Samstag, 26. Mai 2018

Justin Hinds & The Dominoes - Corner Stone (Treasure Isle)


Throughout a crucial period that bore witness to the emergence of ska and its later mutations into rocksteady and finally reggae, Justin Hinds was among the most successful recording artists on the Jamaican music scene, his sweet tenor spotlighted on hundreds of Duke Reid-produced singles between 1963 and 1972.

Born on May 7, 1942 in the St. Ann's area, Hinds' greatest music was later created in the company of his backing vocalists the Dominoes, a duo comprising Dennis Sinclair and Junior Dixon. They first recorded at Reid's Treasure Isle studios in late 1963, a debut session that yielded the hit "Carry Go Bring Come" in just one take.

Between 1964 and 1966, Hinds was Reid's most popular artist, and during this period alone he recorded some 70 singles backed by session aces Tommy McCook and the Supersonics; among his biggest ska hits were "King Samuel," "Jump Out of the Frying Pan," "The Ark" and "Rub Up Push Up."

Around 1966, Hinds made the transformation to rocksteady, and the hits kept coming. Over the next several years, he released smash after smash, including "The Higher the Monkey Climbs," "No Good Rudy," "On a Saturday Night," "Here I Stand," and "Save a Bread." He and Reid parted company in 1972, with the latter dying three years later; Hinds then began working with producer Jack Ruby, a collaboration which resulted in the 1976 LP "Jezebel". Two years later, he also teamed with producer Sonia Pottinger for a series of singles including "Rig-Ma-Roe Game" and "Wipe Your Weeping Eyes." After 1984's "Travel with Love", however, the reclusive Hinds essentially went into retirement, leaving Jamaica only rarely.

He did return to recording, albeit sporadically, with a final studio effort in 1992, "Know Jah Better", and then a decade later with a live album "Let's Rock Live". Another concert album, 2003's "Live at the Grassroots", featured Hinds backed by roots revivalists John Brown's Body.

Justin Hinds succumbed to cancer two years later, passing away quietly at his Jamaican home on March 16, 2005.

Tracklist:

Carry Go Bring Come
Rub Up Push Up
Corner Stone
Here I Stand
Over The River
The Higher The Monkey Climbs
Teach The Youth
Hey Mama
Fight Too Much
Sinners
If It's Love You Need
Mighty Redeemer
Boderation
Save A Bread
On A Saturday Night
Say Me Say
Once A Man
Carry Go Bring Come Version 2

Justin Hinds - Corner Stone (Treasure Isle)
(192 kbps, front cover included)

Mittwoch, 16. Mai 2018

Sun Ra - The Futuristic Sounds Of Sun Ra (1961)

Sun Ra's only release for the Savoy label is a gem. Recorded in October of 1961, this is probably the first recording the Arkestra made after arriving in New York. As such, you're dealing with a smallish Arkestra (seven main instrumentalists, joined by vocalist Ricky Murray on "China Gate") that's still playing the boppish, highly arranged music characteristic of the Chicago years (1954-1961).

Ra sticks to acoustic piano for the entire session, but various percussion instruments are dispersed throughout the band, giving a slightly exotic flavor to some of the tunes. John Gilmore plays bass clarinet on a couple tunes (as well as some great tenor solos), and Marshall Allen's flute playing is excellent, as always.

This album was produced by Tom Wilson, who also produced the first Sun Ra LP, "Jazz by Sun Ra" (1956) for the Transition label, later reissued by Delmark as "Sun Song" (Wilson later went on to sign the Mothers of Invention to Verve and "electrified" Bob Dylan). With the exception of "The Beginning," all the tunes are very accessible. This is one to play for the mistaken folks who think the Arkestra did nothing but make noise. Excellent.

Tracklist:

A1 Bassism
A2 Of Wounds And Something Else
A3 What's That
A4 Where Is Tomorrow
A5 The Beginning
A6 China Gates
Vocals – Ricky Murray

B1 New Day
B2 Tapestry From An Asteroid
B3 Jet Flight
B4 Looking Outward
B5 Space Jazz Reverie

Sun Ra - The Futuristic Sounds Of Sun Ra (1961)
(256 kbps, cover art included)

Otto Reutter - Es geht vorwärts - Chansons und Couplets (1922 - 1930)

A coupletist (kupletist) is a poet, singer, or actor who specializes in couplets - wittily ambiguous, political, or satirical songs, usually in cabaret settings, usually with refrains, generally used as a transition between two cabaret numbers.

With sarcasm and humor, coupletists take on political dignitaries, the prevailing zeitgeist and lifestyle, in short, "all of the world's madness." Friedrich Wolf called the couplet "the direct involvement of the audience in the game."




