Samstag, 23. Oktober 2021

Ali Primera ‎– Canción Para Los Valientes - En Solidaridad Con La Resistencia Chilena (1974)

Alí Rafael Primera Rosell (31 October 1941 – 16 February 1985) was a Venezuelan musician, composer, poet, and political activist. He was born in Coro, Falcón State, Venezuela and died in Caracas. He was one of the best known representatives of Nueva canción ("new song") in Venezuela – his songs "condemning exploitation and repression, and celebrating resistance, struck a chord among a wide public," and he is popularly known in Venezuela as El Cantor del Pueblo (The People's Singer). In 2005, the government of Venezuela declared his music to be an example of the national heritage of Venezuela.

Alí Primera was baptized as Rafael Sebastián Primera Rosell by his parents Antonio Primera and Carmen Adela Rossell. He was known as Alí because due to the Arabic background of his grandparents. Living in poverty since childhood, Primera's father, Antonio, died when he was three. Antonio, who served as an official in Coro, died accidentally during a shooting incident that occurred when some prisoners tried to escape from the local prison in 1945. As Primera was still quite young when his father died, he travelled with his mother and two siblings through different towns on the Paraguaná Peninsula, including San José, Caja de Agua (where he graduated from elementary school), Las Piedras and finally La Vela de Coro, located near Punto Fijo. It was in this town that Primera worked a number of odd jobs, from a shoeshiner at the age of 6 to a boxer, due to the miserable conditions his family lived in. These jobs did not, however, discourage him from continuing his studies.

In 1960, Primera and his family left La Vela looking for a better life and moved to Caracas, where he enrolled in the Liceo Caracas in order to complete his education. After he graduated in 1964, he enrolled at the Central University of Venezuela to study Chemistry at the Faculty of Science. While at the university, he started singing and composing music. At first, it was a just a hobby for him, but it gradually came to take up all of his time. His first songs, "Humanidad" and "No basta rezar", the latter of which was presented at the Festival of Protest Songs organized by the Universidad de los Andes in 1967, propelled him to fame.

Between 1969 and 1973, Primera lived in Europe thanks to a scholarship he received in 1968 from the Communist Party of Venezuela to continue his studies in Romania. Once in Europe, he earned a living by washing dishes and occasionally sang in places that respected his work. He recorded his first album "Gente de mi tierra" in a studio in Germany. Primera's compositions talk about the suffering of the people, destroyed by poverty and social inequality. Because of his songs, he quickly made his way into the hearts of the people and soon became known as El Cantor del Pueblo or The People's Singer.

Although workers and oppressed people in Venezuela quickly began to identify with his songs, Ali was the subject of a veto by the media and the government in office in Venezuela due to the radicalism of the subjects exposed in his music. This boycott led him to found his own record label, Cigarrón, to more easily release his music. Cigarrón's commercial distribution was handled by the Promus record company.

After serving in the Communist Youth of Venezuela (Juventud Comunista de Venezuela) and in the Communist Party of Venezuela, Primera participated in the political beginnings of a new party called the Movement for Socialism, working during the first electoral campaign of José Vicente Rangel in 1973. By this time, he was considered one of the most prominent and popular composers in Venezuela and, broadly, Latin America. From 1973 until his death, he recorded 13 full-length albums and participated in numerous festivals throughout Latin America. Among Alí's best known songs are "Paraguaná, paraguanera", "José Leonardo", "Techos de cartón", "Cruz Salmerón Acosta" (dedicated to the Venezuelan poet of the same name), "Reverón" (in memory of the painter Armando Reverón), "Flora y Ceferino", and "Canción mansa para un pueblo bravo ".

Alí played at factories, schools, union buildings, and, frequently, the Aula Magna of the Central University of Venezuela, his alma mater.

Two scholars of the works of Alí Primera, Jesus Franquis and Andrés Castillo, noted that even though his work was considered within the genre of protest songs, which became popular in Venezuela between 1970 and 1980, Primera insisted on always calling his genre "Canción Necesaria" ("necessary songs").

In Barquisimeto Primera met his future wife, Sol Musset, who herself had just won the "La Voz Liceista" contest and who subsequently appeared at the "Los Venezolanos primero" festival in 1977. The couple had five children: María Fernanda and María Angela, now residents in Canada, as well as Sandino, Jorge, Servando, Florentino and Juan Simón.

