Freitag, 31. März 2023

Kendra Smith – Kendra Smith Presents The Guild Of Temporal Adventurers (1992)

A founding member of the Dream Syndicate, Kendra Smith was also one of the creative forces behind the California psychedelic band Opal in the mid-'80s. She left during the band's final tour and was replaced by Hope Sandoval (Opal changed its name to Mazzy Star after that tour). Smith next formed the Guild of Temporal Adventureers for one eponymous EP in 1992, and then remained silent until the 1995 release of "Five Ways of Disappearing", her solo debut, which features a number of different sounds and styles.

Kendra Smith resurfaced for the first time since the dissolution of Opal with this engaging effort recorded in tandem with Jonah Corey and A. Philip Uberman; although "The Guild of Temporal Adventurers" doesn't stray far from the trademark neo-psychedelic sound of Smith's previous work, the record's absorption of Eastern sounds and textures lend it a deep, meditative quality finely attuned to the warmth and simplicity of tracks like "Stars Are in Your Eyes" and "Wheel of the Law."

Kendra Smith - The Guild Of Temporal Adventurers
(cover art included, flac)

Hortense Ellis - Hortense´s Last Stand

Hortense Ellis, the younger sister of reggae superstar, Alton Ellis, was born April 18th 1941 in Trench Town, Jamaica. Her father worked on the railways while her mother ran a fruit stall.
Hortense was just 18 years old when she appeared on The Vere Johns Opportunity Hour, which was then Jamaica's foremost outlet for undiscovered young talent. Her version of Frankie Lymon's "I'm Not Saying No At All" went down so well with the audience and the panel that she was invited back the following week.

Hortense went on to enter many other competitions and showcases managing to reach six semi-finals and four finals. In 1964 she was awarded a silver cup as Jamaica's Best Female Vocalist - a feat she was to repeat five years later.

By the late sixties, Hortense had extensive experience both in live performance and in the studio. She had toured Jamaica with Byron Lee And The Dragonaires and had begun recording with some of the island's top producers. Among these were Ken Lack, Arthur "Duke" Reid and Clement "Coxsone" Dodd.
Alton Ellis was also recording with Dodd at this time and the family connection was cleverly exploited as Dodd produced "female" adaptions of several of Alton's hits for Hortense to record. The ever-resourceful Dodd also paired Alton and Hortense on a run of classic duets.
The siblings toured Canada in 1970 but by the following year Hortense was back in Jamaica. She married Mikey "Junior" Saunders with whom she had five children in quick succession. Although her live performances suffered as a result, Hortense remained busy in the studio. Recording under the name Mahalia Saunders for producer Lee Perry she cut several sides including "Right On The Tip Of My Tongue" and "Piece Of My Heart".

Hortense's biggest commercial success came in the late seventies with a song cut for Augustus "Gussie" Clarke. "Unexpected Places" was a big hit in Jamaica and was released in Britain on the Hawkeye label.
For producer Bunny Lee, Hortense became Queen Tiney for her "Down Town Ting" - an answer record to the Althea & Donna hit "Uptown Top Ranking" which had itself been based on the rhythm of Alton Ellis's "I'm Still in Love With You".

Around this time, Hortense recut many of her Studio One sides with Soul Syndicate, The, Aggrovators, and the up and coming team of Sly & Robbie.
The rise of the Lovers Rock genre in the late seventies and early eighties resulted in Hortense cutting cover versions of several soul classics including "Down The Aisle" (Patti LaBelle) and "Young Hearts Run Free" (Candi Staton).

Following her divorce from Mikey Saunders, Hortense spent much of the eighties in Miami and New York. On returning to Jamaica in 1989, she began suffering severe health problems; but managed to carry on with occasional live local performances - something she loved immensely.
She recovered sufficiently to make a private visit to New York in the summer of 1999 and then to Miami the following year where illness finally caught up with her.
Hortense Ellis, known by so many in Jamaica and all over the world as "Jamaica's First Lady Of Song", passed away in her sleep in a Kingston hospital on October 18th 2000.

Hortense Ellis - Hortense´s Last Stand
(256 kbps, front cover included)           

Nico - Do Or Die!

Nico, the punk princess of the mid '60's Warhol entourage, joined the Velvet Underground as a singer in 1965 after a brilliant European career as a top model and actress.
This began a new career for one of the truly unique vocalists and rock personalities of our times. Noted for her Teutonic inflections, amazing beauty and heartbreaking baritone, she exuded a deep-seated sense of European worldliness and angst. She in many ways set the stage for the "gloom and doom" English romanticism and the Goth movement so popular today.

Truly an individualist, in style, presentation and her approach to material, Nico created a unique vision that in time became her own personal reality.

Nico´s "Do or Die" was originally released by ROIR as a cassette-only in November 1982. It is a collection of live performances, both solo and with her band, from her 1982 European tour that garnered considerable interest from collectors, press, her fans and also the followers of The Velvet Underground. It has now been 24-bit digitally remastered and re-edited for CD release by Doug Pomeroy.

"Drawn from five European gigs and featuring the best of Nico's many bands, The Blue Orchids, 'Do or Die' is the greatest hits package Nico never got. The power she unleashes dismisses any doubts regarding her role in rock and roll. Skillful beauty - spine-chilling isolation" - Alternative Press

Nico - Do Or Die!
(192 kbps, front cover included, ca. 83 MB)

Donnerstag, 30. März 2023

Count Ossie‎ - Remembering Count Ossie: A Rasta "Reggae" Legend

With club owner and producer Harry Mudie picking up almost all songwriting credits and adding "overdub percussion and sound effects," it seems like something fairly fishy could be going on here. But here's the big warning: this music is way far removed from any early preview of the Mystic Revelation of Rastafari grounantion chants that would make Count Ossie a rasta reggae legend. Call it proto-ska if you like, with Ossie as the lead drummer on roughly recorded, 2 1/2-3-minute songs that include 13 unreleased tracks. They were probably cut in the pre-Skatalites late-'50s or early-'60s, since the copyright is 1961, and recognizable '50s R&B touches pop up in some vocal tracks.