Tracklist:

1 Es Geht Vorwärts 3:00
2 Der Überzieher 3:10
3 Karussell 3:23
4 Wir Fang'n Noch Mal Von Vorne An 3:39
5 Das Ist So Einfach, Und Man Denkt Nicht Dran 3:19
6 Aus! 2:47
7 Gründ'n Wir 'Ne G.M.B.H. 3:27
8 Der Blusenkauf 2:43
9 Alles Weg'n De Leut' 2:50
10 Berlin Ist Ja So Groß 3:13
11 Nehm'n Sie 'N Alten 2:38
12 Gräme Dich Nicht 2:54
13 Mir Hab'n Se Als Geheilt Entlassen-Vortrag Eines Idioten 2:26
14 Loblied Auf Die Frauen Von Heute 2:54
15 Phantasie Ist Jederzeit Schöner Als Die Wirklichkeit 3:14
16 Einmal Im Jahr 2:20
17 Mein Theaterrepertoire 3:15
18 Und Dadurch Gleicht Sich Alles Wieder Aus 3:34
19 Ist Doch Schön-So Bequem 3:30
20 Ich Habe Zuviel Angst Vor Meiner Frau 3:52
21 Ich Kann Das Tempo Nicht Vertragen 4:00
22 Sei Modern 3:26
23 Der Gewissenhafte Maurer 2:48


Otto Reutter - Es geht vorwärts - Chansons und Couplets (1922 - 1930)
(320 kbps, cover art included)

Dienstag, 15. Mai 2018

Autonomie - Materialien gegen die Fabrikgesellschaft

The journal "Autonomie" ("Autonomy") was established in 1975. It emerged from the agitational newspaper "Wir Wollen Alles" ("We Want it All"), which was published by the Operaist-oriented groups ‘Arbeitersache’ (‘Workers’ Cause’) in Munich, ‘Revolutionärer Kampf’ (‘Revolutionary Struggle’) in Frankfurt and ‘Proletarische Front’ (‘The Proletarian Front’) in Hamburg. Two political lines soon developed within the editorial board. On the one hand, there was the ‘first-person politics’ proposed by those in Frankfurt. On the other hand, the Hamburg group in particular insisted on a ‘working-class standpoint’: for this group, relating to the subjectivity of the ‘class’ and building a social-revolutionary organisation should take priority over policies related to the individual. In 1979, the Frankfurt group issued the last journal (No. 14) of the old version of Autonomie. Between 1979 and 1985 the Hamburg group published Autonomie: Neue Folge (Autonomy: The New Edition). It is now available here online for the first time. In fact, issue No. 12 of the old version of the journal was conceived in Hamburg and thus has been included in this digitised edition. This issue was devoted to the subject of regionalism. Alongside this theme, there was an article on ‘the moral economy’, which took up the British New Left’s writing on social history.

The Hamburg editorial board was made up of a core of former members from the ‘Proletarische Front’ organisation. This core was expanded by a number of people who joined in connection with a campaign for a suspended sentence for Karl Heinz Roth, a member of the board.1 During the first two years, Roth carried out an important and integrative role on the editorial board. Smaller editorial teams – in which external authors also played a part – were formed for each individual issue. All articles were regularly discussed by the main editorial board, which was supported by a salaried senior editor. The board’s offices were located in Hamburg-Altona. In 1982, several members left the editorial board in connection with the ‘Position Paper’ published in issue No. 10.

Apart from issue No. 1, the magazine was self-produced and financed by donations from the editorial staff. The journal’s circulation was three thousand – four thousand for some issues. The majority of its readers came from the protest movements of the 1970s and were predominantly from North Germany. But there were also some readers from around several university cities in South Germany, as well as from Berlin. Reading circles occasionally sprung up and the editorial board organised a series of events centred on the journal – for example in the context of the prisoners’ and anti-nuclear movements.

Autonomie: Neue Folge aimed, on the one hand, to develop an expanded concept of structural violence which referred to the interweaving of technological violence into every-day life. On the other hand, the journal sought to work out a new, social-revolutionary understanding of internationalism and anti-imperialism. Behind these aims stood the political concept of placing in a broader historical context, and strategically expanding, the various partial movements active in the wake of the ‘anti-authoritarian’ revolts of 1968, which mainly agitated in selective and situational ways.

Autonomie: Neue Folge began in May 1979 with an issue on the Iranian Revolution. With regard to the People’s Mujahedin and the theoretician Ali Schariati, the issue attempted to explore the potential of ‘Iranian mass autonomy’ – as a non-Bolshevik path to social revolution. This subject was revisited in issues No. 6 (on the Iran-Iraq War, 1980) and No. 8 (on the People’s Mujahedin, 1981). As is well known, the Iranian Revolution ended in a counterrevolution of the reactionary Ayatollahs, in civil war and terror. Back then the editorial board could not anticipate that the Iranian Revolution was possibly but the first episode in a revolutionary epoch, which would flow into the Arab rebellions. The interest in the ‘Middle and Near East’ lapsed.

The theme of social-revolutionary anti-imperialism carried over into issue No. 10 (‘Anti-Imperialism in the 1980s’, 1982) in which concepts drawn from the US Operaist left were further developed and the primacy of the social was contrasted with the classical theory of imperialism. The topic further found expression in the article ‘Genocide against Social Revolution’ in the final issue, No. 14 (1985). Not until many years later was this concept explicitly back-referenced to the Russian Revolution, which was always implicit within the approach in the mid-1980s.2

In the thematic issues No. 2 through No. 7, there was an attempt to enter into an exchange with single-issue movements and currents, as well as to ‘set out markers’ for the reconstruction of an overarching social-revolutionary agenda. The ‘workers’ standpoint’ was projected onto a new social subject – the ‘factory society’ became an explanatory model for the entirety of the social terrain. This began with the issue on prisons (No. 2, ‘The New Prisons’, 1979) which presented materials on the prisoners’ movement and recent developments in the detention systems. This topic was complemented in 1980 by a special issue on preventive detention. This theme was followed by that of urban planning in issue No. 3 (‘The Second Destruction of Germany’, 1980) which reached from the 19th century architectural utopias to the house occupations of the 1980s, and the issue on the anti-nuclear movement (No.4/5, ‘Resistance Against Nuclear Factories. The Nuclear State’, 1980) which alongside references to the movement against nuclear power included a polemic against the institutionalisation of politics by the Greens. The issues dedicated to medicine, such as special issue No. 2 (‘Medicine and National Socialism’, 1980) and No. 7 (‘Healthcare Reform, Rape, Forced Sterilisation, Sick Leave’, 1981) were to provide historical and contemporary material for the debates in the ‘health movement’ in the context of the ‘health conferences’ held in Berlin and Hamburg. This topic was taken up again later in the journal Beiträge zur nationalsozialistischen Gesundheits- und Sozialpolitik (Contributions to National Socialist Health and Social Policy).

