Dienstag, 17. Juni 2025

Folk Festival At Newport 1959 - Volume 1

The Newport Folk Festival was founded in 1959 by George Wein, who had already established the successful Newport Jazz Festival in Newport, Rhode Island a few years earlier. The festival featured folk, blues, country, and bluegrass musicians and, in its initial run between 1959 and 1970 (there were no festivals in 1961 and 1962), introduced future stars of the commercial folk revival like Joan Baez and Bob Dylan as well as giving old blues and folk performers like Skip James, Mississippi John Hurt, and others a platform to reach a wider audience.


Excerpts from the sleeve notes:
"Irish song and lore were eloquently represented at Newport by TOMMY MAKEM. Steeped in the musical and poetical tradition of the Gael, he is an artist as indigenous to his world as Big Bill Broonzy was to his. He is an actor as well as a singer; the two crafts are juicily fused in the songs. No "prettiness", no pretense in his performance, he reveals himself; and in a larger sense, his verdant heritage. PATRICK CLANCY about whom all this is equally true, is heard here in "Mountain Dew"."

Tracks:

Side One
The Bells of Rhymney - Pete Seeger (Accompanying himself on the 12-string guitar & banjo)
One Grain of Sand & Abiyoyo - Pete Seeger (Accompanying himself on the 12-string guitar & banjo)
Hey Daroma - Martha Schlamme (Accompanied by Frank Hamilton, guitar)
There's a Hole in the Bucket - Martha Schlamme (Accompanied by Frank Hamilton, guitar)
Que Bonita Bandeira - Martha Schlamme (Accompanied by Frank Hamilton, guitar)

Side Two
Lonesome Traveller - Leon Bibb (Accompanied by John Staubeur, guitar, and Eric Weisberg, bass)
Every Night When the Sun Goes In - Leon Bibb (Accompanied by John Staubeur, guitar, and Eric Weisberg, bass)
Times are Getting Hard - Leon Bibb (Accompanied by John Staubeur, guitar, and Eric Weisberg, bass)
Sinner Man - Leon Bibb (Accompanied by John Staubeur, guitar, and Eric Weisberg, bass)
Cobbler's Song - Tom Makem
Mountain Dew - Pat Clancy (Accompanied by Tom Makem on the penny-whistle and Pete Seeger, banjo)
Careless Love - Pete Seeger (Accompanying himself on the banjo)

Folk Festival At Newport 1959 - Volume 1
(192 kbps, front cover included)

Montag, 16. Juni 2025

Otto Reutter - In 50 Jahres ist alles vorbei

Otto Reutter was born on April 24th in 1870 in a poor Catholic family in Gardelegen, Germany, as a son of the Ex-Ulan Andreas Pfützenreuter who was not at home, visited the Catholic primary school, absolved afterwards an education in and out of Gardelegen as a commercial assistant, ran away after finishing this and went to Berlin, earned money as a Charge at quite simple theaters, tried to be an actor and commedian at little theaters in Berlin.

His father took him away from Berlin and then he ended up being in Karlsruhe, where he joined a group of pub-singers and pub-commedians. In 1895 he dared to have his first performance as a "Salonhumorist", first performance was probably in Bern in Switzerland. In 1896 he got hired for the first time in Berlin, he really convinced the audience with his talent to recite the funny-pointed verses with easy melodies in a kind of spoken song and to be ironically funny even with his appearance. Reutter rose up to a popular star since his first performance in the "Wintergarten-Variete" of the Central-Hotel in Berlin. In the following years Reutter was able to remain on the financial and artistic top of the German little-theater-artists with the help of his huge talent and his hard work.

In 1919 after 30 years of hard work and marked by personal blows Reutter was very tired and he wanted to retire with an account that recorded millions and go back to Gardelegen. Driven on by his own ambition and the need to earn money in insecure times because he was now husband Reutter created his „work of his old times“ from the year 1919 on and by doing this he suffered from indefatigable helplessness. This work consisted of Couplets that were on humor and melancholy, worldly wisdom and mild old-age cheekyness and these Couplets are still part of the German humor for higher demands. Ill and tired of life Reutter died on March 3rd in 1931 in Düsseldorf and was buried in Gardelegen.

Otto Reutter - In 50 Jahres ist alles vorbei (192 kbps)

Sonntag, 15. Juni 2025

Colin Wilkie, Shirley Hart, Albert Mangelsdorff, Joki Freund - Wild Goose (1969)

The legendary German trombonist Albert Mangelsdorff began his career in the early '50s in the groups of Hans Koller and Joki Freund, making an appearance at the 1958 Newport Jazz Festival as part of the "International Youth Band" (at 30!).

On the atypical Wild Goose, his quintet augmented by brother Emil (alto sax and flute) and Freund (tenor and soprano), all backing the British folk duo of Colin Wilkie and Shirley Hart on four of the former's originals and three traditional folk songs. This folk jazz LP was released on the cult german jazz label MPS. It includes the nice modalish 'Willow And Rue'!

The album was produced by Joachim E. Berendt & Ulrich Olshausen and recorded Febraury 19th at the Tonstudio in Walldorf. Colin Wilkie (vocals, guitar), Shirley Hart (vocals), Günter Lenz (bass) and Ralf Hübner (drums, darbouka, tambourine) were accompanied by the "Jazzensemble des hessischen Rundfunks" with Albert Mangelsdorff, Joki Freund Emils Mangelsdorff and Heinz Sauer.