Primera died in a car accident on 16 February 1985 on the Autopista Valle-Coche in Caracas. Before his death, Alí Primera had begun recording a new album at the end of 1984 that combined the recurring themes of his songs with beats that he had never used before such as the gaita from the Zulia State of Venezuela......


The album "Canción Para Los Valientes" was released in Sweden by the "Svenska Chilekomittén" and in Finland by the "Suomi-Chile-Seura" as "Chile-kampen Går Vidare" and "Chilen Kansa Ei Ole Yksin".

The Svenska Chilekommittén ('Chile Committee') was an organization in Sweden, dedicated to solidarity work with Chile. Chilekommittén was a non-partisan socialist and anti-imperialist movement. It existed in Sweden between 1971 and 1991.


Tracklist:

Canción Para Los Valientes
Solo Para Adultos
Dios Se Lo Cobre
Cunaviche Adentro
Tu Palabra
Mama Pancha
Hacen Mil Hombres
José Leonardo
Los Pies De Mi Niña
Esclavo De Esclavos


Ali Primera ‎– Canción Para Los Valientes - En Solidaridad Con La Resistencia Chilena (1974)
(192 kbps, cover art included)


Freitag, 22. Oktober 2021

Pink Anderson - Ballad And Folksinger, Vol. 3

This release contains what is sadly the final volume in Bluesville's trilogy of long-players featuring the highly original Piedmont blues of Pink Anderson. As with the two previous discs, "Ballad & Folk Singer" was recorded in 1961. It is also notable that Anderson returns to his native South Carolina to document this set. The second installment - "Medicine Show Man" - had been compiled from a New York City session held earlier the same year.

Astute listeners will note that three of the titles - "The Titanic," "John Henry," and "The Wreck of the Old 97" - were duplicated from Anderson's side-long contribution to "Gospel, Blues & Street Songs". The other side featured another Piedmont native, Rev. Gary Davis.

However Anderson's delivery is notably different when comparing the two performances. One of the primary discrepancies lies in the pacing. Here, the readings are more definite and seemingly less rushed. The same is true for the phrasing of Anderson's vocals, most notably on "John Henry." The intricate and somewhat advanced guitar-playing - that became one of Anderson's trademarks - is arguably more pronounced on these recordings as well. Again, "John Henry" displays the picking and strumming techniques that give his decidedly un-amplified vintage Martin acoustic guitar such a full resonance that it practically sounds electric. The instrumental introduction to "Betty and Dupree" exemplifies the walking blues or stride motif particularly evident and notable among Piedmont blues artists. Enthusiasts should also note that in addition to these latter recordings, Anderson also performed on four tracks with his mentor Simmie Dooley in the late '20s for Columbia Records. Those pieces can be found on the compilation "Georgia String Bands (1928-1930)". Anderson actively toured until a debilitating stroke forced him to retire in 1964.

Tracklist:

A1 The Titanic
A2 Boweevil
A3 John Henry
A4 Betty And Dupree
B1 Sugar Babe
B2 The Wreck Of The Old 97
B3 I Will Fly Away
B4 The Kaiser
B5 In The Evening

Pink Anderson - Ballad And Folksinger, Vol. 3
(224 kbps, cover art included)

Kennzeichen D - Gestört (1981)

KZD aka Kennzeichen D was a West-German Punk-band from Lindern - nearby Cloppenburg (a small town in Lower-Saxony) - active between 1979-1981.

The band consisted of Kalle Kamlage (vocals & bass), Peter Niemann (guitar) and Willi Kamlage (drums). The album "Gestört" was released in 1981 on the "Moderne Musik" label. The charming eight-track production contains tracks like "Polizeitsaat" and "Leistungsdruck". All tracks have been recorded live between January 27th and February 2nd 1981 at "Klangwerk Studio" in Lippramsdorf by Jürgen Hesse. Later some guitar & choir dubs have been added. The cover was designed by Clement Hülse

This album is a wonderful example for the great diy-culture of the early punk days. Well worth a listening 40 years later!