It was not until the Fiat issue (No. 9, ‘Factories and the New Class Composition’, 1982) that Autonomie: Neue Folge chimed in with the point of departure of the 1970s, as expressed in the subtitle ‘Materials against Factory Society’. The ‘Arbeitersache’ group had related to the workers at BMW with an anti-Taylorist, anti-Fordist programme. ‘Revolutionärer Kampf’ had done the same with the Opel workers, and ‘Proletarische Front’ had focused on the ports, shipyards and the Volkswagen workers in Hannover. The experiences of this wave of struggle, which had culminated in the 1973 Ford strike, were now to be recalled in order to arrive at a new analysis of the reality of class in West Germany, of the exploitation of labour and of the regional labour markets. However, this systematic approach failed to materialise. Instead there was a separate issue (No. 12, ‘The Italian Model: Revolutionary Movements at an End?’, 1983) in which the topic of Italy was broached once more. The matters of labour markets and technology were differently dealt with in issues No. 11 and No. 13 under the common title of ‘Imperialism in the Metropolises’ (No. 11, ‘The Compulsion to Work. New Poverty, 1982) and issue No. 13 (‘The Assault of Technology’, 1983). In parallel with the quasi post-Operaist focus on the metropolitan class and global mass poverty, since issue No. 3 a debate had emerged regarding subjectivity and technological violence, which found its way into various issues. The reference point for this was a book published in 1981 entitled Leben als Sabotage (Life as Sabotage).3

Since 1982 there had been difficult disagreements on the editorial board. Issues No. 13 and No. 14 were only published by smaller editorial sub-groups who continued to work together informally. Some members of the editorial board no longer believed that it was possible to reconstruct social-revolutionary processes in the global north from a metropolitan standpoint and therefore focused more on the social-historical paradigm of mass poverty and anti-imperialist struggles. This implied different ideas of organisation. The divergent points of view no longer led to fruitful discussions, but rather to the dissolution of the editorial board. Appearing after a two-year break with a new design, the final issue (No. 14, ‘Class History – Social Revolution?’) was published in 1985. It contained three separate essays: a historical study of mass poverty and the right of existence; a contribution to reproductive labour (catching up somewhat, since a feminist position had not been able to prevail in the editorial board until then) and a portrayal of the Bretton Woods system as a weapon against the social revolution.
  1. Cf. Ein ganz gewöhnlicher Mordprozess, Berlin 1978
  2. http://www.materialien.org/worldwide/russia/Hartmann_Russ_Revol.pdf; http://www.materialien1917.org
  3. Detlef Hartmann, Leben als Sabotage. Zur Krise der technologischen Gewalt, Tübingen 1981
You find a complete archive of the Autonomie journal via this link.

Samstag, 12. Mai 2018

Jacob Miller - Tenement Yard

Jacob Miller's debut solo album gives one a vivid idea of Miller's standing back in 1978.
The album features classics like "Tenement Yard", "Tired fe Lick Weed in a Bush," and the seminal "Forward Jah Jah Children."

"Roman Soldiers of Babylon" is on a par with these classics, while "Dread, Dread" is nearly of the same caliber.

Yet this is Jacob Miller we're talking about, so there's also lighter material, including the singer's fabulous 1976 Song Festival entry "All Night Til Daylight," the sparkling "Suzie Wong," a chirpy cover of War's smash "Why Can't We Be Friends," and a phenomenal cultural take on Otis Redding's masterpiece "(Sittin' on The) Dock of the Bay."

This album still remains a fabulous introduction to Miller's oeuvre that beautifully showcases Miller's heavier and lighter sides, and for its time it was a revelation.
.
                           
Tracklist
Dreada Dread2:55
Money2:28
Tenament Yard2:35
Suzie Wong2:31
Every Day With You Girl2:15
Dock Of The Bay3:05
Tired Fe Lick Weed In A Bush2:59
Truth Has Come Again2:50
All Night Till Daylight3:15
Forward Jah Jah Children3:13
Why Can't We Be Friends3:30
Roman Soldiers Of Babylon

(192 kbps)

Cedric Myton & Congo - Image Of Africa (1979)


The Congos are a reggae vocal group from Jamaica which formed as the duo "Ashanti" Roy Johnson (tenor) (b. Roydel Johnson, 1947, Hanover, Jamaica) and Cedric Myton (falsetto) (b. 1947, Saint Catherine Parish, Jamaica), later becoming a trio with the addition of Watty Burnett (baritone) (b.early 1950s, Port Antonio, Jamaica) and have been active on and off from the mid-1970s until the present day. They are best known for their "Heart of the Congos" album, recorded with Lee "Scratch" Perry.