It wouldn't be surprising if Count Ossie was just part of the backing band on many songs, since the drums don't dominate the set, and Rico Rodriguez's trombone and Big Bra Gaynair's tenor sax are the chief solo voices. It is pretty fascinating, though, to hear proto-Rasta lyrics so early in the Jamaican music game on "So Long (The Negus Call You)" and "One Bright Morning." "Leaving This Land" hits the religious theme again with percussion driving, and "Swinging for Joy" is actually "Swing Low, Sweet Chariot" done Rasta/JAH-style done with a very strong Rodriguez solo and nice responses from Gaynair. You can almost hear the Mystic Revelation stage coming in the ragged vocal celebration and repeated chorus of "Going Home to Zion Land" or the devotional lyric to "Serve Him and Live" with its '50s R&B melody quote.

"Hello Sharon" continues in that vein (someone even shouts out "Do it, Dadd-i-o!" before the solos) but it's teen romance all the way, and "I Would Give My Life" doo wops on out JAH-style with smooth Gaynair and brassy Rodriguez. (You gotta wonder what Count Ossie would think of these songs being released now under his name). Mudie's maneuvers on the effects' front don't really damage "Fire Engine" or "Gun Fever (Remix)," but they do cheapen "Herb I Feel" in its obvious quest for the ganja anthem audience. On balance, Remembering Count Ossie is no lost treasure trove for casual listeners or seekers of early Nyabinghi percussion chants. The music has some historical value, and it's a pleasant enough listen, but is probably best left to historians of Jamaican music.      


African Shuffle
So Long (Negus Can Call You)
Air Horn Shuffle
Gun Fever
Fire Escape
One Bright Morning
First Gone
Babylon Gone
Music Go Round And Round
Leaving This Land
Swinging For Joy
Going Home To Zion Land
Count Ossie Special
Sodom And Gomorrah
Serve Him And Live
Herb I Feel
Hello Sharon
I Would Give My Life
Gun Fever (Remix)

Count Ossie‎ - Remembering Count Ossie: A Rasta "Reggae" Legend
(320 kbps, cover art included)

David Peel - An Evening With David Peel (1975)

"An Evening With David Peel" is a live recording from Hotel Diplomat, Times Square, NYC January 1, 1975 for the Swine New Year Spectacle.           

David Peel covers little new ground on this album, which is underground rock's equivalent to the standard live album of pop music, a chance for the artist to range across his existing repertory, at a point where Peel was at the peak of his exposure and respect.

Thematically, this anti-establishment evening shares much with Arlo Guthrie's live album "Arlo". They both even include a song about Santa Claus. But, where Guthrie mocks in a gentle way, Peel and his street musician friends known as the Lower East Side are in your face with their sociopolitical manifesto.

Peel surrounds himself with some of the most professional-sounding accompaniment of his career up to this time, and the results are slightly smoother than on some of the original versions - in a sense, the versions here will be more accessible to the uninitiated, but the songs also lack some of the charming, even beguilingly punk-like roughness of the original versions. The songs still speak for themselves, and loudly, however, and Peel's personality comes through sufficiently well to make this a worthwhile record, if not quite as essential as the four albums that preceded it.        

A1Hippie From New York City3:07
A2Have A Marijuana3:35
A3Santa Claus: Rooftop Junkie1:35
A4Bring Back The Beatles2:30
A5The Pope Smokes Dope2:45
A6Song On The Spot (Who Stole J. F. Kennedy's Brain?)3:45
B1Balling In The Bathroom7:43
B2Up Against The Wall1:24
B3Coconut Grove6:30
B4Rock N' Roll Rip-Off1:50
B5Auld Lang Syne

David Peel - An Evening With David Peel (1975)
(320 kbps, cover art incuded)    

Montag, 27. März 2023

John Cale - Even Cowgirls Get The Blues

John Cale was born in Wales but moved to London and then New York to study music. He joined The Velvet Underground in 1965 and played a key part in the distinctive sound and experimental ethos of their first two albums.
In the 70s, Cale launched a solo career and produced albums for other artists, including Nico, The Stooges, The Modern Lovers, Patti Smith. His solo albums covered very different styles, from the orchestral folk of Paris 1919 (1973) to the raucous punk of Sabotage/Live (1979).
Through the 80s, 90s and 00s Cale has continued to experiment with music and release the results, to little commercial success but with a small group of committed fans. In particular, two collaborative efforts in 1990 brought excellent results: one with Brian Eno called Wrong Way Up, and another with former bandmate Lou Reed, called Songs For Drella.

This disc contains live performances from roughly the same time period as the Sabotage/Live album.
It was recorded with members of the Patti Smith Group at CBGB in 1978 and '79 (the years of Cale's noisy punk involvement) and includes some hair-raising feedback excursions. There's some very interesting material here that is not available elsewhere. Most importantly, this is the only recording I know of that features

The LP that came out on "Special Stock" has three tracks not on the CD. Here´s the CD version with the following tracks:

Dance Of The Seven Veils
Helen Of Troy
Casey At The Bat
Even Cowgirls Get The Blues
Don't Know Why She Came
Somebody Should Have Told Her
Magic & Lies

According to the sleeve notes the first 4 tracks were recorded live on December 28, 1978. The other four tracks on December 31, 1979. The venue for both gigs was CBGB's in New York.

Ritchie Fliegler (lead guitarist of the band) begs to differ: "I just received a copy of Cowgirls (I got it on Amazon) it's interesting. And, while definitely recorded at CB's there are some big errors.The first 5 songs are the Judy, Kraal, JD, Bruce and me band. From when, I don't remember. However the liner notes say it's the first four songs - This is absolutely incorrect - it's the first five.The last three songs: Somebody, Decade and Magic are another gang altogether. Listening to this CD was the first time I have ever even heard them. Of this I am totally sure beyond a shadow of a doubt."

Ivan Kral is the bass player from the Patti Smith Group. On the cover his name is misspelled as "Kraal". John Cale´s "Sabotage/Live" album was recorded in between these two gigs.
performances with Judy Nylon.

John Cale - Even Cowgirls Get The Blues
(192 kbps, cover art included)

Thanks a lot to for all the infos about this album!