Tracklist:

A1 Leistungsdruck
A2 Polizeistaat
A3 Anarchie (So Klappt Das Nie)
A4 Ein Liebeslied
A5 Neonwelt
A6 Gefangen
B1 Fließband-Roboter
B2 Popper Sein
B3 Die Große Freiheit
B4 Vaterland
B5 Ik Mach Di Liern
B6 Angst

(192 kbps, cover art included)

Classic Blues from Smithsonian Folkways

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Starting in the 1940s, Folkways made significant blues recordings, particularly of important artists who might not have had the easiest time getting or keeping contracts with more commercial labels, but still had something to say artistically.
This 26-track compilation assembles material recorded between the 1940s and 1990s that showed up on various Folkways releases. Unfortunately, the liner notes don't name the exact dates of all the recordings, but certainly the substantial majority of them predate 1970. These recordings were targeted toward a somewhat scholarly folk revival audience, and some might find them a little folky and gentle. Electric instruments barely appear at all (with the notable exception of the early Chambers Brothers cut "Oh Baby, You Don't Have to Go"), and there's little that's as rough as the average prewar Delta blues track.


Yet overall, it's a good compilation of many major and minor mid-20th century blues performers and styles. The bigger names include Sonny Terry & Brownie McGhee (whose "Old Jabo," with drums, almost verges on Bo Diddley-styled rock & roll), Reverend Gary Davis (represented by a 1957 version of his famous "Candy Man"), Big Bill Broonzy, Memphis Slim and Willie Dixon (performing together), Lightnin' Hopkins, Leadbelly, Roosevelt Sykes, Son House, Champion Jack Dupree, Elizabeth Cotten, Lonnie Johnson, and Josh White. While acoustic guitar blues (including a field recording of K.C. Douglas' "Mercury Blues," later covered by Steve Miller) gets a fair amount of airtime, so do boogie piano, a cappella singing (Vera Hall), and some actual Delta blues (Son House, from a 1942 field recording).

VA  - Classic Blues From Smithsonian Folkways Recordings
(192 kbps, cover art included)

Freitag, 15. Oktober 2021

Klaus Lenz - Aufbruch (Amiga, 1976)

Klaus Lenz (born March 22, 1940 in Berlin ) is a German jazz musician , band leader and composer, mainly in the modern jazz style . He lived in the GDR until 1977 and is considered the nestor of the GDR jazz scene. Many well-known performers such as Manfred Krug , Günther Fischer , Reinhard Lakomy , Henning Protzmann ( Karat ) , Günter "Baby" Sommer and Ulrich Gumpert learned the musical craft from him and recorded successful albums with him. Klaus Lenz played with constantly changing line-ups, a testament to his constant search for new musical forms of expression. With every formation he achieved a high standard. In addition to his engagement as a jazz musician, he composed in the pop area, he arranged for well-known orchestras and wrote film and theater music, including for the DEFA films Wedding Night in the Rain (1967), Käuzchenkuhle (1968), Not with me, Madam! (1969), Sleeping Beauty (1970), Hey, You! (1970) and Stülpner legend (1972/1973).

"Aufbruch" which - almost anticipatingly - means "departure" would be that last album East German jazz giant Klaus Lenz could publish in his home country. Due to problems with the authority he left East Germany in 1977 and settled down in the western part of Germany where he would record only two more albums (both with another giant, Zbigniew Namyslowski). 

Around 1980 he completely retired from the music scene to earn his living as conservator. A tragic loss for German jazz if you ask me, the man was just 40 years old then. It was a big surprise when Lenz returned in 2010 for some concerts with his old buddies. A CD of these concerts which is said to be pretty fine has been released.


Tracklist:

01. Blow out (4:56)
02. Balkantanz (7:00)
03. Aufbruch (7:50)
04. Hallo Igor (12:25)
05. Ballade für zwei (5:25)

(320 kbps, cover art included)

Donnerstag, 14. Oktober 2021

Gerulf Pannach & Christian Kunert - Sanger Mot Rädslan - Förbjudna sanger fràn Ost-Tyskland - Lieder Gegen Die Angst - verbotene Lieder aus der DDR (Oktober,1979)

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Wolf Biermann, who succeeds in fusing his iconoclastic attacks on authoritarianism, bureaucracy, and militarism with infectious enthusiasm and pathos, making effective use of humour, blunt language, and simple imagery, founded the tradition of "Liedermacher", or political song writers and performers, in the GDR, to which Gerulf Pannach and Christian Kunert (members of the Klaus-Renft-Kombo, which performed Rhythm and Blues with critical texts in the early 1970s), Bettina Wegner, and Katharina Thalheim belonged. These singers, whose texts touched on sensitive political issues, had a significant following in the GDR, though they were often subjected to restrictions and more often than not ended up in the West.