"Image Of Africa" by the Congos is seldom heard, but it has great songs, great singing and great playing. The sound is more polished-up and accessible than what you hear on the album "Heart of the Congos", which gets such good press. Still, you'll enjoy a solid roots sound with Cedric Myton's high vocal leading the way. The songs are complex, the musicianship is awesome and it's heavy with grooves


Tracklist:

Only Jah Know
Mister Biggs
Food For The Rainy Day
Sweetest Name
He Is The King
Music Maker
Musical Iration
Stay Alive
Stay Alive Dub

Cedric Myton & Congo - Image Of Africa (1979)
(320 kbps, cover art included)

Sonntag, 6. Mai 2018

The Brother Four - Rally `Round (1960)

The Brothers Four bear a distinction as one of the longest surviving groups of the late-'50s/early-'60s folk revival and perhaps the longest running "accidental" music act in history, without any break and with two original members still in the fold. If few recognize that distinction, then it's because the Brothers Four were also part of a largely forgotten chapter in the history of folk music in America.

Most accounts of the post-WWII folk music boom focus on the political and issue-oriented branch of the music, embodied by Woody Guthrie and Bob Dylan, at the expense of the softer, more entertainment-oriented branch, embodied by the likes of the Kingston Trio, the Chad Mitchell Trio, and The Brothers Four. Those acts and the music they made - though it sold well and, indeed, for many years defined what most Americans visualized when the phrase "folk music" was mentioned - are scarcely mentioned in most histories; The Brothers Four aren't even listed in the Guinness Who's Who of Folk Music.

"Rally 'Round the Brothers Four", the folk quartet's non-charting second album, contains the minor hit "My Tane," sometimes spelled "My Tani," their ill-fated follow-up to "Greenfields." The album contains a typical assortment of seafaring songs, traditional folk songs, and novelties.

Despite the acoustic instrumentation and folk material, the arrangements frequently incorporate pop music devices such as modulating up a semitone or shifting from minor to major keys.

In 1960, commercial folk groups in rapidly increasing numbers were recording many of the same songs, but the Brothers Four at least put their own stamp on tried and true repertoire like "Follow the Drinking Gourd" and "Beneath the Willow." Some of the group's later albums, on which they worked with less obvious material, are superior to the comparatively nondescript "Rally 'Round the Brothers Four".      

Tracklist:
A1Nine Pound Hammer
A2My Tane
A3Beneath The Willow
A4The Gallant Argosy
A5The Proposal
A6Hey Liley, Liley Lo
B1Ellie Lou
B2The Fox
B3Marianne
B4Blue Water Line
B5Follow The Drinkin' Gourd
B6Sally, Don't You Grieve

The Brother Four - Rally `Round (1960)
(256 kbps, cover art included) 

Samstag, 5. Mai 2018

Happy 200th Birthday, Karl Marx!

"The philosophers have only interpreted the world, in various ways. The point, however, is to change it." - Marx/Engels "Theses on Feuerbach" (1845)

On 5 May 1818 the German philosopher, economist, political journalist, revolutionary socialst and society critic Karl Marx was born in Trier. Marx is best known for “The Communist Manifesto” and “Das Kapital”, written in collaboration with Friedrich Engels while in exile in London. The political theory they developed would change the world. Marx's work in economics laid the basis for the current understanding of labor and its relation to capital, and has influenced much of subsequent economic thought.


However, Marx’s foundational analysis of the inequality created through the economics of capitalism remains for millions of people a way of understanding our world, explaining how and why it has changed, and providing the tools to undermine the capitalist class even today. He is not “responsible” for mistakes and atrocities committed in his name after his death.

To celebrate his birthday, here´s  the three-volume "Das Kapital":

Karl Marx - Das Kapital - Band 1 - 3 
(epub, German language)



Donnerstag, 3. Mai 2018

King Tubby´s Studio vs Channel One Studio In Dub

This 70s Aggrovators dub album was produced by Bunny Lee and mixed by King Tubby, Scientist and Crucial Bunny.

Tracklist:
1Channel One Feel This One
2Scientist Mash Up The Boy Crucial Bunny
3Another Extra From The King
4Knock Them Out King Tubby And Scientist
5King Tubby The Dub Ruler
6Introducing Crucial Bunny From Channel One
7Be Channel One Guest
8Straight To King Tubby And Scientist Head
9Strictly Rockers From Channel One
10Special Request More Of King Tubby & Scientist Sound Call Earthquake

(192 kbps, cover art included)

Dienstag, 1. Mai 2018

VA - Gib Bussi (Wiener Lehrlingslieder, 1981)

...and here´s another tribute for todays "International Worker´s Day": The compilation "Gib Bussi", a collection of "Wiener Lehrlingslieder" (Viennese apprenticeship songs), released in 1981 on the Ell-Pie label.

"Gib Bussi" is austrian dialect for "Give me a kiss". Hope you enjoy the wonderful Viennese/Austrian dialect and the political and critical lyrics referring to the exploiting situation of trainees.