Gideon - Mamlok - Rochberg - Shapey - Waxman - Wyner - Zilberts - Psalms Of Joy And Sorrow

Unique among liturgies in their singular blend of majestic grandeur, lofty sentiments, and poignant simplicity, the Psalms embrace virtually every basic human emotion and mood, always in the context of faith.

This album reflects the varied responses of twelve 20th- and 21st-century composers to some of the most affecting and enduring of all biblical texts—the Psalms.

Common to the liturgies, histories, and spirit of both Judaism and Christianity, the biblical Book of Psalms is one of the most widely familiar and most frequently quoted books of the Hebrew Bible. The Psalms' sentiments and teachings, expressed in a singular blend of majestic grandeur and poignant simplicity, give them a uniquely universal resonance. Encompassing virtually every human emotion and mood from exaltation to alienation, hope to despair, these texts have inspired musical interpretation since Jewish antiquity, with notated musical settings dating back
more than ten centuries.

Composers of virtually every orientation have engaged the Psalms in compositions ranging from large-scale works for chorus, full orchestra, and soloists to intimate a cappella choral pieces. The original settings heard on this new CD, by both traditionally-minded and avant-garde composers, exemplify the variety of musical treatments and expressions the Psalms have inspired.

Participating artists heard on "Psalms of Joy and Sorrow" include actor Theodore Bikel, cantors Alberto Mizrahi, Charles Osborne and Meir Finkelstein; the BBC Singers, Laudibus Choir, Schola Hebraeica, Barcelona Symphony/National Orchestra of Catalonia and the Slovak Radio Symphony Orchestra; and conductors Samuel Adler, Michael Brewer, Ronald Corp, Patrick Gardner, Steven Gunzenhauser, Avner Itai, Elli Jaffe, Neil Levin and Karl Anton Rickenbacher.

"Dispersed over the centuries to all corners of the earth, the Jewish people absorbed elements of its host cultures while, miraculously, maintaining its own. As many Jews reconnected in America, escaping persecution and seeking to take part in a visionary democratic society, their experiences found voice in their music. The sacred and secular body of work that has developed over the three centuries since Jews first arrived on these shores provides a powerful means of expressing the multilayered saga of American Jewry.

While much of this music had become a vital force in American and world culture, even more music
of specifically Jewish content had been created, perhaps performed, and then lost to current and future generations. Believing that there was a unique opportunity to rediscover, preserve and transmit the collective memory contained within this music, I founded the Milken Archive of American Jewish Music in 1990.

The passionate collaboration of many distinguished artists, ensembles and recording producers over the past fourteen years has created a vast repository of musical resources to educate, entertain and inspire people of all faiths and cultures. The Milken Archive of American Jewish Music is a living project; one that we hope will cultivate and nourish musicians and enthusiasts of this richly varied musical repertoire." - Lowell Milken

“In the Torah and the [books of the] Prophets, God reaches out to man. The initiative is His. The message is His. He communicates, we receive.... In the Psalms, human beings reach out to God. The initiative is human. The language is human. We make an effort to communicate. He receives.... The human soul extends itself beyond its confining, sheltering, impermanent house of clay. It gropes for an experience of the divine Presence.” - Nahum Sarna

Gideon - Mamlok - Rochberg - Shapey - Waxman - Wyner - Zilberts - Psalms Of Joy And Sorrow
(256 kbps, cover art included)

Freitag, 24. März 2023

Vladimir Vissotzki - Lieder vom Krieg (Pläne, 1995)

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

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

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

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


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

(320 kbps, cover art included)

Nico & The Blue Orchids - Berlin Audimax - Live 07.05.1982

One of the most fascinating figures of rock's fringes, Nico hobnobbed, worked, and was romantically linked with an incredible assortment of the most legendary entertainers of the '60s. The paradox of her career was that she herself never attained the fame of her peers, pursuing a distinctly individualistic and uncompromising musical career that was uncommercial, but wholly admirable and influential.

It was a very demanding show for Nico and the audience and neither Nico or the audience were satisfied. The expectations were too far apart and Nico provoked at the end with a successful version of: "Das Lied der Deutschen"

01. Heroes
02. Sãeta
03. Vegas
04. 60/40
05. Janitor of Lunacy
06. The End
07. All Tomorrow's Parties
08. Femme Fatale
09. I'm Waiting for the Man
10. No One Is There
11. Das Lied der Deutschen
12. Shouting for encore & is Reinhard Frahm out there ?

Nico: vocal, harmonium
with The Blue Orchids:
Martin Bramah: guitar, backing vocals
Rick Goldstraw [Eric McGann]: guitar
Una Baines: Yamaha Synthesizer
Steve Garvey [Steven Patrick Garvey]: bass, backing vocals
Toby Toman [Phillip Tomanov]: drums

Nico & The Blue Orchids - Berlin Audimax - Live 07.05.1982
(320 kbps, cover art included)

Donnerstag, 23. März 2023

David Peel & The Apple Band - The Battle For New York

“My records are a music history and biography in truth and fiction on how I see myself, the world and its people. The songs speak for themselves. David Peel is real – forever David Peel – yes!!” - David Peel

"The Battle for New York" marks the nadir of David Peel's recording career, one of the few moments where this unique artist compromised his music in the service of something too small - in this case, Howard Stern's stillborn 1994 campaign for governor of New York, which ended when the radio personality balked at the financial disclosure forms that he would have to file. Even if you didn't agree with the idea, battling for the reform of marijuana laws was something worthy of his attention and broad and personal enough to invite songwriting of a certain wit and scope - the Vietnam War, Watergate, the murder of John Lennon, and the ascent of Reagan to the White House and its consequences were similarly inviting and appropriate subjects, and even the rioting on New York's Lower East Side was a worthy subject, if only because Peel was a longtime denizen of the neighborhood, even if the results weren't the most listenable of his career. But the opening song here is "Howard Stern for Governor," and two of the following songs had previously appeared on earlier, better albums - that pretty much defines the problem with this album, which is too limited in scope and has little new to say. For serious David Peel enthusiasts, it will still suffice, but "The Battle for New York" isn't much more than a bridge between more important albums.