Tracklist:
A1Icy Acres4:07
A2Fourth Flight7:00
A3Snowy Sunday6:57
B1Willow And Rue4:25
B2Lament3:28
B3Ich Armes Maidlein Klag Mich Sehr6:43
B4Sweet Primroses5:05

Colin Wilkie, Shirley Hart, Albert Mangelsdorff, Joki Freund - Wild Goose (1969)
(ca. 224 kbps, cover art included)

Samstag, 14. Juni 2025

VA - Rock Steady Beat - Treasure Isle's Greatest Hits (1967)

Arthur ‘Duke’ Reid (b.1915, Jamaica) had spent ten years as a Kingston policeman when he and his wife Lucille decided to buy The Treasure Isle Liquor Store in Kingston, Jamaica, after winning a substantial Jamaican National lottery. Wanting music to attract customers, the Duke arranged through a sponsorship deal to host his own radio show ‘Treasure Isle Time’. The people would listen to the latest American R&B tunes on 78rpm, interspersed with liquor deals going down at his store. This in time would lead to the starting of his own Sound System, where he could take his liquor to the dances via his Trojan truck. He used a large van to transport this equipment around Jamaica to dance halls and open air events. Due to the nature of the van it became known as the Trojan. With shouts of ‘Here comes the Trojan’, Duke Reid’s now named Trojan Sound System was born. It proved such a success that he was crowned King of Sound and Blues three years in a row 1956, 1957 and 1958. 1958 also saw the store which was out growing itself, move to its legendary premises, 33 Bond Street, as Treasure Isle Recording Studio

Duke Reid was a formidable character in the music business. His guns from his policing days were ever present and always on show, striking a menacing cord. The former champion marksman was notorious for his permanent armament and his 'bad men' who not only attended on his dances but also sabotaged competing sounds. It was also not unheard of for a few rounds to be let off, if the need arose. But it was his extensive knowledge of the R&B tunes,and knowing what the people liked to here that was his real strength. Like Clement "Coxsone" Dodd at Studio One he would travel to America to acquire the latest cuts. But this was proving more difficult due to America’s tastes moving on to Rock & Roll, which was not so popular in Jamaica.

His record production career began in 1959 on the "Trojan " record label, these were on 78's, such as Duke's Cookies and Chuck and Dobby "Cool School". On the Duke Reid label due to demand he issued home made recordings of the USA R & B style music. He formed his own backing band, which backed young singers like Derrick Morgan and Jiving Juniors.

1962 - 1966 was a prolific time at Treasure Isle, the Ska hits kept coming. He worked with artists like Stranger Cole, Techniques and the great Alton Ellis & The Flames. Such was the output that the releases were spread over three labels: Duke Reid's (later Duke Reid Greatest Hits), Dutchess (a name he often used to refer to his wife), and Treasure Isle. His work with Skatalites as a group came to an end after August/September 1965. Don Drummond was arrested on New Years Eve 1965, accused of murdering his girl friend Marguerita. He died in Bellevue, a mental institution in 1969. The Skatalites last gig was a Police Dance at the Runaway Bay Hotel.

1968-1969 saw the beat slowing down and reggae was evolving into Rocksteady and again Duke had his finger on the pulse. Working with the great sax player Tommy McCook & The Supersonics, the hits flowed from the studio. Paragons ‘Wear you to the Ball’, Alton Ellis’ ‘Rock Steady’, Melodians ‘Last train to Expo’ and The Techniques’s rendition of the Curtis Mayfield classic ‘Queen Majesty’ were all big hits of the day. Getting released on Reid’s own labels and in the U.K. Trojan Records (named after his Sound System) which he created with Chris Blackwell and Lee Gopthal from Island Records.

The musical style would change again around 1970, but the ever resourceful Reid would apply his tunes and start a new genre, the DJ Sound. By using his classic backing tracks and interspersing the dubbed vocal along side his Sound System DJ’s rants and raves, his tunes became hits once more.

Duke Reid became seriously ill in 1974 and sadly passed away in early 1975. He left behind a treasure chest full of his music, even today, gems are still to be found.                   

"Most of these sides were originally released as singles in 1966 and 1967, on Treasure Isle in Jamaica and on Doctor Bird, Trojan and Treasure Isle in England. Duke Reid selected them in 1967 to make up his first rocksteady compilation LP which he issued on Treasure Isle LP 101/2."

Tracklist:                           
A1A. EllisRock Steady
A2The TechniquesYou Don't Care
A3–The Three TopsIt's Raining
A4The JamaicansThing You Say You Love
A5The TechniquesOh Babe
A6Tommy McCookInez
B1The TechniquesOut Of Many One
B2Justin HindsCarry Go Bring Come
B3Phyllis DillonPerfidia
B4The TechniquesDay O
B5A. EllisGirl Have I Got A Date
B6T. McCookTrain To Ska-thederal


According to liner notes:
Track 2 ("You don't care") started life as "You'll want me back" written by Curtis Mayfield and a hit for Major Lance.
Track 5 ("Oh Babe") started life in New Orleans as "Sick and Tired", composed by Chris Kenner in 1957 (and covered by Fats Domino in 1958).
Track 9 ("Perfidia") is best known as a hit instrumental and dates back to 1941, an Alfredo Dominguez composition.
Track 10 ("Day O") is a traditional West Indian melody.
Track 12 ("Train To Ska-Thedral") started life as "Winchester Cathedral", written by Geoff Stephens and a big hit in 1967.           

(256 kbps, cover art included)

Freitag, 13. Juni 2025

Lightnin Hopkins - Mojo Hand (1960)


Sam John "Lightnin'" Hopkins (March 15, 1912 – January 30, 1982) was an American country blues singer, songwriter, guitarist, and occasional pianist, from Centerville, Texas. Rolling Stone magazine ranked him number 71 on its list of the 100 greatest guitarists of all time.
The musicologist Robert "Mack" McCormick opined that Hopkins is "the embodiment of the jazz-and-poetry spirit, representing its ancient form in the single creator whose words and music are one act".

This album, recorded for Fire Records, is especially interesting because it casts Hopkins in a more R&B-flavored environment. This obvious effort to get a hit makes for some excellent blues; moody and powerful performances play throughout. There's even a charming novelty Christmas blues, "Santa."

