Dienstag, 31. Oktober 2023

Joe Gibbs & The Professionals – African Dub - Chapter 4 (1979)

The fourth and final volume in the "African Dub All-Mighty" series was originally released in 1979, and like the previous three discs it features rhythm tracks laid down by such famous session men as Sly Dunbar, Robbie Shakespeare, Lloyd Parks, and Franklin "Bubblers" Waul, most of whom were already known as members of the Revolutionaries and the We the People band, but who recorded at Joe Gibbs' studio as the Professionals. 

Errol Thompson ran the board for all four collections of dub mixes, and while this fourth installment isn't quite as inspired as the third, it's also a bit more interesting and adventurous than the first. Some of these mixes are two or three times removed from the vocal tracks that were originally released -- "Iron Gate," for example, is a dub mix of a recut (by Althea & Donna) of the Heptones' proto-slack rocksteady classic "Fattie Fattie"; "Fashion One" is a remix of Dennis Brown's remake of Alton Ellis' 1960s classic "Girl I've Got a Date."

Everything here is worth a listen, though "Power Pack" (based on the instrumental "Drum Song" by Sound Dimension) is a bit tedious and would have benefited from a more aggressive dub treatment. Recommended overall.


A1 Crucial Attempt
A2 Behind Iron Bars
A3 Ghetto Slum
A4 Yard Music
A5 Iron Gate
B1 Power Pack
B2 Free The Children
B3 Fashion "One"
B4 Rhythm Tackle
B5 Sniper

(320 kbps, cover art included)

Miriam Makeba - Country Girl (Pläne, 1981)

Miriam Makeba was born in Johannesburg in 1932 and was the first African singer to make African music popular in the US and Europe. She campaigned against apartheid in South Africa and the government revoked her citizenship and right to return home. Her mother, a Swazi sangoma (traditional healer-herbalist) was arrested for selling umqombothi, an African homemade beer brewed from malt and cornmeal when Miriam was an infant so she spent the first six months of her life in jail. Her mother died during her exile. Her father died when she was six years old. She finally returned home after the end of apartheid and she died on tour in Italy in 2008 after a concert organized to support a writer-dissident.

Miriam became known as "Mama Africa" and was probably best known as a singer for her song, "Pata Pata." She has toured with singers such as Paul Simon, Nina Simone, Hugh Masekela and Dizzy Gillepsie. The ban on her records was lifted in South Africa in 1988 and she returned to her homeland in December 1990. Four years later she started a charity project to raise funds to protect women in South Africa. Her first concert in South Africa (1991) was a huge success and this was a prelude for a world-wide tour which included the USA and Europe.

She has released over fifty albums over the years, and her powerful and distinctive voice retains the clarity and range that enable it to be both forceful as a protest march and as poignant as an African lullaby. She keeps on singing, with her granddaughter Zenzi Lee in her background choir and a great-grandson in her entourage. She released a critically acclaimed comeback album, “Homeland,” released in 2000, which was nominated for a Grammy Award in 2001. She appeared in the movie of 2002 by Lee Hirsch, the opulent and exciting documentary “Amandla!” about the powerful part of music in the struggle against Apartheid. In 2004, at the South African Music Awards 10, her album “Reflections,” won two awards: Best Jazz Vocal Album and Best Adult Contemporary Album. She is on an international tour in 2007 with her eight member band, and performed for a free concert in May in London’s Trafalgar Square.  Miriam is Mama Africa, a lady with a special touch. She has weathered many storms in her life, including several car accidents, a plane crash and even cancer. She remains as active in her latter years as she did as a young girl with stars in her eyes.Her exceptional personal and artistic profile is part of the history of this century, all adding to the dramatic elements of an extraordinary life, making Miriam Makeba a living legend.

"Country Girl" was originally released in France on the "Disques Espérance" label and re-released in Germany on "Pläne" in 1981.


A1 Country Girl 5:20
A2 Tailor Man 4:30
A3 Xica Da Silva 5:30
A4 Witch Doctor (Isangoma) 4:00
B1 The Lion Cries (Mbube) 5:00
B2 Meet Me At The River 5:40
B3 Goodbye Poverty 5:30
B4 Click Song 3:35

Miriam Makeba - Country Girl (Pläne, 1981)
(256 kbps, cover art included)

Sonja Kehler - Singt Brecht, Eisler, Dessau (Recordings 1972 - 1978)

"Sonja Kehler grew up in the German Democratic Republic and started her career as an actress who also landed roles that required singing. She played Eliza Doolittle in "My Fair Lady" for a long time and was also selected for Brecht roles. Towards the end of the 1960s she gradually left the theatre to concentrate on a career as a solo artist – also internationally. Hers was a typical Brechtian voice: flexible, unsentimental, excellent enunciation, a bit distanced in approach. The ageing Lotte Lenya’s ‘speak-song’ had become a kind of norm and Sonja Kehler belongs to that school, as does the roughly ten years older Gisela May. This disc with recordings from the 1970s was issued to coincide with her 75th birthday in 2008 as a tribute to a great artist.

Bertold Brecht and Kurt Weill are for many, I suppose, the inseparable radar couple in German music theatre. In fact their collaboration was short-lived. On the other hand, Dessau and especially Eisler worked with Brecht for many years. Eisler chalked up nearly thirty years collaboration with Brecht. There is, no doubt, a kinship between the three composers: in the straightforward approach, a kind of aggression, the rhythmic patterns, the often blunt ends, the adaptation of elements from jazz and popular music. But whereas Weill has a melodic directness that he was to hone and develop when he moved to the USA to fit into mainstream popular songs and Broadway musical theatre, both Eisler and Dessau are bolder, more experimental, drawing on sometimes harsh harmonies and melodic material based on speech. In particular Paul Dessau was quite avant-garde. The differences can generally be heard both in the theatre songs and the Lieder, where Eisler is sometimes ingratiatingly catchy, Dessau is more evasive. What they have in common is the gift to let Brecht’s lyrics speak – the melodies are not ends in themselves. They fit Brecht’s aesthetics: the epic theatre, the Verfremdungseffekt. This doesn’t imply that there is any kind of monotony. Within the concept there is variation aplenty. Among my personal favourites I would single out the melodically inventive songs from Herr Puntila … (Eisler) and Dessau’s Lied der Mutter Courage, where we hear soldiers marching relentlessly.

The Lieder, many of them quite short, are charmingly jazzy (tr. 17), catchy Schlager-melodies (tr. 18) or intimate ballads (tr. 24). Not all of them are Brecht settings. Dessau’s Tierverse are amusing miniatures and each of them starts like a fairy-tale: Es war einmal … One of them, Das Pferd (The Horse), was composed specifically for Sonja Kehler.