This is a live recording of a concert Pannach & Kunert played on May 13,1978, in the old brewery Örebro in Sweden.



Tracklist:

Side A:

01 Für uns, die wir noch hoffen
02 Marsch eines Gefangenen auf schwankenden Füßen
03 Lied vom FDJ-Funktionär Eckehard Langnäsa
04 Wie konnt ich
05 Gegen die Angst
06 Gefängnislied
07 Und das ist schade
08 Vom Rot das brennt

Side B:

09 Überholen ohne einzuholen
10 Lied von Antonia
11 Ballade vom Kameramann
12 Soldat auf Urlaub
13 Vom Vertrauensmann, der kein Vertrauen hat
14 Dein Weg bleibt dein Weg
15 Über den Frieden


Gerulf Pannach & Christian Kunert - Lieder gegen die Angst - verbotene Lieder aus der DDR (Oktober,1979)
(320 kbps, cover art included)

Pannach, Fuchs & Kunert - Für uns, die wir noch hoffen (1977, vinyl rip)

Jürgen Fuchs (19 December 1950 - 9 May 1999) was an East German writer and dissident. He was born in Reichenbach (Vogtland) where he also grew up. After his military service he began to study social psychology at the University of Jena in 1971. In 1973, he joined the Socialist Unity Party of Germany (SED), the ruling party of East Germany in order to study the system from inside. At the same time he started publishing dissident poems and prose. This led to his forceful disenrollment from the university shortly before graduation and his expulsion from the Socialist Unity Party of Germany in 1975.

Fuchs married his wife Lieselotte in 1974. His daughter Lili was born in 1975 in Jena. In the summer of 1975 the family moved to Berlin where Fuchs became a social worker in a church charity, one of the few work options for a political dissident. Following his protest against the deprivation of East German citizenship of Wolf Biermann, he was arrested November 19, 1976. Fuchs spent 9 months in prison of the East German secret service "Stasi" in Berlin-Hohenschönhausen (but he was not sentenced until 1982). Following internation protests, Fuchs was released from prison and deported to West Berlin together with his family in August 1977.

After his arrival in West Berlin, he published protocols of his detention and he continued to be a target for the Stasi. In the early 1980s, Fuchs became involved in the peace movement. After the opening of the Berlin wall in 1989 and German unification in 1990, Fuchs was an activist in the clarification of the Stasi crimes.

He died of plasmacytoma, a rare kind of leukemia in 1999 in Berlin. His disease might have been caused by deliberate radioactive contamination by the Stasi during his imprisonment.

Born on June 24th, 1948 Gerulf Pannach became a highly influential German singer-songwriter and lyricist. In the early 1970's he worked together with the Klaus Renft Combo. Since 1972 he would work as a freelancer. In 1974 he began working together with Christian Kunert, a band member of Klaus Renft Combo too. After they were stage banned they performed occasional unofficially together with the dissident and poet Juergen Fuchs.

Viewing the expatriation of Wolf Biermann as an encroachment on their artistic freedom, twelve GDR writers expressed their solidarity with Biermann in an open letter on November 17, 1976. Among them were Stephan Hermlin, Stefan Heym, and Christa Wolf. Over the next few days, they were joined by over a hundred other artists, including writer Jürgen Fuchs and musicians Gerulf Pannach and Christian Kunert. Pannach and Kunert were members of the “Renft-Combo,” a group that had been banned since September 22, 1975, for writing texts critical of the regime. Fuchs was arrested on November 19, 1976; Pannach and Kunert were arrested on November 21, 1976. The three men were deported to West Berlin nine months later.