Tracklist:



1 Mojo Hand
2 Coffee For Mama
3 Awful Dreams
4 Black Mare Trot
5 Have You Ever Loved A Woman
6 Glory Be
7 Sometimes She Will
8 Santa
9 Shine On, Moon!
10 Shake That Thing
11 Walk A Long Time
12 Last Night
13 Just Pickin'
14 Bring Me My Shotgun
15 Mojo Hand (Live At 1965 Newport Folk Festival)



Lightnin Hopkins - Mojo Hand (1960)

(320 kbps, cover art included)

Donnerstag, 12. Juni 2025

Ready Steady Go - Rock Steady (Pama, 1968, vinyl rip)

.Bill Vincent wrote in the original liner notes:

"This album is packed with fourteen tracks of first class SKA type ROCK STEADY numbers, most of which have been in the top ten Ska chart and are now put together to make what to my mind, must be the best R0ck Steady or Blue Beat album ever to be offered to the public at large. If you study the titles and artistes names listed below you will soon be convinced that this is a must for you and like me you will vouch always to make SOUL FOOD your very first meal of the day."


Tracklist:

Lynn Taitt & The Jets - Soul Food
Alton Ellis - My Time Is The Right Time
Clancy All Stars - CN Express
Carlton Alphonso - Where Is This World
Earl St Joseph - Eastern Promise
The Groovers - You Were Meant For Me
Clancy Eccles - What Will You Mama Say
Tommy Mckenzie & His Orchestra - Fiddle Sticks
Monty Morris - Say What You're Saying
Clancy Eccles - The Fight
Ernest Ranglin - Heart Beat
Alton Ellis - The Message
Joyce Bond Show - They Wash
Lloyd Terrel - Bang Bang Lulu

VA - Ready Steady Go - Rock Steady (Pama, 1968)
(192 kbps, cover art included)

Mittwoch, 11. Juni 2025

VA - In 50 Jahren ist alles vorbei - Originalaufnahmen aus dem alten Wintergarten und seiner Zeit

This is an album with orignal recordings of cabaret artists of the 1920s, 30s and 40s, related to the famous "Alter Wintergarten", a large variety theatre in Berlin-Mitte. The album features artists like Otto Reutter, Rosita Serrano, the Comedian Harmonists, Fritzi Massary, Paul Lincke, Gustav Gründgens, Claire Waldoff, Josephine Baker and Marlene Dietrich.

The Central Hotel opened in the year 1880 in Friedrichstraße. A special attraction for its guests was the “jardin de plaisanterie” or winter garden. Situated in a magnificent glass hall reminiscent of a crystal palace, it covered some 2,000 sq. m. and was unrivalled in quality and size at the time. The guests at the plush hotel delighted in promenading through the garden with its palm trees, evergreen shrubs and creepers, fountains and grottoes. The first concerts were held the same year.

In 1888 the stage was extended and fitted with the large, semicircular apron later regarded as its hallmark. The appropriate technical facilities were installed to allow for performances by acrobats. Both the management of the theatre and the press refered to the Wintergarten for the first time as a variety theatre.

In the year 1895 the Wintergarten scored a world premiere when the Skladanowsky brothers brought the sensational new art of cinematography to the stage.

In 1900 the management was changed and further conversion work was carried out. The famous starry sky was installed in the auditorium, which has already been fitted with a concert shell, main stage and scene bay. The Wintergarten ranked as the best of the 80-odd variety theatres in Berlin at the turn of the century. No new act, no sensation and no great entertainer could afford to ignore the Wintergarten. The theatre played host to many opera and circus stars, the best-known dancing girls, virtuoso performers, the clowns, Grock and Charlie Rivel, the marvellous juggler, Rastelli, and the incredible escape artist, Houdini. Stars, entertainers and muses of every nationality regarded an engagement at the Wintergarten as an honour.

Variety theatre boomed in the Roaring Twenties and the Wintergarten was in its heyday. During these crazy years full of eccentric fashions, demure divas and talented characters it were Claire Waldoff and Otto Reutter, in particular, who leaved their mark on the Wintergarten.

After 56 years of shows and a final performance on 21 June 1944 the Wintergarten was destroyed in a bombing raid. The most spectacular variety theatre Germany has ever known lied in ruins.

The name "Wintergarten" was taken on by a theatre in Potsdamer Strasse in 1992.

VA - In 50 Jahren ist alles vorbei - Originalaufnahmen aus dem alten Wintergarten und seiner Zeit
(256 kbps, cover art included)

Georges Brassens - Nouvelles Chansons - Tromp La Mort (1976)

One of French pop's most poetic songwriters, Georges Brassens was also a highly acclaimed and much-beloved performer in his own right. Not only a brilliant manipulator of language and a feted poet in his own right, Brassens was also renowned for his subversive streak, satirizing religion, class, social conformity, and moral hypocrisy with a wicked glee. 

Yet beneath that surface was a compassionate concern for his fellow man, particularly the disadvantaged and desperate. His personal politics were forged during the Nazi occupation, and while his views on freedom bordered on anarchism, his songs expressed those convictions more subtly than those of his contemporary, Léo Ferré. Though he was a skilled songwriter, Brassens had little formal musical training, and he generally kept things uncomplicated - simple melodies and spare accompaniment from a bass and second guitar. Along with Jacques Brel, he became one of the most unique voices on the French cabaret circuit, and exerted a tremendous influence on many other singers and songwriters of the postwar era. His poetry and lyrics are still studied as part of France's standard educational curriculum.

"Nouvelles Chansons" was the 12th and last original studio album of Brassens. This release is also known as "Don Juan" or "Trompe La Mort".


Tracklist:

A1 Trompe La Mort 4:03
A2 Les Ricochets 4:11
A3 Tempête Dans Un Bénitier 3:36
A4 Le Boulevard Du Temps Qui Passe 2:33
A5 Le Modeste 3:46
A6 Don Juan 3:51
A7 Les Casseuses 3:34
B1 Cupidon S'en Fout 3:37
B2 Montélimar 2:45
B3 Histoire De Faussaire 3:47
B4 La Messe Au Pendu 4:06
B5 Lèche-cocu 3:38
B6 Les Patriotes 2:59
B7 Mélanie 5:46

(320 kbps, cover art included)

Dienstag, 10. Juni 2025

Sun Ra and his Solar Arkestra - Secrets of the Sun (1962)

Secrets of the Sun is an album by the American Jazz musician Sun Ra and his Solar Arkestra. The album consists of sessions recorded by drummer Tommy "Bugs" Hunter in 1962 at the Choreographer's Workshop in New York City, the Arkestra's regular rehearsal studio. Since they had only recently moved to New York (some decided to stay in Chicago), these are small-group Arkestra recordings. This is an interesting transitional album because you can still hear echoes of the Chicago sound in some of the pieces, but the sound is growing beyond merely "exotic," with percussion playing an increasingly larger role and the pieces starting to sound more amorphous.
 