The accompaniments are varied, spanning from simple guitar-chords to full ensemble with winds and percussion, often with witty or illustrative instrumental solos. The arrangements are by Manfred Grabs and Helge Jung. The sound quality is excellent with wide stereo spread. The booklet has an interview with Sonja Kehler but unfortunately no sung texts. The message is central and even though Kehler’s articulation is spotless non-German natives at least would have been greatly helped by the printed words.

Whether this is a disc with universal appeal is debatable. The texts are political, even controversially so to some listeners, but provided one accepts Brecht’s point of view it is hard to imagine a better advocate for these songs than Sonja Kehler. A timely issue. Many Happy Returns of the Day! "

Göran Forsling


Hanns EISLER (1898–1962): Die Rundköpfe und die Spitzköpfe

1. Das Lied von der Tünche [1:45]

2. Die Ballade vom Knopfwurf [4:44]

3. Das “Vielleicht”-Lied [1:53]

Paul DESSAU (1894–1979): Der Gute Mensch von Sezuan

4. Das Lied vom achten Elefanten [2:44]

5. Arioso der Shen Te [1:42]

Hanns EISLER: Herr Puntila und sein Knecht Matti

6. Das Puntila-Lied [4:23]

7. Ala die Pflaumen reif geworden [1:19]

8. Die Gräfin und der Förster [1:44]

Paul DESSAU: Mutter Courage und ihre Kinder

9. Lied der Mutter Courage [5:58]

10. Lied von der Bleibe [1:50]

11. Lied vom Fraternisieren [3:35]

Der Kaukasische Kreidekreis

12. Lied der Grusche (Vier Generäle) [1:35]

13. Liebster mein [1:26]

Hanns EISLER: Die Tage der Commune

14. Margot ging auf den Markt heut früh [1:21]

15. Resolution [3:27]

16. Ostern ist Bal sur Seine [1:03]

Lieder von Hanns Eisler / Lieder von Paul Dessau


17. Considering everything [2:34]

18. Der Butterräuber von Halberstadt [2:24]


19. Das Zukunftslied [3:05]

20. Der Pflaumenbaum [1:19]

21. Vom Kind, das sich nicht waschen wollte [1:28]


22. Willem hat ein Schloss [0:54]

23. Lied vom kriegrischen Lehrer [0:45]


24. Bitten der Kinder [1:06]

25. Kriegslied [3:12]

26. Sieben Rosen hat der Strauch [0:47]

27. Als ich nachher von dir ging [0:56]


28. Hast am Feldrain geblüht, lieber Birnbaum [1:07]


Tierverse (Brecht)

29. Das Schwein [0:22]

30. Die Ziege [0:51]

31. Der Hund [0:33]

32. Der Elefant [0:33]

33. Das Kamel [0:26]

34. Die Kellerassel [1:06]

35. Der Rabe [0:44]

36. Das Pferd [0:39]

Artists: Sonja Kehler (vocals), Helge Jung with instrumental ensemble (1, 5-9, 11-19, 22-24, 28-36); Bernd Wefelmeyer with instrumental ensemble (2-4); Werner Pauli (guitar) (10, 20, 21, 26, 27); Ernst Rentner (accordion) (12, 14-16, 28); Gundula Sonsalla (guitar) (6-8); Gerald Schleicher (clarinet)(6-8); Bernd Wefelmeyer (piano) (25)

rec. 1972 (26, 27); 1973 (1, 6-8, 14-18, 22, 23, 28); 1976 (5, 9-13, 19-21, 24, 29-36); 1978 (25, 2-4)

Sonja Kehler singt Brecht, Eisler, Dessau (Recordings 1972 - 1978)
(192 kbps, front cover included)

Montag, 30. Oktober 2023

Donny Hathaway - Same (1971)

"With just one exception, Donny Hathaway's second full-length is a covers album, featuring one of the most pop-averse artists in soul music surprisingly offering interpretations of contemporary hit material like "A Song for You," "He Ain't Heavy, He's My Brother," "Magnificent Sanctuary Band," and (most effectively) "Put Your Hand in the Hand," a laidback yet rolling, gospel-choir version of the song he was born to sing. 

In striking contrast to his debut, Donny Hathaway is a very dark record, and it opens on a particularly low note, with "Giving Up" (a 1964 R&B hit for Gladys Knight & the Pips). Most of Hathaway's performances are slow, piano-led laments, powerfully delivered but with little melodic sway to convert listeners. It's no coincedence then, that the only up-tempo song, "Magnificent Sanctuary Band," is the standout. "Little Girl" is a nice piece of gospel testifying with great male harmonizing on the chorus, and "He Ain't Heavy, He's My Brother" is a solid rendering of a song usually drenched in pathos.

Still, whereas `Everything Is Everything´ saw him leading the choir up in the front of church, Donny Hathaway sounds like the lament of a man alone in the sanctuary after services are finished." (- allmusic.com)


1 Giving Up 6:17
2 A Song For You 5:24
3 Little Girl 4:43
4 He Ain't Heavy, He's My Brother 5:51
51 Magnificent Sanctuary Band 4:18
6 She Is My Lady 5:28
7 I Believe In Music 3:34
8 Take A Love Song 4:47
9 Put Your Hand In The Hand 3:42

Bonus Tracks
10 Be There
11 This Christmas

(192 kbps, cover art included)

Paul Clayton - Unholy Matrimony (1957)

Paul Clayton is one of the unsung heroes of the '60s folk revival. He was an avid collector of folk songs and an early companion of Bob Dylan, who may have been influenced by Clayton's low-key, half-sung, half-spoken delivery. He's remembered today, if at all, because it's been said that Dylan wrote "It's All Over Now, Baby Blue" and "It Ain't Me, Babe" about their relationship. 

It's widely known that Clayton's song "Who's Gonna Buy You Ribbons When I'm Gone" was the template for "Don't Think Twice," although the melody was a traditional one Clayton collected during his travels as a folklorist. All that said, this is one of Clayton's most exuberant albums, full of songs about the pitfalls of marriage and the wicked ways of women. (Clayton was gay, so maybe he was playfully venting some of his anger at heterosexual hegemony.) Clayton is accompanied here by future Greenbriar Boy Bob Yellin on banjo and cittern, a medieval stringed instrument that sounds like a harpsichord. 