Tracklist:

1. Hawedehre Hockn! - ERICH DEMMER
2. Er woa sechzehn - AUFLAUF
3. Mei Hasse und i - HELI DEINBOEK
4. Gib Bussi - REINHARD LIEBE
5. En Lehrbuam sei Hinne - REINHARD LIEBE
6. Ballade von den Pichlinger Lehrlingen - RUDI BURDA
7. (V)erziehungsrock - GEBRÜDER GRIMMIG
8. Freak - GEBRÜDER GRIMMIG
9. Blitzkrieg im Maschinenraum - MINISEX
10. Des is ned nua wos fia de Grossn - LINDE PRELOG
11. Kantinen Blues - ROTER FÄUSTLING
12. Des wa' scho wos! - REINHART SELLNER

A big thank you to the original uploader on WildDevilRules / WhyDoThingsHaveToChange.

VA - Gib Bussi (Wiener Lehrlingslieder, 1981)
(192 kbps, cover art included)

Various Artists - Lehrlinge halten zusammen (Pläne, 1971)

Let us celebrate Labor Day with an album of socialist propaganda songs from 1960s and 1970s West Germany. The compilation "Lehrlinge halten zusammen" ("Apprentices stick together") was released in 1969 on the Pläne label and has never been officially reissued.

Most of the lyrics - by artists like Floh de Cologne, Conrads, Münchner Songgruppe, Interpol and others - are pointing out the exploitation of apprentices by evil capitalists, and the virtues of organized resistance against the system. The back cover contains a summary of Karl Marx's position on the question of youth in capitalistic societies, in six easily digestable points.

Tracklist:
01. Hoch vom Dach - Die Conrads
02. Hallo Stift - Floh de Cologne
03. Schaffen Sie sich einen Lehrling an - Interpol
04. Ballade von den bösen Lehrlingen - Vorschlaghammer
05. Armer Anton - Vorschlaghammer
06. Nach dreissig Jahren - Die Conrads
07. Dick und Doof in der Fabrik - Die Conrads
08. Das Lied vom Nutzen - Dieter Sueverkruep
09. Lehrherr unser - Floh de Cologne
10. Ich bin so gluecklich - Interpol
11. Was ein Lehrling alles lernt - Die Conrads
12. Betriebsgeheimnis - Die Conrads
13. Lehrlings-Machtgebeat - Lerryn Dadazuzu
14. Lehrlingsbilanz - Die Conrads
15. Lehrlinge zusammenhalten - Münchner Songgruppe
16. Wer hat den Lehrling gemacht - Die Conrads
17. Wir werden immer mehr - Floh de Cologne

Various Artists - Lehrlinge halten zusammen (Pläne, 1971)
(192 kbps, cover art included)

Freitag, 27. April 2018

The Black Ark Presents - Rastafari Liveth In The Hearts Of Everyone Itinually

"Rastafari Liveth..." is a very dread collection, with heavy Rasta vibes throughout. Many of these tracks can't be found anywhere else, making this a valuable collection for serious Lee Perry fans. This album follows the pattern of a lot of Lee Perry releases, choosing to chronicle a series of singles and offering first the A, then the B side. The effect is not as mind-numbing and clinical as one might think.

These songs are from the prime of Perry's conscious phase, right during his flirtation with Rastafari. The lyrics are strong and the beats are strident and military, more reminiscent of some of King Tubby's work than a lot of what leaked from The Black Ark. Many of the usual suspects contribute vocals here, including Devon Irons and Watty Burnett.

Highlights include Clive Hylton's meditative "Judgement Day", Devon Irons' heavy duty "When Jah Comes", and the startling "Forward With Jah Orthodox", a menacing nyabinghi number calling for a new order in Jamaica. For those looking for a Lee Perry starting point, there are better records. For the converted, it´s tough to getenough andthis will be a welcome addition to the pile.


Tracklisting:

01. Ethiopian Land - Peter & Paul Lewis
02. Dub Land - The Upsetters
03. Rise And Shine - Watty & Tony
04. Shining Dub - The Upsetters
05. What A War - Watty Burnett
06. What A Dub - The Upsetters
07. 23rd Psalm - Junior Delgado & Big Youth
08. Judgement Day - Clive Hylton
09. Well Judged Dub - The Upsetters
10. Forward With Jah Orthodox - Mystic
11. Orthodox Dub - The Upsetters
12. Come Along - The Bluebells
13. Dub Along - The Upsetters
14. 4 And 20 Dreadlocks - Evan Jones
15. Dreadlocks Dub - The Upsetters
16. When Jah Comes - Devon Irons
17. When Jah Dubs - The Upsetters

The Black Ark Presents - Rastafari Liveth... (192 kbps)

Donnerstag, 26. April 2018

Lee Perry - Black Ark In Dub

Some call him a genius, others claim he's certifiably insane, a madman. Truth is, he's both, but more importantly, Lee Perry is a towering figure in reggae -- a producer, mixer, and songwriter who, along with King Tubby, helped shape the sound of dub and made reggae music such a powerful part of the pop music world. Along with producing some of the most influential acts (Bob Marley & the Wailers and the Congos to name but two) in reggae history, Perry's approach to production and dub mixing was breathtakingly innovative and audacious - no one else sounds like him - and while many claim that King Tubby invented dub, there are just as many who would argue that no one experimented with it or took it further than did Lee Perry.

"Black Ark In Dub" is a fine collection of early Perry dub packaged in what seems to be a semi-legit, bootleg way.

This label seems to be tied in with the French label Lagoon, which has released the Perry-produced Bob Marley session (two CDs, both of them essential). This is a good selection; Perry remixes are typically audacious and crazy, but there's little enclosed information telling you when the tracks were cut. Lack of information is an ongoing problem with Perry releases, since his entire output defies any kind of authoritative historical treatment. Still, this is worthy of your time, even if it doesn't provide the big buzz of some of Perry's other, more far-out experiments.                

