugs, Tuli Kupferberg gained indirect notoriety as the real life "guy who jumped off of the Brooklyn Bridge and lived," immortalized in Allen Ginsberg's epic "Howl".

"No Deposit, No Return" is Kupferberg's out-of-print 1966 spoken-word solo debut.

"...'is america insane' asks the insert that came with this disk, released on the ESP-Disk label back in 1966, an LP of tuli kupferberg reading adverts from various newspapers/comics/magazines...its pop art, taking the everyday normal object and showing it in unfamiliar circumstances so it takes on different meanings...these ads when glanced at in their ordinary setting may not attract too much attention but when pulled out and presented here they show another side, they open new vistas showing the strangeness that surrounds everywhere...emminently playable when an evening of fugnacious madness is called for..." (


01 - Pubol
02 - Social Studies
03 - The Hidden Dissuaders
04 - Lifetime Guarentee
05 - The Art Scene
06 - Want Ads 1
07 - Purina
08 - Lanoflo
09 - The Hyperemiator
10 - The Sap Glove
11 - The Bunny Mother
12 - Auto-De-Fe
13 - Fields Matrimonial Service
14 - Want Ads 2
15 - Howard Johnson's Army
16 - No Deposit, No Return

Tuli Kupferberg - No Deposit, No Return (1966, vinyl rip)
(320 kbps, cover art included)

Mittwoch, 1. Februar 2023

Lightnin Hopkins - Live At Newport 1965

There's something affecting about Lightnin' Hopkins' off-the-cuff approach. Whether he's in the studio or before an audience, he gives the impression of a guitar player and singer who's just doing his own thing. When he breaks out a signature piece like "Mojo Hand," he isn't really trying to impress the listener as much as do what he does best: just play a little blues.

Recorded in 1965, "Live at Newport" captures Hopkins in a loose mood communing with an appreciative audience. The mostly solo electric set apparently didn't cause any controversy (as Dylan's electric set with the Paul Butterfield Blues Band would in 1965). The nice thing about the album is that all the material seems to have come from the same set, giving the listener a taste of what seeing Hopkins at Newport might have been like.

Good versions of "Baby Please Don't Go," "Trouble in Mind," and "Where Can I Find My Baby?" show up early in the set, and feature an intimate interplay between Hopkins and the audience. The latter part of the set rocks a bit harder by adding drums. The percussion pushes the energy level up a notch on "Jealous of My Wife" and "Shake That Thing," pieces that probably had old-timers boogying in the aisles. "Live at Newport" also includes several unreleased versions, making it a good album to add to one's Hopkins collection.

Lightnin Hopkins - Live At Newport 1965
(320 kbps, cover art included)

1Introduction By Michael Bloomfield
2Where Can I Find My Baby?
3Baby Please Don't Go
4Mojo Hand
5Trouble In Mind
6The Woman I'm Loving, She's Taken My Appetite
7Come On Baby
8Cotton Patch Blues
10Jealous Of My Wife
11Every Day About This Time (Instrumental)
12Shake That Thing

Allen Ginsberg - The Ballad Of The Skeletons

Allen Ginsberg understood as well as anyone that, in the latter half of the 20th century, rock & roll would be the medium through which poetry and social commentary would reach the young and hungry masses. He eagerly hopped a ride on the bandwagon, collaborating with Dylan, the Clash, and Cornershop; setting William Blake's "Songs of Innocence and Experience" to music; and teaching "Eleanor Rigby" to his English classes at Brooklyn College. The boxed set "Holy Soul Jellyroll" proves that Ginsberg made himself, by sheer force of will, a highly effective though hardly conventional singer/songwriter. Apparently, however, he saved the best for last. 

The single "The Ballad of the Skeletons", his final recorded release, is his musical masterpiece and deserves to be considered one of the most passionate, powerful, and articulate performances in the history of rock. Backed by a gang of high-profile pals (Philip Glass on keyboards; Lenny Kaye on bass; Paul McCartney on guitar, organ, and drums (!); plus crack session guitarists David Mansfield and Marc Ribot), Ginsberg intones the words of 66 skeletons, each of which represents some aspect of global (particularly American) society's cultural and political landscape. The skeletons snipe at each other and declare their own interests in a pageant that is both comic ("Said the Family Values skeleton/My family values mace") and macabre ("Said the Underdeveloped skeleton/Send me rice/Said Developed Nations skeleton/Sell your bones for dice"). In each verse, he cuts straight to the heart of the phenomenon in question with razor-keen perception, brutal simplicity, and deep wisdom. "Said the Middle Kingdom skeleton/We swallowed Tibet/Said the Dalai Lama skeleton/Indigestion's whatcha get." Perhaps most impressive is the way he deploys startling juxtapositions: "Said the Mirror skeleton/Hey good-looking/Said the Electric Chair skeleton/Hey what's cooking." 