The arrangements are simple -- old-time music meets bluegrass -- but Clayton's sly vocals bring these tales of misfortune and cuckoldry to life. "Stay Away from the Girls" delineates the horrors of married life; Yellin's banjo gives the tune an extra kick. "I Wish I Was Single Again" is one of the best-known songs about the hazards of marriage, again benefiting from Yellin's sprightly banjo. "The Old Wife Who Wanted Spruncin'" is slightly more feminist, the story of a widow who still enjoys sex, but her children conspire against her, embarrassed by her carrying on. "Life on the Installment Plan" became a folk hit under the title "A Dollar Down and a Dollar a Week," a warning about living beyond your means. "The Farmer's Servant" is a variation of a bawdy British song, and with a slight rewrite, it became a big pop hit called "The Thing" for comedy singer Phil Harris. "A Quick Way to Be Rid of a Wife" is a brief, gleeful tale of murder, set to the tune of the sea shanty "Early in the Morning." "The Husband with No Courage in Him" has the album's prettiest melody, probably from Scotland originally, the lament of a maid who has married a man with no interest in sex. It's the only tune that tells the story from the viewpoint of a woman, and the doleful minor-key melody gives the tune a poignant air that's missing from the rest of the album.


A1 Stay Away From The Girls
A2 The Wooden Legged Parson
A3 Will The Weaver
A4 Mother-In-Law Song
A5 I Wish I Was Single Again
A6 The Old Wife Who Wanted Sprincin'
A7 The Charleston Merchant
A8 Life On The Installment Plan
A9 The Dumb Wife
B1 Jack The Sailor
B2 Farmer's Nagging Wife
B3 Dirty Wife
B4 The Farmer's Servant
B5 A Quick Way To Be Rid Of A Wife
B6 The Butcher And The Tailor's Wife
B7 The Husband With No Courage In Him
B8 I Can't Change It
B9 Home, Sad Home

(192 kbps, cover art included)

VA - Township Jazz 'N' Jive

In the second quarter of the 20th century, American jazz records began making their way to South Africa and exerting a huge impact upon the country's culturally besieged black community. As fascinated by the tight, hot jazz sounds as by the celebrity of the African-American stars playing them, urban musicians began appropriating the look, the sound, and, most courageously, the style of Louis Armstrong and the zoot-suited gangsters they saw in American films.

The township jazz, or marabi, that came to fruition in the '50s is some of the sweetest summertime jazz you'll ever hear. The main sound is the driving hot sound Armstrong perfected in the late '20s, but elements of Cuban rumba, American doo-wop, and South African a cappella singing slip into the mix. Groups like the Manhattan Brothers, the Jazz Dazzlers, and the Four Yanks provide gorgeous ensemble work, while legendary girl groups like the Skylarks and Nancy Jacobs & Her Sisters sing glowing soul tunes that would have made Phil Spector weak in the knees. This is the sound of people using music to transcend their own reality, and it's as redemptive as Jimmy Cliff's THE HARDER THEY COME or the best Sam Cooke singles.
"Before mbaqanga's stomping bumpkin intensity swept the townships, small jazz-style ensembles played indigenous tunes with a South African beat you could jitterbug to. This is that music, the same urbane mode cherry-picked so infectiously on the Mandela soundtrack: the swinging jive of the '50s, when social dancing was a passion in every slapped-together apartheid ghetto. Far suaver than mbaqanga or kwela yet no less African, far simpler than Count Basie or the Mills Brothers yet no less artful, it implied an indoor space even if it couldn't always find one big enough for its spiritual ambitions. Its matchless buoyancy is mostly a matter of two learned rhythms coming together. But it evinces an unsinkability nobody would ever puncture." - Robert Christgau


1. Ubuhlungu - The Four Yanks
2. Clarinet Kwela - Kippie Moeketsi & The Marabi Kings
3. Banana Ba Rustenburg - Spokess Mashiyane
4. De Makebam - Jazz Dazzlers
5. Omnyakane - Royal Players
6. Something New In Africa - Solven Whistlers
7. Holilili - Skylarks
8. Ndenzeni Na? - Father Huddlestone Band
9. Baby Are Yeng - Nancy Jacobs & Her Sisters
10. Dudu Wam - Four Yanks
11. Tihapi Ke Noga - Dolly Rathebe
12. Loafers Corner - Orlando Seven
13. Ishumelosheleni - Manhattan Brothers
14. Kwela Blues - Lemmy 'Special' Mabuse
15. Ngi Hamba Ngedwa - Dorothy Masuka
16. Thaba Tseu - Manhattan Brothers
17. Mbube - Solomon Linda's Original Evening Birds
18. Midnight Ska - Reggie Msomi's Hollywood Jazz Band

(320 kbps, cover art included)

Sonntag, 29. Oktober 2023

Mississippi John Hurt – Make Me A Pallet - Live!

John Smith Hurt, commonly known as Mississippi John Hurt was born in the early 1890's and is one of those legendary blues singers of the same generation at Son House, Big Bill Broonzy, Blind Lemon Jefferson and Charlie Patton. He started playing guitar at age 9 and worked on and off as a sharecropper, recording for Okeh and Vanguard Records but the resurgence of his career came when he was invited to play at the 1963 Newport Folk Festival.

Mississippi John Hurt did a live 21-song set on April 15, 1965, at Oberlin College in Ohio, a scant two years after his rediscovery in 1963, and a year before his death in 1966. Hurt was remarkably consistent as a performer, whether you listen to his famous 1920s Okeh tracks, his rediscovery studio work for Vanguard Records, or the handful of live shows like this one: the skill and delivery is always steady, professional, and charming. Among the highlights in this set is his intricate and atmospheric slide guitar work on "Talking Casey," one of the few times Hurt abandoned his trademark three-finger guitar picking style. This concert has been issued in various configurations and sequences by several labels under different titles and with different cover art over the years.


Nobody's Business But Mine
The Angels Laid Him Away
Baby What's Wrong With You
Casey Jones
Candy Man
Lonesome Blues
My Creole Belle
Make Me A Pallet On Your Floor
Trouble I Had All My Days
C-H-I-C-K-E-N Blues
Coffee Blues
Shake That Thing
Monday Morning Blues
Frankie And Albert
Salty Dog
Spike Drivers Blues
Here I Am, Lord, Send Me
Talking Casey
Hot Time In The Old Town Tonight
I'm Satisfied
Richland Women Blues

(320 kbps, cover art included)

Pete Seeger - Rainbow Race (1971)

After the traumatic year of 1968, when the American Left lost Civil Rights leader Dr. Martin Luther King, Jr., and anti-war presidential candidate Senator Robert F. Kennedy to assassins, culminating in the Poor People's March on Washington, the police riot at the Democratic National Convention in Chicago, and the election of Richard Nixon, a supporter of the Vietnam War, as president, Pete Seeger briefly flirted with giving up singing.