Still, this is worthy of your time, even if it doesn't provide the big buzz of some of Perry's other, more far-out experiments.

Lee Perry - Black Ark in Dub
(256 kbps, cover art included)


Montag, 23. April 2018

Mississippi John Hurt - The Best Of (1968)


No blues singer ever presented a more gentle, genial image than Mississippi John Hurt. A guitarist with an extraordinarily lyrical and refined fingerpicking style, he also sang with a warmth unique in the field of blues, and the gospel influence in his music gave it a depth and reflective quality unusual in the field. Coupled with the sheer gratitude and amazement that he felt over having found a mass audience so late in life, and playing concerts in front of thousands of people - for fees that seemed astronomical to a man who had always made music a sideline to his life as a farm laborer - these qualities make Hurt's recordings into a very special listening experience.

This inappropriately titled album is actually a concert recording from a performance at Oberlin College in 1965. Regardless, Hurt's rich, gentle voice and relaxed, flowing guitar lines could soothe the stormiest Monday. Among the hymns and traditional songs heard here are "I Shall Not Be Moved," "Nearer My God to Thee," "Since I've Laid This Burden Down," and "You Are My Sunshine." Complementing those are Hurt folk/blues staples, notably "Monday Morning Blues," "Coffee Blues," and "C.C. Rider." The blues patriarch's warmth and geniality come through here with such emotional intimacy that you can't help being deeply moved. --Genevieve Williams

Tracklist:

Side 1:

1. Here Am I, Oh Lord, Send Me 3:02
2. I Shall Not Be Moved 3:26
3. Nearer My God To Thee 3:04
4. Baby What's Wrong With You 3:35
5. It Ain't Nobody's Business 3:04

Side 2:

1. Salty Dog Blues 2:58
2. Coffee Blues 3:15
3. Avalon, My Home Town 3:41
4. Make Me A Pallet On The Floor 3:45
5. Since I've Laid This Burden Down 3:45

Side 3:

1. Sliding Delta 3:06
2. Monday Morning Blues 3:56
3. Richland Women Blues 4:33
4. Candy Man 3:47
5. Stagolee 4:22

Side 4:

1. My Creole Belle 2:25
2. C.C. Rider 3:59
3. Spanish Fandango 1:05
4. Talking Casey 4:19
5. Chicken 0:54
6. You Are My Sunshine 2:36
.
Mississippi John Hurt - The Best Of (1968)
(256 kbps, cover art included)

Sonntag, 22. April 2018

Dizzy Gillespie - Afro (1955)


Dizzy Gillespie's contributions to jazz were huge. One of the greatest jazz trumpeters of all time (some would say the best), Gillespie was such a complex player that his contemporaries ended up copying Miles Davis and Fats Navarro instead, and it was not until Jon Faddis' emergence in the 1970s that Dizzy's style was successfully recreated. Somehow, Gillespie could make any "wrong" note fit, and harmonically he was ahead of everyone in the 1940s, including Charlie Parker. Unlike Bird, Dizzy was an enthusiastic teacher who wrote down his musical innovations and was eager to explain them to the next generation, thereby insuring that bebop would eventually become the foundation of jazz.

Dizzy Gillespie was also one of the key founders of Afro-Cuban (or Latin) jazz, adding Chano Pozo's conga to his orchestra in 1947, and utilizing complex poly-rhythms early on. The leader of two of the finest big bands in jazz history, Gillespie differed from many in the bop generation by being a masterful showman who could make his music seem both accessible and fun to the audience. With his puffed-out cheeks, bent trumpet (which occurred by accident in the early '50s when a dancer tripped over his horn), and quick wit, Dizzy was a colorful figure to watch. A natural comedian, Gillespie was also a superb scat singer and occasionally played Latin percussion for the fun of it, but it was his trumpet playing and leadership abilities that made him into a jazz giant.

Pairing Dizzy Gillespie with Cuban arranger/composer Chico O'Farrill produced a stunning session which originally made up the first half of a Norgran LP. O'Farrill conducts an expanded orchestra which combines a jazz band with a Latin rhythm section; among the participants in the four-part "Manteca Suite" are trumpeters Quincy Jones and Ernie Royal, trombonist J.J. Johnson, tenor saxophonists Hank Mobley and Lucky Thompson, and conga player Mongo Santamaria.

"Manteca," written during the previous decade, serves as an exciting opening movement, while the next two segments build upon this famous theme, though they are jointly credited to O'Farrill as well. "Rhumba-Finale" is straight-ahead jazz with some delicious solo work by Gillespie. A later small-group session features the trumpeter with an all-Latin rhythm section and flutist Gilberto Valdes, who is heard on "A Night in Tunisia" and "Caravan."


Tracks:01 Manteca Theme
02 Contraste
03 Jungla
04 Rhumba Finale
05 A Night in Tunisisa
06 Con Alma
07 Caravan

Dizzy Gillespie - Afro (1955)
(256 kbps, cover art included)

Don Kosaken - Stenka Rasin (1970)


Stepan (Sten'ka) Timofeyevich Razin (1630 – 1671) was a Cossack leader who led a major uprising against the nobility and Tsar's bureaucracy in South Russia.

