A1 | Unterricht bei Schönberg | |
A2 | Die Tage der Kommune | |
A3 | Inhalt und Form | |
A4 | Schwejk im Zweiten Weltkrieg | |
A5 | Über moderne Musik | |
B1 | Bei Prominenten zu Gast | |
B2 | Wer die Zukunft haben will, muß die Vergangenheit bewältigen | |
B3 | Ernste Gesänge für Bariton und Streichorchester |
Samstag, 18. Februar 2023
Hanns Eisler - Klingende Dokumente II
Donnerstag, 16. Februar 2023
VA - Tighten Up, Vol. 1 & 2 (Trojan Records)

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)
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)
Hanns Eisler - Klingende Dokumente I (NOVA, 1974)
Some composers may have tried to escape the upheavals of their century through the illusion of "pure music," but not Hanns Eisler. His lifelong conviction was that music should not be subjective but objective, not obscure but transparent, not metaphysical but grounded in history. Eisler's art held up a mirror to the revolutionary hopes and bitter disappontments of his generation - a generation that witnessed two world wars, the rise and fall of empires, an age of revolutions.
"A composer knows," Eisler wrote on the eve of his expulsion from the United States, "that music is written by human beings for human beings and that music is a continuation of life, not something separated from it."
The album "Klingende Dokumente I" was released on the label NOVA (catalog number 8 85 039) in 1974. It contains vocal music with various performers, including Hanns Eisler, and interviews with the composer.
Tracklist:
01. Anmut sparet nicht noch Mühe (Vocals: Hanns Eisler)
02. Das Lied im Kampfe geboren (Interview with Hanns Eisler, December 1957)
03. Ohne Kapitalisten geht es besser (Vocals: Gisela May)
04. Über die Dummheit in der Musik (Interview with Hanns Eisler by Hans Bunge, September 1961)
05. Die haltbare Graugans (Vocals: Hanns Eisler and Irmgard Arnold, recorded in 1958)
Side 2:
01. Handwerkliches Können und Höhe der Musik (Interview with Hanns Eisler by Nathan Notowicz, March 1958)
02. Die Ballade vom Wasserrad (Vocals: Hanns Eisler, recorded 1958)
03. Über Brecht (Interview with Hanns Eisler by Hans Bunge, May 1958)
04. Begegnungen mit einem Literaturindustriellen (Interview with Hanns Eisler by Hans Bunge, May 1958)
05. Lied von der belebenden Wirkung des Geldes (Vocals: Hanns Eisler, recorded 1958)
Hanns Eisler - Klingende Dokumente I (NOVA, 1974)
(192 kbps, cover art included)
Mittwoch, 15. Februar 2023
The Fugs - Be Free - The Fugs Final CD (Part 2)
"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.
Tracklist:
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 & 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.
Tracklist:
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
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.
Tracklist:
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
(320 kbps, cover art included)
Montag, 13. Februar 2023
The Fugs - The Real Woodstock Festival (Live 1994)
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)

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.
Tracklist:
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)

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

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)

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.
Tracklist:
A1 | Circle Game | 2:58 |
A2 | So Much For Dreaming | 3:00 |
A3 | Wild Geese | 3:54 |
A4 | Child Apart | 3:26 |
A5 | Summer Wages | 4:01 |
A6 | Hold Tight | 2:38 |
B1 | Cutty Wren | 2:55 |
B2 | Si Les Bateaux | 3:40 |
B3 | Catfish Blues | 3:33 |
B4 | Come All Ye Fair And Tender Ladies | 3:23 |
B5 | January Morning | 3:03 |
B6 | Grey Morning | 2:48 |
Ian & Sylvia - So Much For Dreaming (1967)
(192 kbps, cover art included)
Joseph Spence - The Complete Folkway Recordings 1958

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

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.
Tracklist:
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)
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.
Tracks:
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

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

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

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.
Tracklist:
A1 | Scribble | |
A2 | Complaint Of The Skeleton To Time | |
A3 | Xmas Gift | |
A4 | To Aunt Rose | |
A5 | The Lion For Real | |
A6 | Refrain | |
A7 | The Shrouded Stranger | |
A8 | Gregory Corso's Story | |
B1 | Cleveland, The Flats | |
B2 | The End | |
B3 | Stanzas: Written At Night In Radio City | |
B4 | Sunset | |
B5 | Hum Bom! | |
B6 | Kral Majales | |
B7 | Guru | |
B8 | Ode To Failure |
Allen Ginsberg - The Lion For Real
(320 kbps, cover art included)
Floh De Cologne - Lucky Streik (1973)

Floh De Cologne were well-known for their humorous and satyrical approach (which gained them comparisons with other freak troupes like The Fugs or The Mothers Of Invention ). They deliver a freaky connection of agit-prop satira and madness with relentless no-barriers free jamming: Political agitation meets free-rock...
"Lucky Streik" was live recorded on 25.11.72 in the Stadthalle Gummersbach and remixed at Studio Dierks in Stommeln, Köln.
Tracklist:
1. Countdown
2. Schön ist ein Jugendtraum
3. Sozialpartner Blues
4. Kalte Wut
5. Wenn ich einmal Reich bin
6. Die Wirtschaft ist jetzt in Gefahr
7. Der Imker
8. Deine Freiheit
9. Vergleiche
10. Der Löwenthaler
11. Was ein Kommunist trinken darf
12. Wenn es brennt
13. Freie Marktwirtschaft
14. Für die Zukunft sehen wir rot
15. Saurier
16. Wir sind millionenmal so stark
Gerd Wollschon - vocals, text
Dieter Klemm - vocals, percussion
Theo Konig - vocals, sax (tenor) clariner, flute
Markus Schmidt - vocals, guitar, keyboards
Dick Stadtler - bass, guitar, piano
Hansi Frank - vocals, drums
Floh De Cologne - Lucky Streik (1973)
(192 kbps, cover art included)
Alles Lalula - Songs & Poeme - Originalaufnahmen von Valentin über Schwitters bis zur 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)

"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..." (http://stupidd.blogspot.com)
Tracklist:
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

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)
Tracklist
1 | Introduction By Michael Bloomfield | |
2 | Where Can I Find My Baby? | |
3 | Baby Please Don't Go | |
4 | Mojo Hand | |
5 | Trouble In Mind | |
6 | The Woman I'm Loving, She's Taken My Appetite | |
7 | Come On Baby | |
8 | Cotton Patch Blues | |
9 | Instrumental | |
10 | Jealous Of My Wife | |
11 | Every Day About This Time (Instrumental) | |
12 | Shake That Thing |
Allen Ginsberg - The Ballad Of The Skeletons
Tracklist:
1 The Ballad Of The Skeletons 7:46
Allen Ginsberg - The Ballad Of The Skeletons
(192 kbps, cover art included)
The Hopkins Brothers - Joel, Lightning & John Henry (1964)

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
Tracklist:
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

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)
Tracklist:
A1 | Bird Song | |
A2 | One Will Do For Now | |
A3 | Take-Off Artist Song | |
A4 | Werewolf | |
A5 | Interlude | |
A6 | Dame Fortune | |
B1 | Mobile Line | |
B2 | The Duji Song | |
B3 | My Mind Capsized | |
B4 | The STP Song | |
B5 | Interlude 2 | |
B6 | Half A Mind | |
B7 | The 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 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."
Tracklist:
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)