Instead, he grew a beard and, adopting the "Think global, act local" philosophy, helped build the sloop Clearwater, which sailed the Hudson River, advocating the cleanup of that polluted waterway (which runs beside his home in Beacon, NY), and ecology in general. Seeger's changes of appearance and focus were not reflected in his 1969 Columbia Records album "Young vs. Old", a collection of disparate tracks in some cases dating back several years, and then he went uncharacteristically silent on the recording front for a while.

Two years on, however, he was back with "Rainbow Race", which, starting with a cover picture that shows him in his beard and sailing cap, standing with guitar in hand before a body of water, is very much the work of Pete Seeger the Clearwater captain. Not that he's given up his usual concerns, however. That becomes clear as the music starts with "Last Train to Nuremberg," the first eight out of ten Seeger originals on the LP, in which he demonstrates that he's been reading the papers since his last album by drawing a direct line between Nazi war crimes and the My Lai massacre in Vietnam, and from there to the then-current political regime in Washington, D.C. Seeger is one with the outrage felt by those on the left at the turn of events in the late '60s, identifying with the confused and dismayed radical longhairs in "Our Generation" and, in that song and "Uncle Ho," even going so far as to find common cause with the "enemy" in Vietnam. But war protest is not his only interest here; ecology is at least as well represented. Even in "Our Generation," he begins decrying a world in which people are "knee-deep in garbage," and on his own "Sailing Down This Golden River" and Georgia Tech English teacher Bud Foote's "The Clearwater" Seeger explains what he and his crew intend to do about it. Seeger is a natural optimist who, like those with whom he shares a political philosophy, has been going through a trying time, and despite his determination, that comes out. The lovely, poetic "Snow Snow" is a wistful song reflecting on death, and much the same can be said of the album closer, "Hobo's Lullaby," a song Seeger used to sing with Woody Guthrie. Still, in "Old Devil Time" (heard in 1970 as a theme song for the movie "Tell Me That You Love Me, Junie Moon") and the title song "My Rainbow Race," he declares that he will fight on: "And because I love you," goes the chorus of the latter, sung with a choir of children, "I'll give it one more try/To show my rainbow race/It's too soon to die."            

01 – Last Train to Nuremberg 2:43
02 – Sailing Down My Golden River 2:36
03 – Uncle Ho 2:08
04 – Snow Snow 2:52
05 – My Rainbow Race 2:55
06 – Our Generation 2:55
07 – Old Devil Time Seeger 2:31
08 – Clear Water 5:06
09 – Words, Words, Words 2:16
10 – Hobo’s Lullaby 3:24

Pete Seeger - Rainbow Race (1971)
(192 kbps, cover art included)

Die Regierung - So drauf

“So drauf” was the third release by Die Regierung and, with its uniformity and variation, in conjunction with musical maturity, it surpasses any initial ambitious expectations. The clear-cut production enhances the unique, very tangible charisma of this record that can best be described as neo-folk and new German singer/songwriter rock.

“So drauf” hits the listener straight in the ear and heart: "Ich glaub, ich will Dich lieber loswerden!" ("I think I get better rid of you!"). Security in insecurity, clear-headedness in dreaminess, love is sorrow. P
This is personal, romantic realistic rock music with German lyrics and an idiom of its own. That is what some highbrow newspaper would probably write in its review.

We voted for this Regierung (which equates to “The Government” in English). A classic!


1 Da draußen 3:40
2 Dieses Zimmer 4:09
3 So drauf 3:52
4 Lange nicht mehr da 2:39
5 Komm zusammen 3:47
6 Es ist hier 3:34
7 Du hast 'ne Welt 1:45
8 Sie 3:27
9 Ich lieb Dich später 2:55
10 Frau aufm Flur 3:46
11 Ich erinner mich 3:58
12 Wir kommen 5:37
13 So drauf (Lebenslangdraufmix) 11:24
14 Loswerden 1:44

Die Regierung - So drauf
(256 kbps, cover art included)

Samstag, 28. Oktober 2023

Ton Steine Scherben - Live in Bremen, Aladin Music Hall, 23.02.1982

Wether a genuine brand of (West) German rock music began with "Polit Rock" is open to debate but certainly the political events of 1967 - 1968 did provoke and support, for the first time, German rock groups like Checkpoint Charlie, Floh de Cologne and Ihre Kinder, who created songs with German lyrics. This was an absolute novelty, because previously only the "Schlager" had used German or an Anglo-German mix. The "Polit-Rockgruppen" soon distanced themselves from the "Schlager" singers because of the serious (often strident) political content of their lyrics and the intellectualism which liked them with the "Liedermacher". 

This intellectual basis was also strengthened by the universitiy origins of many of the groups who began as student cabaret/left-wing theatre ensembles. Floh de Cologne became the best know example of these with their combination of rock, Brecht-Weill "Kabarett" and "Straßentheater"; they are credited with the creation of the first German-language rock opera. Their themes ranged from national concerns, such as the on-going presence of ex-Nazis in West German life, to international ones like Allende´s overthrow and the murder of Victor Jara.

Their songs, accompanied by home-made posters and revolutionary instructions, are best appreciated by listening to the available recordings of "Fließbandbabys Beat-Show" and "Geyer-Symphony". 

Other groups also adopted this style of agitprop/steet-theatre rock - for example, Lokomitive Kreuzberg and Ton Steine Scherben whose frontman Rio Reiser began his performance work in youth theatre groups in West Berlin.

Ton Steine Scherben was one of the first and most influential German language rock bands of the 1970s and early 1980s. Well known for the highly political and emotional lyrics of vocalist Rio Reiser, they became a musical mouthpiece of new left movements, such as the squatting movement, during that time in Germany and their hometown of West Berlin in particular. 

Here´s another version of the Ton Steine Scherben bootleg from their 1982 tour (better sound quality, different art work).


CD 1

01 intro (removed, cause maybe official material)
02 jenseits von eden
03 ich will nicht werden was mein alter ist
04 durch die wüste
05 warum geht es mir so dreckig
06 raus aus dem ghetto
07 heut nacht
08 halt dich an deiner liebe fest
09 ich hab nix
10 kleine freuden
11 der traum ist aus
12 ebbe und flut

CD 2

01 heimweh
02 mein name ist mensch
03 wir müssen hier raus
04 rauch haus song
05 allein machen sie dich ein
06 keine macht für niemand
07 der turm stürzt ein
08 sklavenhändler
09 irrenanstalt
10 wenn die nacht am tiefsten
11 morgenlicht
12 wiedersehn

(flac, cover art included)

Nuria Espert - Canta Bertolt Brecht (1967)

Núria Espert (born Hospitalet de Llobregat, Barcelona, Spain June 11, 1935) is a Spanish theatre and television actress, theatre and opera director.