1 Howard Stern For Governor
2 FCC - Don't Censor Me
3 Stan The Man
4 I Love New York
5 John Lennon Forever
6 David Peel's Dream
7 Uptight Manhattan
8 All The Homeless People
9 The Battle For New York
10 Howard Stern For Governor (Live)
11 FCC - Don't Censor Me (Live)
12 Libertarians For Freedom (Live)
13 Goodbye Mario (Live)
14 He's A Groovy Head (Live)
15 Marijuana Chant (Live)
16 David Peel Speech (Live)
17 Woodstock Nation

David Peel  & The Apple Band - The Battle For New York
(320 kbps, cover art included)

Iggy Pop - Jesus, This Is Iggy (Bootleg, 1977) - Happy birthday, Iggy!

Originally posted in 2017:

Today is the 70th birthday of Iggy Pop – godfather of punk, remarkably skinny dude, amazing showman, eater of Nico’s cat...

There's a reason why many consider Iggy Pop the godfather of punk: every single punk band of the past and present has either knowingly or unknowingly borrowed a thing or two from Pop and his late-'60s/early-'70s band, the Stooges. Born on April 21, 1947, in Muskegon, Michigan, James Newell Osterberg was raised by his parents in a trailer park close to Ann Arbor, in nearby Ypsilanti. Intrigued by rock & roll (as well as such non-musical, monotonous, and mechanical sounds as his father's electric razor and the local automobile assembly plants in Detroit), Osterberg began playing drums and formed his first band, the Iguanas, in the early '60s. Via the Rolling Stones, Osterberg discovered the blues and formed a similarly styled outfit, called the Prime Movers, upon graduating from high school in 1965. When a brief stint at the University of Michigan didn't work out, he moved to Chicago instead, where he played drums alongside the city's bluesmen.              

His heart remained with rock & roll, however, and shortly after returning to Ann Arbor, Osterberg decided to form a rock band. This time, he would leave the drums behind and be the frontman, taking inspiration from the likes of the Velvet Underground's Lou Reed and the Doors' Jim Morrison. He tried to find musicians who shared his musical vision: to create a band whose music would be primordial, sexually charged, aggressive, and repetitive (using his early electric razor/car plant memories for reference). In 1967, he hooked up with an old acquaintance from his high-school days, guitarist Ron Asheton, who also brought along his brother, drummer Scott, and bassist Dave Alexander, thus forming the Psychedelic Stooges. Although it would take a while for their sound to gel -- they experimented with such nontraditional instruments as empty oil drums, vacuums, and other objects before returning to their respective instruments -- the group fit in perfectly with such other high-energy Detroit bands as the MC5, becoming a local attraction.

It was around this time that the group shortened its name to the Stooges, and Osterberg changed his own stage name to Iggy Pop. With the name change, Pop became a man possessed on-stage, going into the crowd nightly to confront members of the audience and working himself into such a frenzy that he would be bleeding by the end of the night from various nicks and scratches. Elektra Records signed the quartet in 1968, issuing their self-titled debut a year later and a follow-up effort, "Fun House", in 1970. Although both records sold poorly upon release, they've since become rock classics, and can be pointed to as the official catalyst for what later became punk rock.        

The Stooges were dropped from their record company in 1971 due to the public's disinterest and the group's growing addictions to hard drugs. Pop's continuous death-defying acts also worried the label, whose decision to drop the band led to the Stooges' breakup the same year. One of the band's more celebrated fans, David Bowie, tracked Pop down and convinced the newly clean and sober singer to restart his career. Pop enlisted guitarist James Williamson (who was briefly a second guitarist for the Stooges before their breakup) and, after the pair signed to Bowie's Mainman management company and relocated to England, they eventually reunited with the Asheton brothers, with Ron moving from the six-string guitar to the bass.

Signed by Columbia Records and hoping to follow in Bowie's footsteps toward a major commercial breakthrough, the Stooges penned another punk classic, the brutally explosive "Raw Power". Pop's plan for the Stooges' third release was equally brutal; he wanted to create a record that would be so powerful, so sonically over the top, that it would physically hurt the listener as it poured forth from the speakers. Although the resulting album wasn't quite that extreme, it came fairly close, with Bowie lending his own contributions as the album's producer. Once again, the album sank without a trace. By 1974, Pop and most of the Stooges had fallen back into the world of heavy drugs, and with their star fading, the band called it quits for a second (and final) time. 

 After spending a brief spell homeless on the streets of Hollywood, during which time there was an unsuccessful attempt to form a band with Pop and former Doors keyboardist Ray Manzarek, Iggy Pop checked himself into the Neuropsychiatric Institute in Los Angeles. During his stay at the hospital, Pop made an attempt at writing and recording some new tunes with Williamson, but when no labels expressed interest, the two went their separate ways. (Completed demos of the sessions would surface on the "Kill City" release in 1977; they would also appear on the 2005 compilation "Penetration", which featured a number of widely circulated demos, outtakes, and alternate mixes from the "Raw Power" sessions.)

During his hospital stay, another old friend came to visit him: David Bowie, whose career was still in high gear. Bowie offered to take Pop on the road with him during his tour in support of "Station to Station", and the pair got along so well that they both moved to Berlin in late 1976, during which time Bowie helped Pop secure a solo record deal with RCA. Bowie had become interested in European electronic rock (Kraftwerk, Can, etc.) and later admitted that he used Pop as a musical guinea pig on such releases as "The Idiot" and "Lust for Life" (both issued in 1977 and produced/co-written by Bowie). Both albums sold better than the singer's previous efforts with the Stooges (particularly in the U.K., where Pop was looked upon as an icon by the burgeoning punk rock movement) as Bowie joined Pop on his world tour as a keyboardist. Shortly thereafter, a surprisingly muddy-sounding live album was culled from Pop's most recent tour, titled "TV Eye (1977 Live)". It was also around this time that Pop severed his ties with Bowie and struck out on his own.    

The bootleg "Jesus, This Is Iggy" was recorded in 1977 in Ohio.