This album was released in 1977 by CBS in West Germany. It´s a recording of an unofficial concert with a small circle of friends in Leipzig, October 17, 1976. The Stasi observed the concert, the technical conditions for the recording were more than bad.Tracklist:

1. Überholen ohne einzuholen - Pannach
2. Das Erwachen (Prosa) - Jürgen Fuchs
3. Ballade vom schlechten Schlaf - Pannach
4. Eintragung 14. Februar (Prosa) - Fuchs
5. Zitat I - Fuchs
6. Eintragung 1. Juli I-III (Prosa) - Fuchs
7. Vom Vertrauensmann, der kein Vertrauen hat - Pannach
8. Eintragung 1. Juli, IV - Fuchs
9. Zitat II - Fuchs
10. Glaubensfragen - Kunert
11. Der Frühsport - Fuchs
12. Frage - Fuchs
13. Der Friseur - Fuchs
14. Friedenslied - Pannach
15. Du stehst an der Strasse - Fuchs
16. Vom Rot, das brennt - Pannach
17. Die jenischen Berge - Fuchs
18. Westberlin-Steglitz, Zitat - Fuchs
19. Gegen die Angst - Pannach
20. Der Stuhl - Fuchs
21. Für uns, die wir noch hoffen - Pannach




This photo shows (from left to right) Christian Kunert, Gerulf Pannach, Wolf Biermann, and Jürgen Fuchs in West Berlin in August 1977. Photo by Johanna Guschlbauer.

Pannach, Fuchs & Kunert - Für uns, die wir noch hoffen (1977, vinyl rip)
(ca. 244 kbps, cover included)

Hanns Eisler / Bertolt Brecht - Collaboration

This Tomato release from 1981 features collaborations between Hanns Eisler and Bertolt Brecht sung by Sylvia Anders, a german actress and musical comedy star, daughter of the famous tenor Peter Anders, who is at the forefront of the current trend toward revival of the traditional german cabaret.

Sylvia Anders acting and colloquial delivery of the words are so strong that it´s easy to overlook her accomplished classical musicianship and vocal technique in “Failure in Loving” and the melodically very difficult “Hollywood Elegies”. She sings in English; clearly it´s not a language she uses every day, but it brings these songs to a broader audience. Her accent and authentic german cabaret style help place Eisler´s work in its historical context.

The accompaniments, originally for piano or chamber ensemble, are played sometimes on piano, sometimes on a synthesizer, and sometimes by the guitar, vibraphone, bass and keyboard of the Stephen Roane Quartet, in jazz arrangements by Justus Noll (a german theatre composer) and by Heiner Stadler, the producer of the record and an accomplished jazz composer in his own right.
It my be surprising to hear something as straight-forward as the “Solidarity Song” accompanied by one of the most elaborate jazz arrangements of all, but on the other hand Eisler – who knew that music menat for pracitcal use must often be rearranged to suit new situations – might have found that the fresh musical ambience gives his familiar melodies a new edge.

Hanns Eisler / Bertolt Brecht Collaboration (new link)
(192 kbps, ca. 60 MB)

Pannach & Kunert - Fluche, Seele, fluche (1981)



Christian "Kuno" Kunert was part of the East German rock legend "Klaus Renft Combo" (or just "RENFT"), the songwriter and rock lyricist Gerulf Pannach was a companion of the band. Their rebellious attitude and "decadent" lifestyle was another thorn in the side of the East German officials. "Renft" was banned from stage for lifetime and declared "non-existent" in September 1975.

As Klaus Jentzsch, founder of the "Klaus Renft Combo", has left the GDR to West-Berlin with his Greek wife in 1976, Christian Kunert and Gerulf Pannach started a folk-duo called "Pannach & Kunert". After a few illegal peformances they were arrested and imprisoned together with writer Jürgen Fuchs for nine months until they were ransomed by the West German Government. They were forced to leave the GDR against their will. "Pannach & Kunert" enjoyed some moderate success in West Berlin.

"Fluche, Seele, fluche" is a wonderful album and a fine example for those critical german artists getting caught between the fronts of the cold war and suffering under their German-German exile:

„Ob im Osten oder Westen
wo man ist, ist´s nie am besten
suche, Seele suche
fluche, Seele, fluche.“

(Gerulf Pannach, inspired by "Weiter immer weiter", written by Erich Mühsam)

Pannach & Kunert - Fluche Seele Fluche (1981)
(256 kbps, cover art included)

Hans-A-Plast - Ausradiert (1983)


Hans-A-Plast was one of the most successful early German punk bands, one of the first featuring a female singer.

After playing on several early festivals in Hamburg and Berlin, the self-released debut "Hans-a-plast" appeared 1979 and was very successful. It sold so well that the major labels, who had dropped punk after the first unsuccessful German "punk" albums in 1977/78, got interested again. Members of Hans-a-plast founded the "No Fun" label in 1980, were they also released the follow-up "Hans-a-plast 2".
After constant touring, their third and last album "Ausradiert" was released in 1983, again critically acclaimed, but this time without much success - at that time, the pop side of NDW had already won.