She visited the Institut Maragall, a high school in Barcelona, and she started to study theatre while she was taking some courses of music and languages.
When she was 17 years old, she had to substitute the actress Elvira Noriega in the play Medea - her first great success.

When she was 19 years old, she married the actor Armando Moreno, who would become her manager later. They both founded a theatre company in 1959, which started in the Teatro Recoletos in Madrid. In the 1960s the company won permission to stage the first Spanish productions of plays by Brecht and Sartre.

The single "Canta Bertolt Brecht" was released in 1967.
ASurabaia, Johnny
B1Cancó Del Vuit Elefants = Lied Vom Achten Elefanten
B2Cançó Del Fum = Das Lied Vom Rauch

(ca. 192 kbps, cover art included)

Pete & Michael Seeger - Indian Summer (Original Soundtrack, 1961)

Pete Seeger and Michael Seeger composed and performed the music for the soundtrack to "Indian Summer", singing and playing fiddle, five-string banjo, guitar, twelve-string guitar, chalil (bamboo flute), harmonica, pump organ and drum between them. In a context of film industry experimentations with alternative musics for soundtracks, Pete Seeger notes that this is an attempt to demonstrate what can be done with relatively simple American folk instruments to provide a programmatic score closely following the action on the screen.

One of Pete Seeger's most non-traditional and interesting albums, "Indian Summer" contains the soundtracks to four different short films. The entirety of side one is taken up by the soundtrack to Jules V. Schwerin's non-narrative film "Indian Summer", composed and recorded by Seeger with his half-brother, Michael Seeger, who between them play fiddle, banjo, guitar, bamboo flute, harmonica, pump organ, 12-string guitar, and drums, with incidental voices and sound effects (from birdsong to heavy machinery) from the film's soundtrack mixed in. It's a fascinating, wide-ranging piece that wanders through a variety of moods and musical settings, one of those soundtracks that makes the listener want to see the movie itself. Side two consists of three shorter soundtracks, to Norman McLaren's "Horizontal Lines" (featuring Seeger overdubbing himself on half a dozen instruments, with sound effects) and two films by himself and wife Toshi Seeger, "The Many-Colored Paper" (an overdubbed two-guitar improvisation on "Deck the Halls" that sounds like it was hugely influential to the folks who began Windham Hill Records) and "The Country Fiddle" (three examples of traditional country fiddle playing with banjo and clogging accompaniment). Richly musical and historically important, this is an often-overlooked but utterly essential Pete Seeger release.

Pete & Michael Seeger - Indian Summer
(192 kbps, front cover included)

Freitag, 27. Oktober 2023

VA – El Canto de un Pueblo (1977)

The music on this album was recorded live in August 1977 in Mexico City, during the festival "Jornadas de Solidaridad con la Cultura Uruguaya en el Exilio" (" Days of Solidarity with the Uruguayan Culture in Exil"). The featured artist are Roberto Darwin, Alfredo Zitarrosa, Daniel Vigletty and Camerata Punta del Este from Uruguay, Silvio Rodriguez, Pablo Milanés and Miriam Ramos from Cuba, Los Folkloristas and Amparo Ochoa from Mexico an Tania Libertad from Peru.

In the late 1950s, partly because of a world-wide decrease in demand for agricultural products, Uruguayans suffered from a steep drop in their standard of living, which led to student militancy and labor unrest. An urban guerrilla movement known as the Tupamaros emerged, engaging in activities such as bank robbery and distributing the proceeds to the poor, in addition to attempting political dialogue. As the government banned their political activities and the police became more oppressive, the Tupamaros took up an overtly armed struggle.
President Jorge Pacheco declared a state of emergency in 1968, followed by a further suspension of civil liberties in 1972. In 1973, amid increasing economic and political turmoil, the armed forces closed the Congress and established a civilian-military regime.  Around 180 Uruguayans are known to have been killed during the 12-year military rule of 1973 to 1985. Most were killed in Argentina and other neighbouring countries, with 36 of them having been killed in Uruguay.
A new constitution, drafted by the military, was rejected in a November 1980 referendum.
Following the referendum, the armed forces announced a plan for the return to civilian rule, and national elections were held in 1984.


01. Adagio en mi país (Alfredo Zitarrosa)
02. Tierra mestiza (Los Folkloristas)
03. Mariposas (Silvio Rodríguez)
04. Soy latinoamericano (Roberto Darwin)
05. Gris tango (Camerata Punta del Este)
06. Tengo (Pablo Milanés)
07. Andes lo que andes (Tania Libertad)
08. Masa (Pablo Milanés, Silvio Rodríguez y Miriam Ramos)
09. Te quiero (Amparo Ochoa)
10. Sólo digo compañeros (Daniel Viglietti)

VA - El Canto de un Pueblo (1977)
(256 kbps, cover art included)

León Gieco – De Ushuaia A La Quiaca 1 (1985)

Wikipedia claims Léon Gieco is known for mixing popular folkloric genres with Argentinian rock and roll, and that he can be considered the Argentinian Bob Dylan - a political and poetic singer song writer).

In 1981 Gieco started a Never Ending Tour all over Argentina, collecting material from the different places he visited during the tour. Following the tour, he recorded this first volume of "De Ushuaia a La Quiaca" with various local musicians in 1985. 

Two other volumes were recorded in different locations of the country.


1 Esos Ojos Negros 3:36
2 Don Sixto Palavecino 4:24
3 Por El Camino Perdido 3:48
4 Principe Azul 4:08
5 Para Pete 2:57
6 Cola de Amor 4:06
7 Camino de Llamas 2:49
8 Carito 3:54
9 No Existe Fuerza En El Mundo 3:40
10 Yo Vendo Unos Ojos Negros 4:25

León Gieco – De Ushuaia A La Quiaca 1 (1985)
(192 kbps, cover art included)

Floh De Cologne - Fließbandbabys Beat-Show (1970)

Floh de Cologne were formed in 1966 as a political and anarchic collective of students from the University of Cologne. The group is composed by Gerd Wollschon (voices, keyboards), Markus Schmidt (violin, bass), Hans-Jorg "Hansi" Frank (drums & keyboards) and Britta Baltruschat (voices). They recorded their first album "Vietnam" (Pläne) in 1968 - a fierce criticism of the war in Vietnam.