Razin originally set out to loot villages, but as he became a symbol of peasant unrest, his movement turned political. Razin wanted to protect the independence of the Cossacks and to protest an increasingly centralized government. The Cossacks supported the tsar and autocracy, but they wanted a tsar that responded to the needs of the people and not just those of the upper class. By destroying and pillaging villages, Razin intended to take power from the government officials and give more autonomy to the peasants. However, Razin’s movement failed and the rebellion led to increased government control. The Cossacks lost some of their autonomy, and the tsar bonded more closely with the upper class because both feared more rebellion. On the other hand, as Avrich asserts, “[Razin’s revolt] awakened, however dimly, the social consciousness of the poor, gave them a new sense of power, and made the upper class tremble for their lives and possessions.”
At the time of the Russian Civil War, the famous writer and White emigre Ivan Bunin compared Razin to Bolshevik leaders, writing "Good God! What striking similarity there is between the time of Sten'ka and the pillaging that is going on today in the name of the 'Third International.'"

Don Cossacks were Cossacks who settled along the middle and lower Don.

This album is a best of compilation of the "Don Kosaken Chor", referring to these historical issues, featuring 15 tracks recorded between 1954 and 1970.

Tracklist:

1. Stenka Rasin 5.25
2. Still ruht der See 2.05
3. Zwei Kosakenlieder 2.09
4. Reitermarsch 2.02
5. Hindulied 3.45
6. Der Kuckuck 2.35
7. Ave Maria 2.59
8. Legende von den 12 Räubern 6.38
9. Matrosenlied 2.17
10. Alter Walzer 5.51
11. Lescinka (Kaukasische Melodie) 3.59
12. Russischer Tanz 1.55
13. Lied vom Terek Fluss 4.33
14. Die Wolga entlang 4.09
15. Guten Abend, gut‘ Nacht 2.10
(256 kbps, small front cover included

Montag, 16. April 2018

Ruth Brown - Black Is Brown And Brown Is Beautiful (1969)

They called Atlantic Records "the house that Ruth built" during the 1950s, and they weren't referring to the Sultan of Swat. Ruth Brown's regal hitmaking reign from 1949 to the close of the '50s helped tremendously to establish the New York label's predominance in the R&B field. Later, the business all but forgot her — she was forced to toil as domestic help for a time — but she returned to the top, her status as a postwar R&B pioneer (and tireless advocate for the rights and royalties of her peers) recognized worldwide.

Young Ruth Weston was inspired initially by jazz chanteuses Sarah Vaughan, Billie Holiday, and Dinah Washington. She ran away from her Portsmouth home in 1945 to hit the road with trumpeter Jimmy Brown, whom she soon married. A month with bandleader Lucky Millinder's orchestra in 1947 ended abruptly in Washington, D.C., when she was canned for delivering a round of drinks to members of the band. Cab Calloway's sister Blanche gave Ruth a gig at her Crystal Caverns nightclub and assumed a managerial role in the young singer's life. DJ Willis Conover dug Brown's act and recommended her to Ahmet Ertegun and Herb Abramson, bosses of a fledgling imprint named Atlantic. Unfortunately, Brown's debut session for the firm was delayed by a nine-month hospital stay caused by a serious auto accident en route to New York that badly injured her leg. When she finally made it to her first date in May 1949, she made up for lost time by waxing the torch ballad "So Long" (backed by guitarist Eddie Condon's band), which proved to be her first hit.

Brown's seductive vocal delivery shone incandescently on her Atlantic smashes "Teardrops in My Eyes" (an R&B chart-topper for 11 weeks in 1950), "I'll Wait for You" and "I Know" in 1951, 1952's "5-10-15 Hours" (another number one rocker), the seminal "(Mama) He Treats Your Daughter Mean" in 1953, and a tender Chuck Willis-penned "Oh What a Dream," and the timely "Mambo Baby" the next year. Along the way, Frankie Laine tagged her "Miss Rhythm" during an engagement in Philly. Brown belted a series of her hits on the groundbreaking TV program Showtime at the Apollo in 1955, exhibiting delicious comic timing while trading sly one-liners with MC Willie Bryant (ironically, ex-husband Jimmy Brown was a member of the show's house band).

After an even two-dozen R&B chart appearances for Atlantic that ended in 1960 with "Don't Deceive Me" (many of them featuring hell-raising tenor sax solos by Willis "Gator" Jackson, who many mistakenly believed to be Brown's husband), Brown faded from view. After raising her two sons and working a nine-to-five job, Brown began to rebuild her musical career in the mid-'70s. Her comedic sense served her well during a TV sitcom stint co-starring with MacLean Stevenson in Hello, Larry, in a meaty role in director John Waters' 1985 sock-hop satire film Hairspray, and her 1989 Broadway starring turn in Black and Blue (which won her a Tony Award).

There were more records for Fantasy in the '80s and '90s (notably 1991's jumping Fine and Mellow), and a lengthy tenure as host of National Public Radio's Harlem Hit Parade and BluesStage. Brown's nine-year ordeal to recoup her share of royalties from all those Atlantic platters led to the formation of the nonprofit Rhythm & Blues Foundation, an organization dedicated to helping others in the same frustrating situation. In 1993 Brown was inducted into the Rock and Roll Hall of Fame and 1995 saw the release of her autobiography, Miss Rhythm. Brown suffered a heart attack and stroke following surgery in October 2006 and never fully recovered, passing on November 17, 2006.

Here´s her 1969 album "Black Is Brown And Brown Is Beautiful".