"The Friendly Galaxy" has the same sort of mysterious vibe as "Ancient Aetheopia," with nice trumpet and piano work as well as John Gilmore on bass clarinet (which he plays on a couple cuts). "Solar Differentials" has a similar but weirder feel because the horns change to "Space Bird Sounds" and Art Jenkins adds some of his distinctive "Space Voice." "Space Aura" is built on a great horn riff, while both Gilmore (again on bass clarinet) and Sun Ra both shine on a stripped-down version of "Love in Outer Space." Things head a bit more out for the last couple tracks, where percussion and reverb start to dominate the sound, as they would on several of the Choreographer Workshop recordings.
 
This is an interesting album for Ra fans because it's such a small band and shows how new ideas were taking hold in the music, not to mention Gilmore's use of bass clarinet, which he stopped playing completely sometime in the '60s. In 2008, "Secrets of the Sun" was reissued by Atavistic with an unreleased 17 minute bonus track.             
 
Tracklist:
  1. Friendly Galaxy
  2. Solar Differentials
  3. Space Aura
  4. Love In Outer Space
  5. Reflects Motion
  6. Solar Symbols

     7. Flight to Mars

Sun Ra and his Solar Arkestra - Secrets of the Sun (1962)
(192 kbps, cover art included)

VA - The Yiddish Dream: A Heritage Of Jewish Song

Double album on Vanguard, orchestras conducted by Abraham Ellstein, Gershon Kingsley, Robert DeCormier, Vladimir Golschmann.

"Of all the many collections of Yiddish music I've heard, this one is by far my favorite. Sung by some of the greatest artists that have graced this earth, the choice of songs is also wonderful, with many of the most beautiful melodies of the genre, all on one CD.
The artists:
The superb Jan Peerce sings on 8 tracks: The glorious "Vu is dus Gesele" and "Tog Ein, Tog Eis" ("Sunrise, Sunset" from "Fiddler on the Roof"), among them.
Natania Davrath, who's heavenly voice defies description, sings on 5 extraordinary tracks. Her interpretation of "Rozhinkes mit Mandlen" is sublime. Your heart will melt with the sound of her voice.
Leon Lishner, who might be remembered as one of the 3 kings in "Amahl and the Night Visitors", sings on 4, with a solo piano accompaniment by Lazar Weiner. His smooth bass voice is marvelous, and very moving.
The versatile Martha Schlamme sings 3. "Margaritkelech" is a delight.
Herschel Bernardi sings 2, and these are live recordings, full of joy and energy.
The legendary Shoshana Damari sings the lovely "Yome, Yome".
The booklet insert, though without lyrics, has the history and meaning of each song, and a brief bio of the artists. Recorded between 1960 and 1967, the digital transfer to CD is excellent, and with a total time of 76:51, you get a lot for the price.
If you like Yiddish music, this one's a must, to own and to treasure." - Alejandra Vernon

"This collection is a sheer joy to anyone who loves 19th and 20th century Yiddish music. Lovely, familiar melodies beautifully rendered by real "pro's" for whom these songs are second nature. Listen and enjoy! You'll probably sing along with the recording." - R. Berger

Tracklist:

Side One
  • 1. Vu Is Dus Gesele (Where Is The Little Street) - Jan Peerce
  • 2. Sha, Shtil (Hush, Quiet) - Jan Peerce
  • 3. Yome, Yome - Shoshana Damari
  • 4. Mein Ruheplatz (My Resting Place) - Leon Lishner
  • 5. Chiri Bim - Herschel Bernardi
  • 6. Tumbalalaika - Herschel Bernardi

Side Two

  • 7. Rozhinkes Mit Mandlen IRaisins With Almonds) - Netania Davrath
  • 8. Der Rebbe elimelech (The Rabbi Elimelech) - Jan Peerce
  • 9. Zog Maran (Tell Me, Marano) - Leon Lishner
  • 10. Reizele - Netania Davarth
  • 11. Lomir Sich IBerbeten (Let's Patch Things Up) - Martha Schlamme
  • 12. Partizaner (Partisan Song Of The Warsaw Ghetto) - Jan Peerce

Side Three

  • 1. Tog Ein, Tog Eis (Sunrise, Sunset from Fiddler on The Roof) - Jan Peerce
  • 2. A Volechel (A Dance) - Leon Lishner
  • 3. Margaritkelech (Looking For Dasies) - Martha Schlamme
  • 4. A Dudele (A Song About Thee) - Netania Davrath
  • 5. Die Frosh (The Frog) - Leon Lishner
  • 6. Tumba Tumba - Martha Schlamme
  • 7. Chasseneh Valtz (Anniversary Waltz) - Jan Peerce

Side Four

  • 8. Unzer Nigundl (Our Little Song) - Netania Davrath
  • 9. Oif'n Pripetchok (Sitting On The Shelf Above The Stove) - Jan Peerce
  • 10. Viglied (Sleep My Child) - Leon Lishner
  • 11. Chassidic Melody - Netania Davrath
  • 12. S'Loifn S'Yugn Schwartze Wolkns (Black Clouds Are Chasing Each Other) - Martha Schlamme *
  • 13. Ven Ich Bin A Rothschild (If I Were A Rich Man, from Fiddler On The Roof) - Jan Peerce

VA - The Yiddish Dream - A Heritage Of Jewish Song
(256 kbps, cover art included)

Montag, 9. Juni 2025

Claire Waldoff - Immer ran an´ Speck


Claire Waldoff , born Clara Wortmann) was a famous cabaret singer and entertainer in Berlin during the 1910s, 1920s and 1930s.