The famous, but very controversial, Rolf Ulrich Kaiser, impressed by their music and especially their lyrics, decided to produce their next two albums: "Rockoper Profitgeier" (1971) and "Lucky Streik" (1972). All albums contain provocative and humorous sketches about political and social facts. Musically their style can be considered as a mixture between avant-folk, sound experimentations, free rock and narratives. Recorded in 1973, "Geier Symphonie" punctuates Floh de Cologne's original style to demonstrative, semi theatrical and symphonic rock attacks. In 1974, after the split of ohr label, the formation go back to "Pläne" for several recordings until the end of the 70's.
The band separated in 1983.

(320 kbps, cover art included)

The Brothers Four - In Person (1962)

One of the better live folk albums of its period, "The Brothers Four In Person", cut live at the U.S. Naval Academy at Annapolis, MD, and Vanderbilt University in Tennessee, is a good representation of their sound. The songs include a somewhat upbeat version of "The Midnight Special," and a banjo-driven, deliberately paced "Rock Island Line" (which segues into "This Train"), the humorous "Thinking Man, John Henry" (including digs at the John Birch Society, the CIA, Ford, M.I.T., and automation), and a group of beautifully harmonized folk numbers, "Darlin' Sportin' Jenny," the hit "Greenfields," George Gershwin's "Summertime" (credited as "San Miguel" on the jacket), and the rousing "I Am a Roving Gambler."
The group also has fun with the "Theme from Peter Gunn," and, especially, parodying the 45-rpm market with "Variations On an Old English Theme" - the very fact that they went over big at the Naval Academy as well as Vanderbilt University (where Flatt & Scruggs weren't necessarily considered sufficiently highbrow) also shows the chasm that was soon to open up between this generation of folkies and the more confrontational outfits that were to follow.


A1 The Midnight Special 2:36
A2 Darlin' Sportin' Jenny 2:25
A3 Whoa! Back, Buck 2:30
A4 The Thinking Man 4:50
A5 Across The Sea 2:45
A6 Variation On An Old English Theme 3:05
B1 I Am A Rovin' Gambler 2:35
B2 Run, Come, See Jerusalem 3:30
B3 First Battalion 1:42
B4 San Miguel 3:18
B5 Greenfields 3:43
B6 Rock Island Line 2:43

The Brothers Four - In Person (1962)       
(256 kbps, cover art included)   

Donnerstag, 26. Oktober 2023

Lotte Lenya - Songs von Kurt Weill (Philips Minigroove 45)

The Philips label released in 1955 the album "Lotte Lenya singt Kurt Weill" (Philips B 07 089) with interpretations of Brecht/Weill songs, recorded in Hamburg on 5 - 7 July, 1955. This album was released in the U.S. in  on Columbia (ML 5056) in November 1955 as "Lotte Lenya Sings Berlin Theater Songs of Kurt Weill".
Philips released a selection of these recordings on the 45 RPM single "Songs von Kurt Weill" (Philips 429 207 BE) which is featured here.

The complete recordings were later re-released on the CD "Kurt Weill: Berlin & American Theater Songs, CBS MK 42658" in 1988.
Lotte Lenya was accompanied by Roger Bean and his orchestra.
AA1 Seeräuber-Jenny
AA2 Surabaya-Johnny
AB1 Bilbao-Song
AB2 Moritat

Track AA1 taken from "Die Dreigroschenoper".
Track AA2 taken from "Happy-End".
Track AB1 taken from "Happy-End".
Track AB2 taken from "Die Dreigroschenoper".

Lotte Lenya - Songs von Kurt Weill (Philips Minigroove 45)
(320 kbps, vinyl rip, front & back cover included)

Pete Seeger - With Voices Together We Sing (1956)

Pete Seeger is renowned as a children's entertainer, but at the concert held in the fall of 1955 at the Museum of Modern Art in New York City documented on this album, he addressed a slightly older crowd of college students. They may not have giggled quite as much as audiences he has addressed at grade schools and summer camps, but they were equally responsive.

Indeed, they sound like they came to sing, which is a good frame of mind to be in when attending a Pete Seeger concert. He gave them a fairly typical program, ranging from old folk songs to more contemporary fare (including, to the delight of his listeners, a brief parody of "Davy Crockett"). He sang seasonal material and spirituals; he imported songs from Norway ("Oleanna"), Puerto Rico ("Que Bonita Bandera"), and South Africa ("Senzenina/Wimoweh"); and he did not neglect his political viewpoint. The South African medley featured songs using only one word each, yet he explained their political import as expressing protest against the racist regime. And he closed the show referring to his adversarial testimony before the House Committee on Un-American Activities earlier in 1955, at which he tried to sing the old Weavers song "Wasn't That a Time?," but was refused permission to do so.

Here, he did sing it, stirringly linking the American Revolution, the Civil War, and World War II to the present redbaiting era when "madmen" rule and "free men go to jail." With contempt citations hanging over his head after that HUAC testimony, such words were not merely poetry to him, a fact no doubt appreciated by the college audience who sang along so sweetly. 

A1Deep Blue Sea
A2Rissetlty Rosselty
A5-aChanukah, On Chanukah
A5-bWhat Month Was Jesus Born In?
A6Que Bonita Bandera
B1-aStreets Of Laredo
B1-bBrandy Leave Me Alone
B2-aDidn't Old John?
B2-bMichael, Row The Boat
B4Wasn't That A Time?
Pete Seeger - With Voices Together We Sing (1956) 
(256 kbps, cover art included)     

VA - Greatest Folksingers Of The `Sixties (Vanguard)

Not only was Maynard Solomon's Vanguard Records one of the major folk labels of the '60s (having the prescience to pick up Joan Baez early on, and then recording the cream of the singer/songwriters thereafter), it also had the rights to record and release material from the Newport Folk Festival, giving it access to several artists who were not signed to the label.

As a result, this double-packet compilation features songs by nearly every major folk figure of the decade, from the Weavers to José Feliciano, with Vanguard artists such as Buffy Sainte-Marie, Eric Andersen, and Odetta sharing space with Elektra's Phil Ochs and Judy Collins, and Columbia's Bob Dylan. 