Tracklist:

A1 Yesterday 4:02
A2 Please Send Me Someone To Love 2:57
A3 Looking Back 4:07
A4 Try Me And See 2:08
B1 Miss Brown's Blues 7:00
B2 My Prayer 3:49
B3 Since I Fell For You 4:57
B4 This Bitter Earth 3:54

Ruth Brown - Black Is Brown And Brown Is Beautiful (1969)
(192 kbps, cover art included)

Dienstag, 3. April 2018

Oliver "Tuku" Mtukudzi - Ndega Zvangu (1997)

Oliver "Tuku" Mtukudzi (born 22 September 1952 in Highfield, Harare) is a Zimbabwean musician, businessman, philanthropist, human rights activist and UNICEF Goodwill Ambassador for Southern Africa Region. Tuku is considered Zimbabwe's most renowned and internationally recognised cultural icon of all time.

Mtukudzi began performing in 1977 when he joined the Wagon Wheels, a band that also featured Thomas Mapfumo. Their single Dzandimomotera went gold and Tuku's first album followed, which was also a major success. Mtukudzi is also a contributor to Mahube, Southern Africa's "supergroup".
With his husky voice, he has become the most recognised voice to emerge from Zimbabwe and onto the international scene and he has earned a devoted following across Africa and beyond. A member of Zimbabwe's KoreKore group, with Nzou Samanyanga as his totem, he sings in the nation's dominant Shona language along with Ndebele and English. He also incorporates elements of different musical traditions, giving his music a distinctive style, known to fans as Tuku Music. Mtukudzi has had a number of tours around the world. He has been on several tours in the UK, US and Canada to perform for large audiences.
Unlike Mapfumo, Mtukudzi has refrained from directly criticising the government of President Robert Mugabe.

According to the sleeve notes, "Ndega Zvangu" means "All Alone" and Mutukudzi is all alone, apart from his acoustic guitar, throughout. This gives a sound completely different from the faster, more percussion-based Zimbabwean music I'd heard before.
Instead, the sound is stripped-down, sometimes melancholy, but always beautiful. The album doesn't suffer from over-polished production, which makes it feel as though Mutukudzi is right there in the room with you. A wonderful album!

Tracklist:
1Cheka Ukama
2Mwana Wamambo
3Andinzwi
4Unodada Nei?
5Chirimundari
6Zivai Nemoyo
7Handiende
8Neria
9Kwawakabva
10Ndima Ndasakura
11Ndakuneta


Oliver "Tuku" Mtukudzi - Ndega Zvangu (1997)
(256 kbps, cover art included)

Jacques Brel - Quand On N'a Que L'amour (1957)

Jacques Brel was on tour when he learned that a song from his most recent EP release, "Quand on N'a Que l'Amour," had hit number three on the French chart. The song fell like a hand grenade into the comfortable world of French pop in the mid-1950s -- not through its sentiments (the best known English version, "If We Only Have Love," is as worthy a translation as any) or through its delivery, but via an almost intangible sense that in Jacques Brel, France had finally been gifted a hero as relevant to its modern culture as Elvis Presley was to America, or Tommy Steele to Britain. Maybe even more so.

Since the release of his debut album, Brel had launched into a period of considerable musical experimentation, pairing himself with a string of different accompanists in an attempt to find that which most suited his material. Neither Michael Legrand nor Andre Popp matched his standards, however, and Brel finally returned to Francois Raubert, with whom he had recorded the earlier mini-hit "Sur la Place." The wisdom of his decision became immediately apparent, as "Quand on N'a Que l'Amour" soared up the chart and work immediately began on completing Brel's next album. "Jacques Brel 2" can scarcely be expected to match up to either the brilliance of his debut or the magnificence of the hit. Acting to strike while the commercial iron was hot, Philips chose to draw its contents from the stockpile of material Brel had recorded over the past two years, ensuring just one other Raubert recording, the initially eerie, and utterly hymn-like "L'Air de la Betise" made the set. Other cuts were drawn from the Popp and Legrand sessions, with the occasionally less-than-sympathetic results Brel had already noted.

Nevertheless, some undisputed masterpieces emerged. "Pardons" is a slight song raised to unexpected heights by its smoky jazz club backing, while "J'en appelle" could easily have competed with the broad pop ballads which would soon be unleashed by the English likes of Billy Fury and Cliff Richard. "La Bourree Du Celibataire," better known to English audiences as "Bachelor's Dance," is a bawdily infectious singalong, while the raw violin which opens "Heureux" elucidates a pain which Brel's haunted delivery stretches to panoramic proportions. The melodic similarity to "Quand on N'a Que l'Amour," incidentally, was surely deliberate, bookending the eight-song heart of the original album release, before the set closed with the only true (but nevertheless enjoyable) throwaway in sight, "Les Bles."                


Tracklist:
01. Quand On N'a Que L'Amour
02. Qu'Avons-Nous Fait Bonnes Gens ?
03. Les Pieds Dans Le Ruisseau
04. Pardons
05. La Bourrée Du Célibataire
06. L'Air De La Bêtise
07. Saint-Pierre
08. J'en Appelle
09. Heureux
10. Les Blés
11. Quand On N'a Que L'Amour


01 to 10: from the album "Quand On N'A Que L'Amour", 1957
11: recorded on January 25th 1960

Jaques Brel - Quand On N'a Que L'amour (1957)
(320 kbps, cover art included)