Ginsberg never just reads. He cleverly varies the tone of his rich, electric voice to best suit each skeleton as he invokes it. The band follows suit, finding many opportunities to mix things up and thus keep the listener engaged over the song's eight minutes. The B-side, a brief plea on behalf of the homeless set to the tune of "Amazing Grace," is big-hearted but somewhat trite. It only serves to emphasize, by way of contrast, how amazing a piece of journalism/art "The Ballad of the Skeletons" is. Even in death, Allen Ginsberg remains the outraged, outrageous aesthetic and social conscience of our lunatic times.


1 The Ballad Of The Skeletons 7:46
2 The Ballad Of The Skeletons (Edit) 4:07
3 Amazing Grace 2:47
4 The Ballad Of The Skeletons (Clean) 7:46

Allen Ginsberg - The Ballad Of The Skeletons
(192 kbps, cover art included)

The Hopkins Brothers - Joel, Lightning & John Henry (1964)

A once-in-a-lifetime meeting of the three Hopkins brothers in Waxahatchie, TX in 1964 produced this marvelous brace of field recordings. The oldest brother was considered the best songster in the family, and certainly his performances here are throwbacks to a more archaic style, although he's an amazingly energetic performer. Middle brother Joel is the crudest of the three, surprising since he's the one of the three who spent the most time around mentor Blind Lemon Jefferson. These are loose, conversational recordings made with a single microphone. They capture three brothers enjoying each other's company immensely.

Sam Hopkins was a Texas country bluesman of the highest caliber whose career began in the 1920s and stretched all the way into the 1980s. Along the way, Hopkins watched the genre change remarkably, but he never appreciably altered his mournful Lone Star sound, which translated onto both acoustic and electric guitar. Hopkins' nimble dexterity made intricate boogie riffs seem easy, and his fascinating penchant for improvising lyrics to fit whatever situation might arise made him a beloved blues troubadour.

Hopkins' brothers John Henry and Joel were also talented bluesmen, but it was Sam who became a star. In 1920, he met the legendary Blind Lemon Jefferson at a social function, and even got a chance to play with him. Later, Hopkins served as Jefferson's guide. In his teens, Hopkins began working with another pre-war great, singer Texas Alexander, who was his cousin. A mid-'30s stretch in Houston's County Prison Farm for the young guitarist interrupted their partnership for a time, but when he was freed, Hopkins hooked back up with the older bluesman.

The pair was dishing out their lowdown brand of blues in Houston's Third Ward in 1946 when talent scout Lola Anne Cullum came across them. She had already engineered a pact with Los Angeles-based Aladdin Records for another of her charges, pianist Amos Milburn, and Cullum saw the same sort of opportunity within Hopkins' dusty country blues. Alexander wasn't part of the deal; instead, Cullum paired Hopkins with pianist Wilson "Thunder" Smith, sensibly re-christened the guitarist "Lightnin'," and presto! Hopkins was very soon an Aladdin recording artist.

"Katie May," cut on November 9, 1946, in L.A. with Smith lending a hand on the 88s, was Lightnin' Hopkins' first regional seller of note. He recorded prolifically for Aladdin in both L.A. and Houston into 1948, scoring a national R&B hit for the firm with his "Shotgun Blues." "Short Haired Woman," "Abilene," and "Big Mama Jump," among many Aladdin gems, were evocative Texas blues rooted in an earlier era.

A load of other labels recorded the wily Hopkins after that, both in a solo context and with a small rhythm section: Modern/RPM (his uncompromising "Tim Moore's Farm" was an R&B hit in 1949); Gold Star (where he hit with "T-Model Blues" that same year); Sittin' in With ("Give Me Central 209" and "Coffee Blues" were national chart entries in 1952) and its Jax subsidiary; the major labels Mercury and Decca; and, in 1954, a remarkable batch of sides for Herald where Hopkins played blistering electric guitar on a series of blasting rockers ("Lightnin's Boogie," "Lightnin's Special," and the amazing "Hopkins' Sky Hop") in front of drummer Ben Turner and bassist Donald Cooks (who must have had bleeding fingers, so torrid were some of the tempos).

But Hopkins' style was apparently too rustic and old-fashioned for the new generation of rock & roll enthusiasts (they should have checked out "Hopkins' Sky Hop"). He was back on the Houston scene by 1959, largely forgotten. Fortunately, folklorist Mack McCormick rediscovered the guitarist, who was dusted off and presented as a folk-blues artist; a role that Hopkins was born to play. Pioneering musicologist Sam Charters produced Hopkins in a solo context for Folkways Records that same year, cutting an entire LP in Hopkins' tiny apartment (on a borrowed guitar). The results helped introduced his music to an entirely new audience.