Listen to this one record and you'll know what the '60s folk revival sounded like. ~ William Ruhlmann

Half of the 24 tracks were studio recordings, the other half were performances at the Newport Folk Festivals of the 60's


Studio Recordings:

1. You Were on My Mind - Ian & Sylvia
2. Now That the Buffalo's Gone - Buffy Sainte-Marie
3. Walk Right In - Rooftop Singers
4. East Virginia - Joan Baez
5. John Henry - Odetta
6. Pack up Your Sorrows - Richard & Mimi Fariña
7. There But For Fortune - Phil Ochs
8. Violets of Dawn - Eric Andersen
9. Sitting on Top of World - Doc Watson
10. Crazy Words, Crazy Tune - Jim Kweskin & the Jug Band
11. Candy Man - Mississippi John Hurt
12. Erie Canal - The Weavers

Newport Folk Festivals:

13. Greenland Whale Fisheries - Judy Collins/Theodore Bikel
14. Well, Well, Well - Bob Gibson/Hamilton Camp
15. Rambling Boy - Tom Paxton
16. La Bamba - José Feliciano
17. Salty Dog Blues - Flatt & Scruggs
18. Blowin' in the Wind - Bob Dylan/Friends
19. I Wish I Had Answered - The Staple Singers
20. I Got It - The Chambers Brothers
21. Whistling Gypsy, The - Tommy Makem
22. Roll in My Sweet Baby's Arms - The New Lost City Ramblers
23. Paper of Pins - Oscar Brand/Jean Ritchie
24. East Virginia Blues - Pete Seeger

VA - Greatest Folksingers Of The `Sixties (Vanguard)
(320 kbps, cover art included)

VA - Jewish Voices In The New World - Chants and Prayers from the American Colonial Era

"Jewish Voices in the New World " offers a rare and fascinating collection of synagogue melodies and biblical chants as they were sung in the early American Colonial period, throughout the Revolutionary War, and up through the early years of the new republic. When the first practicing Jews arrived in North America, in the 17th century, they brought the treasured western-Sephardi musical tradition that flourished in "New Amsterdam"—the city that was soon renamed New York. This sacred repertoire continues to this day in America's oldest synagogues, Shearith Israel, established in 1654, and Mikve Israel, founded in 1782.

It is well known that the first Jewish community established in North America began with twenty-three Sephardi Jews who arrived in New Amsterdam in 1654. Part of a group originally from the Netherlands that had established a sizeable community in Recife, Brazil while it was under Dutch rule, they left after the Portuguese took over and the specter of the Inquisition loomed.

What is less widely known is that this group of Western Sephardim (descendants of Sephardi Jews that fled the Iberian Peninsula and settled primarily in Amsterdam and London) took great pains to maintain their distinctive liturgical music. They continuously imported properly trained cantors from Europe to ensure as little variation in practice as was possible. “In no other area of Jewish practice were they so meticulous,” writes Neil W. Levin in his introduction to this volume. “Thus their liturgical music tradition appears to have been a potent—perhaps the primary—vehicle for defining their internal Jewish identity.” (Levin’s introductory essay to this volume is essential for understanding the origins and history of this tradition.)

That music comprises the first part of Jewish Voices in the New World, which looks at Jewish liturgical music in North America from the Colonial era through the early 20th century. Representing the Western Sephardi musical tradition here are biblical cantillations, piyyutim, and kinot from a variety of liturgical contexts. The most significant of these are the collection Chant’s and Elegies for Tisha b’av that commemorate the destruction of the first and second Temples in Jerusalem.

To those accustomed to Ashkenazi liturgical music, that of the Western Sephardim can sound quite foreign. It nonetheless constitutes some of the most interesting music in the Milken Archive and, remarkably, continues to this day in some of America's oldest synagogues.


Barukh habra (Psalm 118:26-29)
Shira ḥadasha (Morning liturgy) 

Chants and elegies for Tisha B'av 
From the evening Kinot:
Eikha (Book of Lamentations excerpt: 2:1-5) 
Aleikhem eda k'dosha  
Al heikhali ev'ke 

From the morning kinot: 
Eikha tzon haharega 
Ev'ke v'al shod z'vulai 
Heikhal Adonai  
Bore ad ana  
Shirat hayyam (Exodus 14:26-31 ; 15:1-10)  
Ahot k'tanna (Rosh Hashanna morning) 
Haftrat t'tzave excerpt (Ezekiel 43:10-15) 

Shabbat. From the Kabbalat shabbat (Welcoming the Sabbath) and Sabbath evening liturgy:
Mizmor l'David (Psalm 29) 
Mizmor shir l'yom hashabbat--tov l'hodot (Psalm 92) 
Kaddish shalem 

Torah readings. Parashat emor (excerpts):
 Leviticus 22:26-33 ; Leviticus 23:33-44 
Ein keloheinu (High Holy Day melody)

Mittwoch, 25. Oktober 2023

Jim Kweskin - Jug Band Music (1965)

At the peak of the American folk revival, Jim Kweskin & the Jug Band reintroduced an essential component into folk music: fun. While thousands attended the March on Washington in 1963 and others traveled to the South to participate in voting drives, Kweskin and his partners in crime played kazoos and washboards in Boston coffeehouses. For every time Joan Baez sang "We Shall Overcome," the Jug Band sang "Blues My Naughty Sweetie Gives to Me." While conservative commentators of the time may have seen such irreverence as the beginning of the folk revival's end, others clapped their hands and stomped their feet as the band sang "My Gal" and "Rag Mama" with happy abandon.

This artifact of the '60s folk revival (and the band's second album for Vanguard) is no less entertaining for its historical significance. In fact, it's aged better than most folk and rock albums of the era. Kazoos are funny that way. So are songs by the band's inspirational elders: Memphis Jug Band, Gus Cannon's Jug Stompers, and Blind Boy Fuller. The song by the band's contemporary, Spider John Koerner of the folk-blues trio Koerner, Ray & Glover, is pretty humorous, too. Whatever hipster coffeehouse audiences thought of Geoff Muldaur singing Chuck Berry, here's betting they eventually wrote it off as just another joke.


Blues My Naughty Sweetie Gives To Me
Jug Band Music
I'm A Woman
Morning Blues
Vamp Of New Orleans (Sadie Green)
Don't You Leave Me Here
Somebody Stole My Gal
K.C. Moan
Good Time Charlie
Jug Band Waltz
Whoa Mule Get Up In The Alley
Ukelele Lady
Rag Mama

(320 kbps, cover art included)

Robert Wyatt and the Swapo Singers - The Wind of Change (1985)

Marco did a great write up of this record HERE:

"Though his band had broken up and he was in debt to Chrysalis Records, Jerry Dammers was on a hot streak in 1985. Right on the heels of producing and releasing the political pop of 'Nelson Mandela' which went to the top of the U.K. pop charts and raised awareness about Mandela's continued imprisonment, he next turned his sights and attention to the situation in the country right next door to South Africa: Namibia.