Hans-A-Plast - Ausradiert (1983)
(192 kbps, cover art incuded)

Pannach & Kunert - Gib mir `ne Hand voll Glück - Live 1977 - 1993

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"Gib mir 'ne Hand voll Glück" is a collection of live recordings and rare songs by Gerulf Pannach and Christian Kunert, recorded between 1977 and 1993. This album was released in 2000 on the Buschfunk label.

Gerulf Panach was born in 1948 in Arnsdorf near Dresden and began by studying law. After discontinuing his studies, he took part in the songwriting movement and was in various music groups. As the keyboardist in the GDR’s extremely popular music group "Klaus Renft Combo," he wrote many lyrics that expressed criticism of the SED from the early 1970s. In 1975, the group was banned from performing, which was personally endorsed by the State and Party chief of East Germany, Erich Honecker.

Along with the “Renft” musicians Christian Kunert and Thomas Schoppe and writer Jürgen Fuchs, Pannach continued to write songs in secret. In an attempt to intimidate the protest movement against Wolf Biermann's expatriation, the Ministry for State Security (Stasi) arrested them in November 1976. After eight months of detention in the prison at Berlin-Hohenschönhausen, they were deported to West Germany.

There, Pannach and Kunert played as a duo and recorded five albums. After the fall of the Berlin Wall in November 1989, Pannach performed as the newly-formed Renft group. As a lyricist, he also collaborated with the Puhdys and Veronica Fischer. Pannach died of kidney cancer in Berlin in 1998. Due to his premature death, suspicions were raised that the Stasi had exposed prominent dissidents in the GDR, intentionally or unintentionally, to radioactive rays.

Tracklist:

1. Cool sein
2. Sonne wie ein Clown
3. Berlin, dein Winter ist kein Spaß
4. Bockwurst Broadway
5. Dann verfluch nicht den Wind
6. Rum mit Tee
7. Du Sabine
8. Easy Rider (Pretty Woman guck nich so)
9. Einmal
10. Ich bin der Wind
11. Lucie von der Waterkant
12. Berlin-Song
13. Komm
14. Wenn du (k)einen Freund hast
15. Fluche Seele Fluche
16. Dududub (Der Ost-Berliner)
17. Sturm- und Windwalzer
18. Sonntag um drei
19. Trommellied
20. Wir sind nicht mehr wir selber
21. Zwischen Liebe und Zorn
22. Dein Weg bleibt dein Weg
23. The day they took the wall away
24. Für uns, die wir noch hoffen
25. Bäng, Bäng

Pannach & Kunert - Gib mir `ne Hand voll Glück - Live 1977 - 1993
(256 kbps, cover art included)

Material - Seven Souls (1989)

Bill Laswell's Material project has epitomized the concept of "fusion music" for well over two decades now. Material is a melting pot of styles, sounds, and substance-a confluence of rock, gut bucket funk, avant jazz, electronic interfacing, steel-wheel manipulation, and experimentally minded underpinnings. Material quietly makes the necessary musical statement every few years, galvanizing the air about it, then moving on.

SEVEN SOULS was originally released in 1987 and turned a few heads even then. Material's provocative late-'80s missive seems to resonate even more brutally today. William Burroughs' spoken text, his trademark vocal gravel croaking over a funk of molasses-thick bass, chirping electronics, abstract white noise, stinging guitars, and massed ethnic percussion, serves to offer up a rationale of post-modern sense in an increasingly convoluted world. Musically, Material has never sounded tighter, leaner, or meaner. Soul killer, stereo killer, mind-smelter-if the road to the Western lands leads to music this good, pay the man his toll, and get on to it.

Tracklist:

Ineffect 7:34
Seven Souls 5:42
Soul Killer 4:32
The Western Lands 6:54
Deliver 5:48
Equation 5:06
The End Of Words 5:06

Material - Seven Souls (1989)
(320 kbps, cover art included)

Pannach & Kunert - Pretty Woman guck nicht so (1991)

The folk/blues duo Pannach und Kunert was formed by the two former Klaus Renft Combo members Christian Kunert and Gerulf Pannach.