Lightnin' Hopkins went from gigging at back-alley gin joints to starring at collegiate coffeehouses, appearing on TV programs, and touring Europe to boot. His once-flagging recording career went right through the roof, with albums for World Pacific; Vee-Jay; Bluesville; Bobby Robinson's Fire label (where he cut his classic "Mojo Hand" in 1960); Candid; Arhoolie; Prestige; Verve; and, in 1965, the first of several LPs for Stan Lewis' Shreveport-based Jewel logo.
Hopkins generally demanded full payment before he'd deign to sit down and record, and seldom indulged a producer's desire for more than one take of any song. His singular sense of country time befuddled more than a few unseasoned musicians; from the 1960s on, his solo work is usually preferable to band-backed material.

Filmmaker Les Blank captured the Texas troubadour's informal lifestyle most vividly in his acclaimed 1967 documentary, "The Blues Accordin' to Lightnin' Hopkins". As one of the last great country bluesmen, Hopkins was a fascinating figure who bridged the gap between rural and urban styles. - AMG


1. See About My Brother John Henry
2. Hot Blooded Woman
3. Black Hannah
4. I Want To Go Fishing
5. Doin' Little Heiffer
6. Hey, Baby Hey
7. Saddle Up My Grey Mare
8. Tell Me, Tell Me
9. Little Girl
10. I Got A Brother in Waxahachie
11. Matchbox Blues
12. Home With Mama
13. Come Down To My House
14. Grosebeck Blues
15. The Dice Game
16. I Walked From Dallas
17. Two Brothers Playing (Going Back To Baden-Baden)

The Hopkins Brothers - Joel, Lightning & John Henry (1964)
(320 kbps, cover art included)

Holy Modal Rounders feat. Peter Stampfel - The Moray Eels Eat The Holy Modal Rounders

Some years ago the zero crew had the chance to experience a weird live gig by Peter Stampfel in a small venue. Remembering this great evening, here´s a classic Holy Modaly Rounders album featuring Peter Stampfel.

In the mid- to late '60s you couldn't get much further underground in the ever-expanding world of rock music than the Fugs — unless of course you were one of the Holy Modal Rounders, i.e. folk musicians Peter Stampfel and Steve Weber. The Rounders started out in the same early-'60s New York folk and jug scene as Ed Sanders and Tuli Kupferberg, and had crossed paths numerous times. Stampfel and Weber will be eternally remembered for "Bird Song," which was prominently featured in both the movie Easy Rider and its soundtrack. It's also the opening cut on "The Moray Eels Eat the Holy Modal Rounders", an album way beyond anything else considered to be "far out" at the time. Unabashed in its own eccentricity, this set is similar to their 1967 ESP release "Indian War Whoop" in that it combines acoustic traditional American folk, blues, and hillbilly music regurgitated by crazed folkie acidheads experimenting with electric instruments. Following the disc's release, Stampfel said this album reflected producer Frazier Mohawk's musical taste more so than the band's. The Modal duo are assisted, in this case, by playwright Sam Shepard on tambourine, Richard Tyler on piano, and John Wesley Annis on bass and drums. As good luck would have it, the Water label unleashed this CD on the public for the first time in 2002 with two previously unreleased bonus tracks. Absolutely essential.

(Thanks to Bone Money Blog for the description)

A1Bird Song
A2One Will Do For Now
A3Take-Off Artist Song
A6Dame Fortune
B1Mobile Line
B2The Duji Song
B3My Mind Capsized
B4The STP Song
B5Interlude 2
B6Half A Mind
B7The Pledge

Holy Modal Rounders feat. Peter Stampfle - The Moray Eels Eat The Holy Modal Rounders
(320 kbps, cover art included)

The Fugs - The Belle Of Avenue A (1969)

The Fugs sounded a little weary and burnt out on their final studio album of the 1960s. The psychedelic experimentation and orchestral arrangements of 1968's "It Crawled into My Hand, Honest" were ditched in favor of basic rock or even, at times, acoustic performances.

The title track and "Queen of the Nile" are essentially Ed Sanders solo cuts, with acoustic guitar accompaniment by Dan Hamburg; "Bum's Song" is likewise pretty much a Tuli Kupferberg recording, with just his voice and Hamburg's guitar. The sexually and politically charged heart of the band continued to beat on songs like "Chicago" (originally written for the soundtrack of a Yippie movie about Chicago police riots at the 1968 Democratic Convention) and "The Belle of Avenue A," about a quickie between a hippie and a truck driver.

But the production and adrenaline levels are kind of flat. The country influence that was always present in Ed Sanders' singing and songwriting started to really flower on this LP, where his yodeling vocal style - which was less than an acquired taste - prefigured the country satire of his 1969 debut solo album, "Sanders' Truckstop". It was up to Tuli Kupferberg to provide the record's highlight, the sincere ballad "Flower Children."


A1 Bum's Song
A2 Dust Devil
A3 Chicago
A4 Four Minutes To Twelve
A5 Mr. Mack
B1 Belle Of Avenue A
B2 Queen Of The Nile
B3 Flower Children
B4 Yodeling Yippie
B5 Children Of The Dream

The Fugs - The Belle Of Avenue A (1969)
(320 kbps, cover art included)