With The Special AKA in disarray and 2-Tone Records on its last legs, Dammers enlisted Robert Wyatt, the former drummer of The Soft Machine, a popular solo artist in the U.K, and a outspoken political activist and paired him with the SWAPO Singers. SWAPO (South West Africa People’s Organisation) was the national liberation movement of Namibia that was then at war with the Apartheid-led regime of South Africa. The single produced and arranged by Dammers was released on Rough Trade Records and musicians on the single included a who's who of 2-Tone musicians including Lynval Golding (rhythm guitar), Dick Cuthell (cornet), Annie Whitehead (trombone) and Jerry Dammers (piano, synths and guitar).

The pairing of Dammers and Wyatt was a match made in political pop heaven. Wyatt's solo work during the early 1980s was increasingly political, and he became a member of the Communist Party of Great Britain. In 1982, his interpretation of Elvis Costello's Falklands War-inspired song "Shipbuilding", the last in a series of political cover-versions, reached number 36 in the UK singles chart.

 During an interview in The Mirror from 2008, Wyatt admitted to being a fan of The Specials, "I think the last time I felt really in tune with pop music was when The Specials were around. I used to love going to see them, such an exciting band.” Dammers confessed his admiration for Wyatt, stating. "What I like about Robert is that he comes from an era that wasn’t just about money. Discovering music was the important thing. He’s kept that spirit alive.”The single and its B-side 'Namibia' were recorded on August 30th 1985 at the Power Plant and released with a video that fall in the U.K. Twenty five years later the song sounds just as catchy and danceable as 'Nelson Mandela' and it features some great musicianship like Wyatt's smooth and steady vocals, a hall of fame worthy horn line courtesy of Dick Cuthell and subtleties like the way Annie Whithead's trombone line shadows Ernest Mothle's bass line on Dammer's brilliant arrangement. Many thanks to Liam Ska for posting the song on his blog and for inspiring me to tell a bit more about the story behind the song and its impact on helping to raise awareness about SWAPO and the situation in Namibia in the mid-80's."

A - The Wind of Change
B - Namibia

Robert Wyatt and the Swapo Singers - The Wind of Change (1985)
(320 kbps, cover art included, the file includes the 7" and 12" versions)

The Futures - Past Present And The Futures (1978)

The quintet "The Futures" formed in 1968 during their high school days together, and won a number of talent contests. In 1972 original member Richard Wright died of a brain tumor and was replaced by Frank Washington. Other members were Kenny Crew, Jon King, James King and Harry McGilberry.

From the liner notes:

"Recorded at Sigma Sound Studios, Philadelphia, Pennsylvania.

This album is dedicated to the memory of Richard E. Wright. We'd like to thank Kenneth Gamble and Leon Huff for their guidance, inspiration and the best artist development in the business, to the entire staff at Philadelphia International Records, our parents, families and friends who have stuck with us through the years. Special thanks go to Hank McCrary, Jean Scott and Lon Fontaine. Above all, we thank "The Creator"."

A1Party Time Man
Backing Vocals – Barbara Ingram, Carla Benson, Evette BentonProducer – Sherman MarshallWritten-By – S. Marshall*, T. Wortham*
A2Ain't No Time Fa Nothing
Producer – Charles B. Simmons*, Joseph B. Jefferson*Written-By – C. B. Simmons*, J. B. Jefferson*
A3Your Love Is Deep Inside Of Me
Producer – Cynthia Biggs, Kenneth Gamble, Ted WorthamWritten-By – C. Gilbert*, C. Biggs*, T. Wortham*
A4Sunshine And You
Producer – Douglas Brown, Terry Price, William BloomWritten-By – D. Brown*, T. Price*, T. Wallington*, W. Bloom*
B1Come To Me (When Your Love Is Down)
Producer – Charles B. Simmons*, Joseph B. Jefferson*Written-By – C. B. Simmons*, J. B. Jefferson*, R. Roebuck*
B2You Got It The Love That I Need
Producer – Douglas Brown, William BloomWritten-By – D. Brown*, T. Price*, W. Bloom*
B3You're The One / Someone Special
Producer – Carl Gamble, Franki Smith*, John L. Usry, Jr.*Written-By – B. Rivers*, C. Gamble*, F. Smith*
B4Is It Over
Producer – Douglas Brown, Frankie Smith, William BloomWritten-By – D. Brown*, F. Smith*

The Futures - Past Present And The Futures (1978)
(256 kbps, cover art included)

Kurt Weill - Der Silbersee: ein Wintermärchen (London Sinfonietta)

"Der Silbersee: ein Wintermärchen" ("The Silver Lake: a Winter's Fairy Tale") is a 'play with music' in three acts by Kurt Weill to a German text by Georg Kaiser (cf. Heinrich Heine's Germany. A Winter's Tale).

"Der Silbersee" was premiered on 18 February 1933 simultaneously at the Altes Theater in Leipzig, the Stadttheater in Erfurt and the Stadttheater in Magdeburg, just 3 weeks after the Nazi Party's Machtergreifung on 30 January 1933. It was directed by Detlev Sierck and conducted by Gustav Brecher (Leipzig). It was the artists' last production in the Weimar Republic before they were forced to emigrate and it was banned on 4 March 1933 by the Nazis after having been performed 16 times.

"Der Silbersee" tells the story of Olim, a policeman, who shoots the thief Severin, who was stealing a pineapple. Severin survives and, from then on, Olim has a bad conscience. He wins the lottery and soon finds himself at a castle at the silverlake. He gives shelter to Severin, takes care of his wellbeing and tries to build a friendship with him. Severin does not forgive him, and conflict evolves at the estate. The mistress von Laub cleverly takes advantage of the two men with Olim finally agreeing to sell her all his property for a very low price. The two men reconcile and, at the end of it all, wish only to die together in the silverlake. However, in the meantime, the lake turns out to have frozen.

Even though the piece is based on a play and most of the action is transmitted by the spoken word, the elaboration of the piece by Weill requires skilled singers and musicians for a medium-sized orchestra. Similarly to his other works, Weill uses a broad variety of elements such as the cantata, instrumental interruptions, moritate, and songs. It questions the limitations of the genres. As a result, the Nazis labelled the work not only degenerated but a "musical bastard". Due to these characteristics it has not until recently become established in postwar theater nor on opera stages. It still lacks an appropriate framework to be performed within.
One day after the ban on the piece by the NSDAP on 4 March 1933, Georg Kaiser was also barred from the Akademie der Künste of which he was a member. On 10 May the work with illustrations by Caspar Neher was burned on the Opera Plaza. Today only occasionally is the piece found as part of the repertoire.

Here´s the recording with the London Sinfonietta, conducted by Markus Stenz with Heinz Kruse, HK Gruber and Juanita Lascarro.

Kurt Weill - Der Silbersee (London Sinfonietta)
(128 kbps, front cover included)