Born on June 24th, 1948 Gerulf Pannach became a highly influential German singer-songwriter and lyricist. In the early 1970's he worked together with the Klaus Renft Combo. Since 1972 he would work as a freelancer. In 1974 he began working together with Christian Kunert, a band member of Klaus Renft Combo too.

After they were stage banned they performed occasional unofficially together with the dissident and poet Juergen Fuchs. In november 1976 they were arrested in the Stasi-remand prison Berlin-Hohenschoenhausen. In 1977 Gerulf and friends were banished from former GDR to Berlin (West). In the aftermath he worked there together with Wolf Biermann, worked as lyricist for other musicians and performed together with Christian Kunert. He died on May 3rd, 1998.

"Prette Woman guck nicht so" was recorded live at Flöz (Berlin) on March 24, 1991.

Tracks:
1.Gut gut gut
2.Sonntag um drei
3.Gabi
4.Miese Story
5.U-Bahn
6.Whisky Blues
7.Easy Rider
8.Cool sein
9.Sonny Terry und Brownie McGhee
10.Platz der Luftbrücke
11.Tiefflieger
12.Ha!
13.Osnabrück
14.Leichenlied
15.Herrlich ist die Welt
16.Bäng, bäng
17.Eberhard

Pannach & Kunert - Pretty Woman guck nicht so (1991)
(320 kbps, cover art included)

Dienstag, 12. Oktober 2021

Richie Havens - My Own Way (1967 / 2012)

In 1967, producer Alan Douglas heard some tapes of solo performances by Richie Havens. In Douglas' own words, as taken from a note on the back cover of this reissue, "We decided that a solo recording was just too difficult to compete in the exploding record market...So we went back to the studio and overdubbed musical backgrounds onto Richie's solo sessions." The results yielded two albums on his own Douglas label, "Electric Havens", and "Richie Havens Record", issued at a time when the singer was reaching much bigger audiences with Verve albums conceived with full-band arrangements from the start. "My Own Way" is a 14-song CD compilation of material from those Douglas LPs, and is flawed in several crucial respects. True, Havens' performances -- largely of traditional or traditional-oriented folk and blues material, though there are more contemporary items like Ray Charles' "Drown in My Own Tears" and Fred Neil's "The Bag I'm In" -- are OK, and characteristic of the style with which Richie came to prominence. However, the overdubs are sometimes notably out of sync with the original contents, smacking of a hurried rush to exploit the folk-rock sound. Even the liner notes concede Douglas' additions were done "to the great displeasure of purists everywhere," and though they're not nearly as controversial or well-known as the posthumous overdubs he laid on some Jimi Hendrix tapes, they can likewise be criticized for insensitivity.

Even if one takes the attitude that the Douglas productions are nonetheless of historical interest, this CD blows an opportunity to gather all of the material in one place, by including only 14 of the 18 tracks from the original LPs. "I'm a Stranger Here" (from Electric Havens) and "I'm Gonna Make You Glad," "It Hurts Me," and "I'm on My Way" (from Richie Havens Record) are all missing, even though there was ample room for their inclusion on the CD, which runs 51 minutes. As another annoyance, there are no songwriting credits. If you do need to find these tracks for their historical interest, it's still preferable to hear them in their entirety than in this slightly abridged and unsatisfactorily packaged version. - www.allmusic.com

Tracklist:

1 C.C. Rider 3:20
2 Oxford Town 3:19
3 Norah's Dove 3:37
4 9000 Miles From Home 3:44
5 Shadow Town 3:55
6 3:10 To Yuma 3:18
7 The Bag I'm In 3:46
8 Drown In My Own Tears 4:20
9 Down In The Valley 4:03
10 Chain Gang 2:49
11 Babe, I'm Leaving 4:36
12 Daddy Roll 'Em 2:40
13 Boots & Spanish Leather 5:38
14 My Own Way 2:11

Richie Havens - My Own Way
(320 kbps, cover art included)

Montag, 11. Oktober 2021

Ernst Busch - Kennst Du das Land, wo die Kanonen blühen (Erich Kästner)


Erich Kästner (1899-1974) is still one of the best known and most popular authors in the German-speaking world, but he is not very well known elsewhere. Even in German Europe, Kästner is primarily known as the author of highly amusing works for children, although his body of work includes a great variety of more serious material, including dramas, essays, screenplays, novels, and poetry.