Clara Wortmann was born in 1884 the eleventh child of 16. Her parents owned a tavern in Gelsenkirchen. After completing school, she studied theatre and chose as her pseudoynm Claire Waldoff. In 1903, she got her first theatre jobs in Bad Pyrmont and in Kattowitz. In 1907, she went to Berlin, where she performed at the Figaro-Theater on Kurfürstendamm. In 1907, she also began a working as a cabaret singer. Rudolf Nelson gave her a job at the theatre Roland von Berlin on Potsdamer Straße. She had great success during the next several years in German cabaret. She sang at Chat Noir on Friedrichstraße and at the Linden-Cabaret on Unter den Linden. Waldoff was known for singing her songs in distinctive Berliner slang. Waldoff's success reached its peak in the 1920s. She performed at the two great Berlin varietés, Scala and Wintergarten, sang together with Marlene Dietrich, and had her songs played on the radio. Her repertoire included around 300 original songs.
Waldoff lived together with Olga von Roeder. The lesbian couple lived happily in Berlin during the 1920s. Together they met often other lesbian friends in the club, Damenklub Pyramide, in Berlin. After the German Nazis won the elections 1933 and Hitler came to power, Waldoff's success ended. In 1939, she and Olga von Roder left Berlin together, and they lived in Bayerisch Gmain. After World War II, she lost her money in German Monetary reform in 1948. In 1953 she wrote her autobiography. 1954 she got a little monetary support by senate of city Berlin. Waldoff died in 1957 and she was buried on the cemetery Pragfriedhof in Stuttgart. Waldoff has a star in Walk of Fame of Cabaret.

Tracklist:

  1. Mir hab'n se die Gurke vom Schnitzel weggemopst
  2. Na Dann Lass Es Dir Mal Jut Bekommen
  3. Warum Soll Er Nicht Mit Ihr
  4. Immer Ran An' Speck
  5. Raus Mit Den Männern Aus Dem Reichstag
  6. Im Nussbaum Links Vom Molkenmarkt
  7. Mich Hat Ein Fremder Mann Geküsst In Der Nacht
  8. Wat Braucht Der Berliner Um Glücklich Zu Sein?
  9. Meine Maxe
  10. Emilie Vom Kurfürstendamm
  11. Der Schlips Im Kohlenkasten
  12. Lied Der Harvenjuhle
  13. Er Ist Nach Mir Ganz Doll
  14. Wenn Der Bräut'gam Mit Der Braut
  15. Wenn Die Soldaten Durch Die Stadt Marschieren
  16. Mein Paulchen Ist Weg
  17. Verliebt, Verlobt, Verheiratet
  18. Unsere Minna
  19. Dann wackelt die Wand
Claire Waldoff - Immer ran an´ Speck
(192 kbps, front cover included)

Art Bears - Hopes And Fears (1978)

The first album from Dagmar Krause, Chris Cutler, and Fred Frith's post-Henry Cow project is one of the art rock masterpieces of the 1970s. It's as politically potent as Henry Cow's more strident work, but couched in more poetic and provocative terms.

Opening with Bertolt Brecht's "On Suicide," with Krause declaiming the playwright's bitter lyrics in her semi-operatic style to the wheezing accompaniment of Frith's harmonium, the album continues in that uncompromising vein.

Although most of the other members of Henry Cow guest, with reeds player Lindsay Cooper and keyboardist Tim Hodgkinson playing on a majority of the 13 songs, "Hopes and Fears" is considerably more focused and powerful than that group's often scattershot albums. The songs are built on Cutler's impressively varied drumming (often on electronically modified instruments), and the amazing variety of sounds Frith is able to coax out of a battery of electric and acoustic guitars, but there's enough space in the music for Krause's unique vocals to shine. Highlights include the epic, multi-part "In Two Minds," parts of which are as close as the Art Bears ever come to conventional rock music (which is to say, not very close at all, but there's an electric guitar solo), and the puckish instrumental, "Moeris Dancing."     

Tracklist:
01. On Suicide
02. The Dividing Line
03. Joan
04. Maze
05. In Two Minds
06. Terrain
07. The Tube
08. The Dance
09. Pirate Song
10. Labyrinth
11. Riddle
12. Moeris Dancing
13. Piers


Art Bears - Hopes And Fears (1978)
(320 kbps, cover art included)         

Sonntag, 8. Juni 2025

The Newport Folk Festival 1960 (Elektra Records, 1960)


The festival is renowned for introducing to a national audience a number of performers who went on to become major stars, most notably Joan Baez by her appearance as an unannounced guest of Bob Gibson in 1959, and Bob Dylan, in turn a guest of Baez at the 1963 festival. Not strictly limited to folk performers, in the 1960s Johnny Cash, Muddy Waters and Howlin' Wolf all performed. The festival also included many musicians of the pre-World War II country blues who figured as influences to the American folk music revival of the 1950s and 1960s where artists "lost" since the 1940s were "rediscovered."

Vanguard released two volumes with recordings from the 1960 festival, posted on this blog a few days earlier. This one is kind of a volume 3 to this series, even if it is only named "The Newport Folk Festival 1960" and was released on Elektra Records, EKS 7189.

Tracklist:


  • Oscar Brand: Talking Atomic Blues
  • Oscar Brand: Great Selchie Of Shule Skerry
  • Oscar Brand: Horse With A Union Label
  • Will Holt: Three Jovial Huntsmen
  • Will Holt: Edward Ballad
  • Will Holt: MTA
  • Oranim-Zabar Troupe: Bukhara
  • Oranim-Zabar Troupe: Russian Spoof
  • Oranim-Zabar Troupe: Ayil Ayil (The Ram)
  • Theodore Bikel: Al Harim (On the Mountains)
  • Theodore Bikel: Mi Caballo (My Horse)
  • Theodore Bikel: Three Jolly Rogues
  • Theodore Bikel: Eres Alta (You Shan't Tell)
  • Theodore Bikel: Galveston Flood


  • The Newport Folk Festival 1960 (Elektra Records)
    (192 kbps, front cover included)

    Samstag, 7. Juni 2025

    Augustus Pablo - Rockers Meets King Tubby In A Firehouse


    Rockers Meets King Tubby In a Firehouse, is a dub album by Augustus Pablo and King Tubby, released in 1980. "Rockers" was a commonly used nickname given to Pablo. It features Mickey "Boo" Richards, Leroy Wallace and Albert Malawi on drums, Robbie Shakespeare on bass guitar, and Earl "Chinna" Smith on guitar. The backing band is credited as the "Rocking All Stars".