1Raw Power4:18
2T.V. Eye4:13
5Turn Blue6:54
7Gimme Danger4:30
8No Fun3:13
9Sister Midnight3:54
10I Need Somebody4:38
11Search And Destroy3:31
12I Wanna Be Your Dog4:29

Iggy Pop - Jesus, This Is Iggy (Bootleg, 1977)   
(192 kbps, cover art included)      

Mittwoch, 22. März 2023

David Peel & The Lower East Side - The Pope Smokes Dope

David Peel is a New York-based musician who first recorded in the late 1960s, with Harold Black, Billy Jo White and Larry Adams performing as "The Lower East Side Band". Though his raw, acoustic "street rock" with lyrics about marijuana and "bad cops" appealed mostly to hippies at first, the sound and DIY ethic make him an important, if little-credited, early performer of punk rock.

He has performed with artists ranging from B. B. King to the Plastic Ono Band. The band was one of the first to regularly perform on cable TV in Manhattan on the public access channel of Manhattan Cable Television, as well as at the first Smoke-In Concerts sponsored by the Yippies in New York City in Central Park.

John Lennon mentioned Peel in the song "New York City". Lennon and his wife Yoko Ono subsequently produced Peel's third album, "The Pope Smokes Dope".

Concerned about major label censorship, Peel founded Orange Records to release his own recordings and also those of other independent artists such as: GG Allin & The Jabbers and Mozarts People.

Peel is still actively recording and performing his music, planning the release of a CD-ROM-based book of photographs. He has appeared in various films as himself, including Please Stand By (1974) and Rude Awakening (1989) and High Times Potluck (2004).

The Holy Modal Rounders - Indian War Whoop

"...there is an unmistakable ingredient to the Holy Modal Rounder's music that seems appealing to folk lovers and trippers alike" - Andrew Kotick, Sputnick Reviews

The year 1967 proved to be a strong point of the 60’s generation culture and the ever growing New York underground music scene with the likes of David Peel & the Lower East Side, The Velvet Underground, The Godz, The Fugs, and the Holy Modal Rounders. The music is reflective of the time, and would prove to be the setting of a musical foundation for the group.

Peter Stampfel and Steve Weber obviously loved American folk music as much as any of the kids who had their head turned around by Harry Smith's Anthology of American Folk Music in the 1950s, but unlike the many musicians who paid tribute to America's musical past by trying to re-create it as closely as possible, as The Holy Modal Rounders Stampfel and Weber opted to drag the music into the present, shrieking and giggling all the way.

Even by the standards of The Holy Modal Rounders' first two albums, 1967's "Indian War Whoop" is a thoroughly bizarre listening experience; loosely structured around the between-song adventures of two seedy vagabonds named Jimmy and Crash, side one veers back and forth between neo-psychedelic fiddle-and-guitar freakouts and free-form (and often radically altered) interpretations of traditional folk tunes such as "Soldier's Joy" and "Sweet Apple Cider," while side two is devoted to like minded originals (including a couple songs from their friend Michael Hurley, who would later join the group). Most certainly a product of its time, "Indian War Whoop" sounds rather dated today, but its buoyant good humor and chemically-altered enthusiasm remains effective, even when the Rounders' reckless pursuit of inner space sounds like it was more fun to create than to observe on record.

The Holy Modal Rounders - Indan War Whoop (1967)
(256 kbps, cover art included)

African Head Charge - Songs Of Praise (1990, On U Sound)

Led by percussionist Bonjo I, African Head Charge formed in the early '80s and has released seven albums with a shifting lineup that also includes Prisoner, Crocodile, Junior Moses and Sunny Akpan. The band works in the same dub psychedelia territory as Adrian Sherwood's work, which isn't surprising since most of African Head Charge's albums have been released through - and produced by - Sherwood and his On-U Sound label.
Not very many reggae albums acknowledge Alan Lomax in the credits. But then, African Head Charge (a band with a constantly changing membership led by percussionist Bonjo Iyabinghi Noah) doesn't really make typical reggae albums.

Although the one-drop beat (provided on this album by Lincoln "Style" Scott) influences everything and the basslines have a typical tidal undertow, the stuff that Noah layers on top of the mix has more to do with ethnomusicology than the dancehall.
The song titles say it all: "Cattle Herders Chant," a field recording of call-and-response chanting overlaid with Nyahbinghi drums and highlife guitar; "My God," eerie, minor-key African-American church singing supported by a chugging reggae bassline, bare-bones drumming, and the sound of running water; "Deer Spirit Song," an unidentifiable indigenous song in 9/8 meter with a gently driving rockers beat and occasional sound effects thrown in.

This is an exceptionally beautiful album, but in a deeply strange way.


1Free Chant (Churchical Chant Of The Iyabinghi)3:30
2Orderliness, Godliness, Discipline And Dignity3:16
4Dervish Chant7:50
5Hold Some More6:18
6Healing Father4:46
7Healing Ceremony3:48
8Cattle Herders Chant4:15
9Ethiopian Praises1:28
10My God4:11
11Gospel Train3:02
12Chant For The Spirits4:08
13God Is Great4:16
14Deer Spirit Song2:22

African Head Charge - Songs Of Praise (1990)
(256 kbps, cover art included)

Dienstag, 21. März 2023

David Peel - War & Anarchy

For this 1994 album, David Peel returned to his roots, releasing what amounted to an audio newspaper, built on then-recent events such as the Los Angeles riots; his singing style is no more sophisticated than it ever was, but the playing is surprisingly deft and solid, with a suitably jagged punk-influenced guitar part on "Riot in America," and similar flourishes throughout. 

"Riot Rock" is strangely spellbinding in its mix of rage, nostalgia, and travelogue, and displays a crude but compelling honesty in its mix of amateurish vocalizing and solid music-making; and it hardly matters that it's a thematic repeat of the preceding track. One begins here to understand the modern appeal of Peel's work: in the early '70s he was a novelty act, but he was willing to express anger and rage in unbridled terms yet, in a manner better than a lot of more celebrated bands, turns it into something hypnotically compelling with just the right musical trimmings.