    Pablo produced the album and played piano, organ and melodica. The album was recorded at King Tubby's Studio. "Fire House" is a reference to the Waterhouse section of Kingston, where King Tubby's studio was located. Prince Jammy also made contributions to this album but goes uncredited.

    On this collection, Pablo's sound predominates: his eerie melodica lines snake in and out of the mix, and the gentle-but-firm grooves that always typify a Rockers production are in full force. King Tubby contributes the special element of dubwise alchemy that was his own trademark, administering echo and delay at judicious intervals and keeping the general atmosphere mysterious and seductive. Because of the nature of the music and its consistently high quality, highlights are a bit difficult to pick out, but they include the very dread "Zion Is a Home" and the equally fine "Dub in a Matthews Lane Area," which could be used as a master class in dub technique.

    Originally released in 1980, this edition includes 4 bonus tracks (tracks 10 to 13) not included on the original album release but come from rare contemporaneous singles.           

    Tracklist:
    1Rockers Meet King Tubbys In A Fire House
    2Short Man Dub
    3Zion Is A Home
    4Dub In A Matthews Lane Arena
    5Jah Say Dub
    6Son Of Jah Dub
    7Simeon Tradition
    8Selassie I Dub
    9Jah Mouly Ital Sip
    10Son Of Man Dub
    11Rasta To The Hills
    12Twin Seal Dub
    13House Of Dub Version

    Augustus Pablo - Rockers Meets King Tubby In A Firehouse
    (256 kbps, cover art included)

    Freitag, 6. Juni 2025

    Patti Smith - Live In Paris, 1978

    Punk rock's poet laureate, Patti Smith ranks among the most influential female rock & rollers of all time. Ambitious, unconventional, and challenging, Smith's music was hailed as the most exciting fusion of rock and poetry since Bob Dylan's heyday.

    If that hybrid remained distinctly uncommercial for much of her career, it wasn't a statement against accessibility so much as the simple fact that Smith followed her own muse wherever it took her - from structured rock songs to free-form experimentalism, or even completely out of music at times. Her most avant-garde outings drew a sense of improvisation and interplay from free jazz, though they remained firmly rooted in noisy, primitive three-chord rock & roll. She has a powerful concert presence, singing and chanting her lyrics in an untrained but expressive voice, whirling around the stage like an ecstatic shaman delivering incantations.

    The Stooges may have defined the sound and attitude of punk rock, and the New York Dolls lent it some style, but Patti Smith gave it its substance. Imbued with an all-consuming passion for the verse of Arthur Rimbaud and the grit of early rock ‘n’ roll, Patti combined simplicity and intellect to help forge the most vital and honest musical form of the 20th century.After humble beginnings in Chicago and chasing her muse to Paris, Patti Smith eventually found her way to the artistic circles of New York in the early ‘70s. Her readings at St. Mark’s Poetry Project lead to performances including musicians like rock historian and guitarist Lenny Kaye and pianist Richard Sohl, who would later comprise her fully fledged rock band and contribute to a series of records that were as aggressive and daring as they were beautiful.

    Here´s a bootleg called "Live In Paris, 1978". The sound quality is excellent. All but the last 5 tracks were recorded live in Paris in 1978 - performance is fair to good. This show from March of 1978 was a sort of spiritual homecoming for the woman that had once busked on the streets of the City of Light, immersed in the environs that had created her favorite poems. But the cobbled alleyways needn’t have served as her theatre this time around; the punk scene Patti helped nurture was in full swing and the recent release of the album Easter yielded her highest charting hit, “Because the Night,” co-written by Bruce Springsteen. The band is in top form as the rattle through a brief set, book-ending their palpitating version of Them’s “Gloria” with newer material that is just as transcendent - listen for a room full of raucous French fans chanting, “pah-TEE, pah-TEE!!”

    The first 4 of the last 5 tracks were from "The Mike Douglas Show" in 1976 - performance is excellent. The very last track is from "The Today Show" in 1978 - Patti sounds a little bit worn out. The cover shows a picture of Patti's back (in Vietnam jacket) and pink cartoon hands with paintbrush and pen nib on index fingers.


    Tracklist:

    Ask The Angels 2:57
    25th Floor 5:29
    High On Rebellion 3:28
    Till Victory 3:13
    Set Me Free 3:37
    Because The Night 3:18
    Gloria 7:00
    Ask The Angel
    Free Money 3:43
    I Was Working Real Hard 2:12
    Keith Richard Blues 1:35
    I Was Working Real Hard (Reprise) 2:26

    Patti Smith - Live In Paris, 1978
    (192 kbps, front cover included)

    Mittwoch, 4. Juni 2025

    Mahalia Jackson - Newport 1958

    General critical consensus holds Mahalia Jackson as the greatest gospel singer ever to live; a major crossover success whose popularity extended across racial divides, she was gospel's first superstar, and even decades after her death remains, for many listeners, a defining symbol of the music's transcendent power. With her singularly expressive contralto, Jackson continues to inspire the generations of vocalists who follow in her wake; among the first spiritual performers to introduce elements of blues into her music, she infused gospel with a sensuality and freedom it had never before experienced, and her artistry rewrote the rules forever.

    "Newport 1958"  is a wonderful album with recordings of the Newport Jazz Festival 1958.

    Jackson was at the peak of her career, and she gave a stunning performance at this show, lifting such songs as "He's Got the Whole World In His Hands," "Lord's Prayer," "Evening Prayer," "I'm on My Way," "Walk over God's Heaven" and "His Eye is on the Sparrow" to glorious heights. It's not only one of the great live gospel albums, it's simply one of the great gospel albums.

    Mahalia Jackson - Newport 1958
    (256 kbps, cover art included)

    Patti Smith - Exodus

    This bootleg features excerpts from Patti Smith's performance at the Pavillion de Paris on 26 March 1978, with some material from TV shows also included.

    All but the last 5 tracks were recorded live in Paris in 1978 - the performance is fair to good. The next track is from "The Today Show" in 1978, with Patti sounding worn out, and the last four tracks are from "The Mike Douglas Show" in 1976, with an excellent performance. It contains the same tracks as the superior "Fighters by Day, Lovers by Night", with the space between the songs silenced. The cover has a photograph of some sort of castle or rock formation, black and white on the front and smaller and full colour inside and on the back. The back cover mentions the following: "digital remixed and remastered recording which was originally realised by a member of the audience; produced by Raul Lavi, reprocessed by Cindy Wilde, picture by Robert M.Laue, artwork by R. Lavi. 1994 CDM digital audio".

    Patti Smith: vocals
    Richard Sohl: piano
    Ivan Kral: guitar, bass
    Lenny Kaye: lead guitar
    Jay Dee Daugherty: drums

    Tracklist:
    1. Because The Night3:18
    2. Gloria7:00
    3. Set Me Free3:36
    4. Ask The Angels2:56
    5. High On Rebellion3:27
    6. 25Th Floor5:29
    7. Till Victory3:13
    8. Free Money3:43
    9. I Was Working Real Hard2:11
    10. Keith Richards Blues1:34
    11. I Was Working Real Hard (Reprise)2:25
    12. Ask The Angels (Words And Music)3:04

    Patti Smith - Exodus
    (192 kbps, cover art included)

    Dienstag, 3. Juni 2025

    Claire Waldoff - Wer schmeißt denn da mit Lehm

    PhotobucketClaire Waldoff, the chanson and cabaret singer with the snappish voice, has been an entertainment star for more than three decades. She never made a secret of her love to Olga von Roeder - they were inseparable for 40 years. Even today, her hits like ”Hermann heeßt er“ (His name is Hermann), “Wer schmeißt denn da mit Lehm?“ (Who’s throwing clay?) or “Hannelore“ are a pleasure to listen to - and worth (re-) discovering.

    Being the 11th child out of sixteen made it financially impossible for Claire Waldoff to study medicine, which was her wish. So she decided to go for drama instead. At the age of 19, she got her first role in Bad Pyrmont and Kattowitz. In 1907 she went to Berlin, and focused on cabaret, where she became a star. Claire characterized the last decade of the German Emperor Wilhelm II and the beginning roaring '20s in Berlin. She specialized herself in German "Gassenhauer", "Schlager" and chansons. Her stage performance was characterized by her maverick appearance in wearing a tie, shirt and a rust red bob. She also smoked and cursed on stage. Her most famous songs in the early part of her career were "Morgens willste nicht und abends kannste nicht" [At Morning You Won't, and in the Evening You Can't] (1910), "’ne dufte Stadt ist mein Berlin" [A Groovy City is My Berlin], "Nach meine Beene is ja janz Berlin verrückt" [Entire Berlin Is Crazy 'bout My Legs] (both 1911), "Hermann heeßt er" [He's Called Hermann] (1913) or "Jott, wat sind die Männer dumm" [Gee, How Stupid Men Can Be] (1917). These titles became favorite turns of expression for the following decades. Her height of popularity was in the mid 1920s. She appeared on stage at two of the biggest cabarets in town: Scala and Wintergarten. She toured through Germany and stood on stage with young Marlene Dietrich.

    But another fact made her a role model for modern people these times: together with her partner in life she was the epicenter of lesbian Berlin. In political songs she postulated "Raus mir den Männern aus dem Reichstag" [Get Men Out of the Reichstag] (1926) and played a central role in "Zille's Berlin" performing songs like "Das Lied vom Vater Zille (= Sein Milljöh)" [Song of Father Zille (= His Milieu)](1930).

    In 1933, the rising National Socialism created hard times for Claire Waldoff. First, she was banned because she performed in front of communists. Parting the "Reichskulturkammer" (an institution founded by Joseph Goebbels to bring German culture into line with national socialistic aspects) ended it. In 1936, the minister of propaganda, Joseph Goebbels, prohibited Waldoff to perform at The Scala. She performed in front of German soldiers but found less and less engagements.

    After the war she couldn't continue her career in Germany. The monetary reform of 1948 cost her all her savings and she was impoverished. The magistrate of Berlin granted a pension of honor to Waldoff for her 70th bitrhday. Claire Waldoff died in 1957 due to an apoplexy. It was her last wish to get buried together with her life companion Olga von Roeder. Her wish was fulfilled, and she lies in von Roeder's family grave at Pragfriedhof in Stuttgart.


    Claire Waldoff - Wer scmeißt denn da mit Lehm
    (192 kbps, full cover artwork included)

    Montag, 2. Juni 2025

    Theodore Bikel - Sings Yiddish Theatre And Folk Songs (1967)

    A talented folksinger and actor, Theodore Bikel has carved out his place in the modern entertainment industry as a renaissance man. For over 50 years, Bikel has impacted film, the stage, and the arts, from his supporting role in The African Queen in 1951 to his appearance at the 1960 Newport Folk Festival to his appointment to the National Council for the Arts in 1977. Although he was born in Austria, he has lived in Israel, England, and the United States and speaks five languages. Bikel has recorded for Elektra, Columbia, and Reprise, published Folksongs & Footnotes, and served as a vice president of the American Jewish Congress.