1  Riot In America  5:17
2  Riot Rock  4:34
3  Life Above The Law  6:03
4  Anarchy In The U.S.A.  4:23
5  Who Killed J.F.K.  6:20
6  Hells Of Fire  6:43
7  Stop Aids Forever  4:32
8  No More Nukes  6:05
9  Ground Zero  4:26
10 The Invasion  5:41
11 World War III  6:33
12 Stop The War [ Poem ]  6:34

(320 kbps, cover art included)

Velvet Underground - The Psychopath´s Rolling Stones

A lot of the Velvet Underground fans are saying this is the one VU bootleg to get if I had to get just one.
"The Psychopath's Rolling Stones" is just as odds-n-ends as those excellent "Ultra Rare Trax" CDs and even as random as the official "Peel Slowly and See" box set itself, but it has got some incredible numbers & versions I've never heard elsewhere.
Let's start with the definitive live version of "Run Run Run" -- for me, the most underrated Velvets song of all time and one that's easily in my Top 5 along with the other ones we all love. This one's a long version from February 8th, 1969 in New Hampshire, and as the back cover says, "features some remarkable guitar work.
The solos (Reed's?) are just blistering -- the song is transformed into the latter 2/3rds of "European Son" while still maintaining its bounce and chugga-chugga drive.
Also revelatory is the demo version of "Chelsea Girl" recorded in those famous hotel sessions, just Lou and Nico and a beat-up old tape deck. That's my favorite song on her first record, and this version's better.
Other hotties of note are a fire-breathing Cleveland 1967 "Guess I'm Falling In Love" (with vocals and another killer solo) and the 1966 tin pan alley studio outtake "Sheltered Life".
And what 70s-era bootleg wouldn't be complete without a hidden track not by the featured artist? This one's got one and a half: a warbling, half-insane live version of Nico doing "The End", and a choogling 1920s-era jump blues called "Bootleggin' Blues" from someone certainly not from the lower east side.
This collection is heavy on the first two VU records, so if the rough, sodom-and-gomorrah Velvets are your thing and you're pretty sure Yule's a fool, this digital platter of scorching obscurities is your ticket to hog heaven.
1. Star Spangled Banner (2:06)
2. White Light/White Heat (4:33)
3. I'm Waiting For My Man (4:07)
4. All Tomorrow's Parties (5:14)
5. Run Run Run (8:48)
6. Guess I'm Falling In Love (4:11)
7. Venus In Furs (5:02)
8. Black Angel's Death Song (2:53)
9. I Can't Stand It (8:01)
10. Sheltered Life (2:51)
11. Vernissage (0:58)
12. Real Good Time Together (2:34)
13. Chelsea Girl (3:12)
14. Pale Blue Eyes (5:59)
15. I'll Be Your Mirror (2:37)
16. The End (8:06)
17. "Bootlegging The Bootleggers"

1 : listed as "unreleased track, shortlisted as the intro to the 1993 concerts but later rejected" / 2, 3 : Max's Kansas City, Summer 1970 / 4 : Valleydale Ballroom, November 4,1966 / 5 : Hilltop Festival, August 2, 1969 / 6 : Gymnasium, April 1967 / 7 : End Of Cole Ave, October 18, 1969 / 8, 15 : Bataclan, January 29, 1972 / 9 : The Matrix, late November - early December 1969 (pirated from official 1969 Live) / 10 : Ludlow street loft demo, early 1967 / 11 : radio ad for third LP / 12 : demo, late 1969 / 13. Nico & Joe Bidewell, BBC TV program on Chelsea Hotel, 1981 / 14. End Of Cole Ave, October 19, 1969 / 16 : Nico, live / 17 : not a VU-related track.

(192 kbps, cover included)

David Peel & The Super Apple Band - John Lennon For President (1980)

PhotobucketIn view of subsequent events, this album and its title now possess an unintended eeriness. But in 1980 it was just part of the landscape.

In case no one remembers, in 1980 the U.S. went nuts. Not that this hadn't happened before, even during some recent campaign years, but this was the first time it coincided with a presidential race in which two incompetents were running against each other, and politics became the medium through which a lot of that nutsiness was expressed.

In that environment, how could David Peel, master satirist, topical songwriter, marijuana advocate, peace activist, and musician provocateur, possibly resist the impulse to join in? The result is more mixed media than is usual for Peel, alternating between music, interviews, and speeches, all of it focused, and assuming that one has the tolerance for absurdity necessary to appreciate it, it's a fine coda to Peel's earlier Lennon-produced and Beatles-inspired work.

Guest artists includes John Lennon, Yoko Ono and Tiny Tim among others. The only thing Tiny Tim does is to whisper "imagine" on track 10.

1. The John Lennon For President Speech
2. John Lennon For President I
3. The Yoko Ono Interview
4. Amerika
5. Rock & Roll Preamble/John Lennon For President Speech
6. John Lennon For President II
7. Imagine
8. The John And Yoko Interview
9. John Lennon For President I
10. Imagine - Whispered By Tiny Tim

David Peel & The Super Apple Band - John Lennon For President (1980)
(320 kbps, cover art included)

Kastrierte Philosophen - Rub Out The World - Maxi Mixes

Kastrierte Philosophen (Castrated Philosophers) from Hamburg was one of the most important German independent rock bands in the 1980s and 90s. The band formed in 1983 by Matthias Arfman and Katrin Achinger, both of whom worked together with other artists on their releases and concerts. Their musical style ranges from psychedelic rock, hip-hop, dub and electronic music.

Starting with a dark sound inspired by Velvet Underground and Nico (to who they dedicated their 1989 album "Nerves") as well as chanson, later on they worked on african and oriental influenced music. In their last phase in the mid-90s, they began to work with several young dub mixers, one of which was Jan Eißfeldt. Philosopher Arfmann (Knochenhaus studio) then produced all albums of Eißfeldt's German hip hop band Absolute Beginner and his Jan Delay reaggae albums.

Radio Active (Solid Mix) 4:47
Jussun (Mix For Jazz-Supervisors) 6:58
Radio Active (Kid Mix) 4:02
Jussun ("Nicht Für Paul Simon" Mix) 2:58
Radio Active (Page 62 Space Mix) 4:08
Jussun (Morricone Mix) 3:26
Radio Active ("Hotel & Warten Auf Die Stars"-Mix) 4:23
Rub Out The Word (Commercial) 0:58

Mittwoch, 15. März 2023

David Peel & the Lower East Side - The American Revolution (1970, vinyl rip)

David Peel was, and still is, a street musician and political activist from the Lower East Side of New York City. With a collection of friends who became his bandmates and who were eponymously called the Lower East Side, he recorded two groundbreaking albums of social reflections, urban tales, and hippie mythology for Elektra Records.