    Bikel was born in Vienna, Austria, in 1924, but his family fled to Palestine in 1938, where they became British subjects. Bikel wanted to study language and become a teacher, so he worked at a communal farm to help pay expenses. Drawn to the theater, however, he left the farm in 1943 to study at the Hamimah Theater in Tel Aviv. Later, Bikel and four other actors formed the Tel Aviv Chamber Theater. In 1946, he left Israel to study at the Royal Academy of Dramatic Art in London. While in England, he also began to take a serious interest in folk music and learn the guitar. In 1947, Bikel's acting skills were noticed by Sir Laurence Olivier, leading to a part in the London production of A Streetcar Named Desire.

    By the early '50s, Bikel began to play Russian officers and German sailors in English and American films and in 1955, he moved to New York City. The move also coincided with the beginning of a career in folk music. He signed with Elektra Records in the mid-'50s and recorded Israeli Folk Songs in 1955. He became a co-founder of the Newport Folk Festival and performed at the event in 1960. Bikel's repertoire proved uniquely eclectic, including songs from Russia, Eastern Europe, and Israel. He played hundreds of dates in United States, from the Rainbow & Stars in New York to The Boarding House in San Francisco, and traveled broadly, performing in New Zealand, Australia, and throughout Europe.
      Over the next 40 years, Bikel continued his dual career in film and folk music. He received parts in The Russians Are Coming, The Russians Are Coming in 1966, See You in the Morning in 1989, and Shadow Conspiracy in 1997. He recorded Songs of the Earth for Elektra in 1967, A New Day on Reprise in 1970, and A Taste of Passover for Rounder in 1998. Bikel also involved himself in a number of political activities. In 1977, President Jimmy Carter appointed Bikel to the National Council for the Arts, a position he retained until 1982. He has also served with the Associated Actors and Artistes of America, Americans for the Arts, and the American Jewish Congress. In 1992, Bikel received an honorary Doctor of Fine Arts degree from the University of Hartford.

    "Sings Yiddish Theatre & Folk Songs" was originally released in the '60s on Elektra. This also features the arrangements of master maestro Dov Seltzer.


    Tracklist:

    1 A Chasene Tants
    2 Doina
    3 Beygelach
    4 Di Grine Kuzine
    5 A Pintale
    6 Dire-Gelt
    7 A Finf-Un-Tsvantsiger
    8 Got Fun Avrohom
    9 Kalt Vasser
    10 Dem Milner's Treren
    11 Machatonim
    12 Shabes Shabes
    13 Machateyneste Belz
    14 Mayn Shtetele Belz
    15 Yossel Der Klezmer
    16 A Kleyn Melamedl


    Theodore Bikel - Sings Yiddish Theatre And Folk Songs (1967)
    (256 kbps, cover art included)

    Sonntag, 1. Juni 2025

    Bunny Striker Lee - The Cool Operator

    One of the most influential and prolific producers in reggae history, Bunny "Striker" Lee pioneered the art of the dub — expanding the parameters of studio technology like no Jamaican producer before him, he and his engineeer, the equally-legendary King Tubby, maximized the creative possibilities of each and every rhythm to generate a seemingly endless series of mixes spread across literally thousands of recordings.
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    Edward O'Sullivan Lee was born in Jamaica on August 23, 1941; he entered the music industry in 1962 via his brother-in-law, the great reggae singer Derrick Morgan, landing a job as a record plugger for Duke Reid's famed Treasure Isle label. By the mid-1960s, Lee was working with Ken Lack's Caltone imprint, producing his first record, Lloyd Jackson and the Groovers' "Listen to the Beat," in 1967. His first significiant hit, Roy Shirley's "Music Field," followed later that year on WIRL, and upon founding his own Lee's label, he reeled off a series of well-received sides including Morgan's "Hold You Jack," Slim Smith's "My Conversation" and Pat Kelly's "Little Boy Blue."
    As the decade drew to its close, Lee was among the most successful producers in reggae, and by 1971 he was working side-by-side with engineer King Tubby, who almost singlehandedly invented dub by taking existing master tapes and — after cutting out vocals, bringing up the bass lines and adding and subtracting other instruments — creating new rhythm tracks for sound system DJs to voice over. Later adding delays, fades and phasing to his sonic arsenal, Tubby was already renowned throughout the Jamaican music industry by the time he began collaborating with Lee, but together, the duo produced the finest music of their respective careers — unlike most of his producer peers, Lee recorded his celebrated studio band the Aggrovators with Tubby's remixing skills firmly in mind, crafting deep, dense rhythms strong enough to survive even the most strenuous studio reworking, and together they unleashed some of the most enduring dub versions ever cut. At the peak of his career — essentially the period from 1969 to 1977 — Lee produced thousands of records, forging a labyrinthine discography of vocal sides, DJ records and dub versions, each disc seemingly spun off from another. Among Lee's most influential projects was a 1974 collaboration with singer Johnny Clarke which yielded a series of roots-reggae classics including "None Shall Escape the Judgement" and "Move Out of Babylon"; that same year, he also helmed Owen Grey's smash "Bongo Natty," while the 1975 Cornell Campbell hit "The Gorgon" launched a number of like-minded "Gorgon rock" records. At one time or another, Lee also worked with everyone from Jackie Edwards to Alton Ellis to Ken Boothe, and for all of his experimental instincts, he also possessed a commercial flair equal to any of his contemporaries.

    By the early 1980s, however, Tubby was running his own studio and producing his own records, and although they continued to collaborate on occasion, both the quality and quantity of Lee's recordings began to slide; he later purchased producer Joe Gibbs' former Kingston-area studio, making a few half-hearted attempts at working with digital technology but otherwise easing into retirement as the years passed, his place in reggae history assured.

    Here we have a compilation with 20 tracks from the vaults of Bunny Lee. Containing hit upon hit & works from some the biggest and also finest names in 1970's reggae. Including Cornell Campbell's "The Gorgon" and U-Roy's "Gorgonwise" flipside. Also the battling 'Straight to Jazzbo Head" from I-Roy and later on Jazzbo's good humoured response "Straight to I-Roy Head". Another highlight is the wonderful "Mr Chatterbox" from The Wailers complete with a DJ intro from the man called Bunny Lee.

    Bunny Striker Lee - The Cool Operator
    (192 kbps, front cover included)