The first, entitled "Have a Marijuana", was released in 1968. The second, "The American Revolution", was released in 1970. Both were just exactly as you would think they would be from their album titles: Musical Counterculture Manifestos Presented With Guitars and Grins.

The politically charged David Peel & the Lower East Side directly contrasted their 1968 acoustic live debut, "Have a Marijuana" (recorded in New York City's Washington Square Park), with 1970's "American Revolution", an amplified studio outing. The real similarity between the two remains Peel's no-holds-barred, in-your-face attitude and staunchly liberal espousing.

Although Peel's earlier effort hinted at the band's proto-punk and garage rock leanings, the aggressive electric bashing that accompanies "Lower East Side," "Hey, Mr. Draft Board," and "Girls, Girls, Girls" allows them to bring that restless spirit to complete fruition. While Peel's work has been considered as little more than a hippie novelty, the sheer range of his topical lyrics is often a direct reflection of the then-current anti-establishment movement. His music deals candidly with their attitudes regarding Vietnam ("I Want to Kill You"), the repression of local law enforcement ("Oink, Oink, Oink"), hypocritical drug laws ("Legalize Marijuana"), sex ("Girls, Girls, Girls"), and even more contemplative esoteric concepts ("God").

David Peel & the Lower East Side - The American Revolution (1970, vinyl rip)
(192 kbps, cover art included)

Gary Clail / On-U Sound System ‎- End Of The Century Party (1989)

On his second album, MC Gary Clail moves away from the stark electro-funk of Tackhead and begins collaborating more closely with artists from Adrian Sherwood's On-U Sound stable, exploring avant-reggae with the help of Dub Syndicate and lending his voice to Barmy Army's bizarre mix of synthetic funk and sampled football cheers.

The single was "Beef," a nifty little piece of vegetarian rockers reggae that features a vocal hook lifted from Public Enemy and the gauzy crooning of Bim Sherman. "Two Thieves and a Liar" is an anti-corporate message couched in deceptively smooth minor-key reggae courtesy of Dub Syndicate; "Privatise the Air" features a similar message chanted over Barmy Army's ponderous synth funk. The lightest things get is on "Rave On," a tribute to club counterculture that somehow manages to sound just as political as everything else on the album.

But for all of the conceptual heaviness that permeates this program, the overall effect is surprisingly enjoyable. It's not entirely clear how much of the credit should go to Clail and how much to the musicians for that, but they all clearly bring the best out in each other.               


 1. Beef
  2. Toes Tapping
  3. Peace Perfect Peace
  4. Leroy, Leroy
  5. Two Theives And A Liar
  6. Privatise The Air Pt.1
  7. Privatise The Air Pt.2
  8. Rat Race
  9. Rave On
  10. House Building

  11. A Man's Place On Earth

Gary Clail / On-U Sound System ‎- End Of The Century Party (1989)
(ca. 224 kbps, cover art included)

The Dream Syndicate - Same (EP, 1982)

The Dream Syndicate is an American alternative rock band from Los Angeles, California, originally active from 1981 to 1989, and reunited since 2012. The band is associated with neo-psychedelia and the Paisley Underground music movement; of the bands in that movement, according to the Los Angeles Times, the Dream Syndicate "rocked with the highest degree of unbridled passion and conviction."´Though never commercially successful, the band met with considerable acclaim, especially for its songwriting and guitar playing.

Dream Syndicate are at the foundation (alongside the Velvet Underground, the Stooges, and R.E.M.) of contemporary alternative music simply because at the time when most bands were experimenting with new technology, the Syndicate deigned to bring back the guitar.

Fronted by Steve Wynn and including Karl Precoda (guitar), Dennis Duck (drums), and Kendra Smith (bass), the band formed in Los Angeles after Smith and Wynn had relocated there from Davis, California. They debuted with a self-titled, unbelievably Velvet Underground-like EP on Wynn's own Down There label. The EP was recorded January 31, 1982 at Southwest Sound, Pasadena, California.

From the opening, icy arpeggios of guitarist Karl Precoda's "Sure Thing" to the six-string train wreck that brings frontman Steve Wynn's "Some Kinda Itch" to a close, the mark of the seminal pre-punk outfit is all over these recordings. A larger kit doesn't stop drummer Dennis Duck from locking the band into a rigid, primal framework à la Maureen Tucker and the White Light/White Heat-style recording tactics of the self-production only enhance the gritty sound of the group's twin-guitar attack. On "That's What You Always Say," Wynn lays down a ragged, metallic strum over which Precoda delivers his buzzing, atonal solo. The two then engage in an exchange of fractured chords and six-string shards against the stark rhythm section. Precoda speaks a similar language on "When You Smile," though here the notes seem to corrode to his guitar strings in a rusted mess. As derivative as the sound may be, Dream Syndicate were clearly onto something. Just months later, a similar combination of Wynn's deadpan vocals and the band's austere soundscapes would surface on the triumphant "The Days of Wine & Roses", the group's acknowledged masterpiece and a classic from the (paisley) underground.                 


Sure Thing 3:57
That's What You Always Say 4:18
When You Smile 3:05
Some Kinda Itch 5:26

The Dream Syndicate - Same (EP, 1982)
(192 kbps, cover art included)

Dienstag, 14. März 2023

Allen Ginsberg - First Blues - Rags, Ballads And Harmonium Songs (1981, vinyl rip)

The greatest poet of the Beat movement and one of the most renowned American writers of the 20th century, Allen Ginsberg transcended literary and intellectual barriers to exert a profound influence on the culture at large.

On this LP, recorded in the mid-1970s, Ginsberg accompanies himself on his small Benares hand-pumped harmonium (though on some of these performances, Ginsberg hums and grunts "riffs" that were part of a bigger band arrangement). Eight pieces, including the ten minute opuses "4 AM Blues" and "Prayer Blues." There's a really weird, dark sound to the record - as Ginsberg plays harmonium and sings/speaks his own words - older themes from the 60s and 70s, recast here with almost a new sense of blues and frustration. The approach is quite unique, and almost features a Ginsberg cowed a bit by the changes of time, but still with the same sense of wit and clarity he brought to his work a few decades back. Titles include "CIA Dope Calypso", "Put Down Your Cigarette Rag", "Come Back Christmas", "Bus Ride Ballad Road To Suva", "Prayer Blues", and "Dope Fiend Blues".

The liner notes include an introductory note by Ann Charters, who produced the project, an intro by Ginsberg himself, and lyrics and musical scores to several of the pieces, including "CIA Dope Calypso."

Ginsberg's charm as a songwriter is the same one he holds as a poet: he was a fearless queer dharma lion who was so utterly and completely honest. With the Heart Sutra as his creed, he spoke, read, sang, improvised, protested, and lived as one so in the moment and brutally honest with himself that he made one either want to join him in present fearless nearness or to flee from him as fast as one could travel.

Allen Ginsberg - First Blues (1981, vinyl rip)
(192 kbps, full cover art included)

Ella Fitzgerald - Ella Swings Lightly (1958)

Ella Swings Lightly is a 1958 studio album by the American jazz singer Ella Fitzgerald, recorded with the Marty Paich Dek-tette. Ella also worked with Marty Paich on her 1967 album Whisper Not. The album features a typical selection of jazz standards from this era, songs from recent musicals like Frank Loesser's If I Were a Bell, and a famous jazz instrumental vocalised by Ella, Roy Eldridge's Little Jazz.
This album won Ella the 1960 Grammy award for the Best Improvised Jazz Solo.

This was among several hit albums that Fitzgerald enjoyed in the '50s, when she was reaching the mass audience cutting pre-rock standards. The album features Ella Fitzgerald's flowing vocals and Marty Paich's Dek-tette band backing her.  

Ella Fitzgerald - Ella Swings Lightly (1958)
(256 kbps, cover art included)       

Freitag, 10. März 2023

Schmetterlinge - Die Beschwichtigungs-Show (1977)

"Die Schmetterlinge" ("The Butterflies" in English) were an Austrian political folk band. They started as a folk ensemble but later evolved into a complex theatrical progressive band, with "Sparifankal" and "Floh De Cologne" touches, moving onto progressive rock-opera.

"Die Beschwichtigungs-Show" was the 1977 album by Die Schmetterlinge, recorded at Soundmill Studio in Vienna. They represented Austria at the Eurovision Song Contest in London, 1977, with "Boom Boom Boomerang".


You're So Sleepy (And Your Dream Comes True) (B. Wilson) (2:42)
Eurovisionsfanfare (Charpentier) (0:26)
Steck' dir deine Sorgen an den Hut (Siegel/Kunze) (2:37)
Schmetterband (Herrnstadt - Resetarits/Unger) (1:41)
Sei zufrieden (Boulanger) (1:03)
Wochenend und Sonnenschein (Was brauch ich mehr zum Glücklichsein?) (Anger/Amberg) (2:56)
In Maria Enzersdorf (Da wachst a Tröpferl) (Föderl/Steinberg/Frank) (1:16)
Miss Gloria Sonnenschein (Herrnstadt - Resetarits/Unger) (2:20)
Boom Boom Boomerang (2:58)
Schlager-Potpourri (5:58)
Pop-Medley (9:09)
Die moderne Zeit (Trad.) (1:56)
Addio, Seveso (Herrnstadt-Resetarits/Unger) (3:22)
Lied von der Käuflichkeit des Menschen (Herrnstadt - Resetarits/Unger) (3:51)
You're So Sleepy (And Your Dream Comes True) (B. Wilson) (2:42)

VA - Viper Mad Blues - 25 Songs Of Dope And Depravity

This album introduces the listener to a very nice cross-section of 1920s and 1930s jazz and blues performed by 25 different artists, including Cab Calloway, Ella Fitzgerald, Fats Waller, Leadbelly, and Gene Krupa. Some of these pieces are just plain beautiful music, like Blue Drag. Others, as one would expect, are roll-on-the-floor funny, like Fats Waller's "The Reefer Song" or Frankie "Half-Pint" Jaxon's version of "Willie the Weeper."

You have a great cross section of topical songs from those relating to drugs and alcohol, such as the 'Jake Walk Blues', or songs about straight and gay issues.


1. Kickin' The Gong Around - Cab Calloway & His Cotton Club Orchestra
2. Dope Head Blues - Victoria Spivey
3. Cocaine Habit Blues - The Memphis Jug Band
4. Pipe Dream Blues - Hazel Meyers
5. Smoking Reefers - Larry Adler
6. Take A Whiff On Me - Leadbelly
7. Killin' Jive - The Cats & The Fiddle
8. You'se A Viper - Stuff Smith & His Onyx Club Boys
9. The Stuff Is Here And It's Mellow - Cleo Brown
10. Reefer Man - Baron Lee & The Blue Rhythm Band
11. The Onyx Hop - Frankie Newton & His Uptown Serenaders
12. Knockin' Myself Out - Lil Green
13. Junker's Blues - Champion Jack Dupree
14. Reefer Hound Blues - Curtis Jones
15. The Reefer Song - Fats Waller
16. I'm Feeling High And Happy - Gene Krupa & His Orchestra
17. When I Get Low, I Get High - Chick Webb & His Orchestra
18. Ol' Man River (Smoke A Little Tea) - Cootie Williams & His Rug Cutter
19. Blue Reefer Blues - Richard M. Jones & His Jazz Wizards
20. Cocaine - Dick Justice
21. Reefer Head Woman - Jazz Gillum & His Jazz Boys
22. Willie The Weeper - Frankie 'Halfpint' Jaxon
23. Cocaine Blues - Luke Jordan
24. Blue Drag - Freddy Taylor & His Swing Men From Harlem
25. A Viper's Moan - Willie Bryant & His Orchestra

VA - Viper Mad Blues - 25 Songs Of Dope And Depravity
(192 kbps, cover art included)