Born in Dresden in 1899, Erich Kästner attended school there from 1906 until 1917. That year he began military service and after 1918 completed secondary school at Dresden's König Georg-Gymnasium. He began his university studies in Leipzig (German, history, philosophy, history of the theater) and had already begun publishing some newspaper pieces by 1920. In 1922 he began working at the Neue Leipziger Zeitung (newspaper). By 1927 Kästner was a theater critic in Berlin, where he lived and worked until after World War II.

Kästner's first big writing breakthrough came with the publication of Emil und die Detektive in 1928. This children's adventure tale, set in Berlin, has been a timeless, perennial favorite - filmed over the years no less than five times in various productions in English and German. Part of its appeal comes from Kästner's tendency to give the children in his stories strong character and virtues. Although this may at times create a certain lack of realism, Kästner always treats his child characters like adults, even as they remain childlike.

Although Kästner gave several reasons and even wrote an essay on the subject, no one is really sure why he remained in Germany following the Nazi rise to power. Naturally, he was criticized for this, in particular for his work at UFA on the Nazi-sponsored "Münchhausen" film. (He probably accepted that job because his income was severely limited by Nazi restrictions, but the circumstances have never been entirely clear.) Nevertheless, no one would claim that Kästner had any Nazi sympathies. On May 10, 1933 the author had the unique experience of watching his own books burned by the Nazis in Berlin. All of the other authors whose books went up in flames that night had already left Germany far behind. Later Kästner would be twice arrested and held by the Gestapo (in 1934 and 1937). It is uncertain whether he had any Jewish background or not.

In any event, under the Third Reich Kästner was forced to publish outside of Germany - until he was later restricted from publishing anywhere at all. During this period several of his works appeared under Switzerland's Atrium-Verlag imprint. These included his poems in "Doktor Erich Kästners lyrische Hausapotheke" (1936), several children's books and three novels: Drei Männer im Schnee (1934), Die verschwundene Miniatur (1935), and Georg und die Zwischenfälle (1938), later entitled Der kleine Grenzverkehr.

His output after the war rarely matched the force of his earlier work, and although he did publish some works that reflected his wartime experiences - "Die Schule der Diktatoren" (1956) and the journal "Notabene 45" (1961) among them, he never did publish the "big novel" that he had promised as part of his justification for remaining in Nazi Germany. But all was not well with the author. In the early 1960s he spent time in a Swiss sanatorium, although he continued to write and serve as the honorary president of the German authors group known as PEN.

The EP "Kennst Du das Land, wo die Kanonen blühen" was released in 1968 together with a book in the Eulenspiegel Verlag, featuring interpretations by the wonderful Ernst Busch.

Tracklist:

A1: Kennst du das Land, wo die Kanonen blühen? (Adolf Fritz Guhl, Klavier)
A2: Die Tretmühle (Instrumentalgruppe, Leitung: Adolf Fritz Guhl)
A3: Fantasie von übermorgen (Instrumentalgruppe, Leitung: Adolf Fritz Guhl)
B1: Dem Revolutionär Jesus zum Geburtstag (Adolf Fritz Guhl, Orgel)
B2: Stimmen aus dem Massengrab (Instrumentalgruppe, Leitung: Adolf Fritz Guhl)
B3: Die andere Möglichkeit (Peter Gotthardt, Klavier)

"Kennst Du das Land, wo die Kanonen blühn
Kennst Du das Land, wo die Kanonen blühn?
Du kennst es nicht? Du wirst es kennenlernen!
Dort stehn die Prokuristen stolz und kühn
in den Büros, als wären es Kasernen.
Dort wachsen unterm Schlips Gefreitenknöpfe.
Und unsichtbare Helme trägt man dort.
Gesichter hat man dort, doch keine Köpfe.
Und wer zu Bett geht, pflanzt sich auch schon fort!
Wenn dort ein Vorgesetzter etwas will
- und es ist sein Beruf etwas zu wollen -
steht der Verstand erst stramm und zweitens still.
Die Augen rechts! Und mit dem Rückgrat rollen!
Die Kinder kommen dort mit kleinen Sporen
und mit gezognem Scheitel auf die Welt.
Dort wird man nicht als Zivilist geboren.
Dort wird befördert, wer die Schnauze hält.
Kennst Du das Land? Es könnte glücklich sein.
Es könnte glücklich sein und glücklich machen?
Dort gibt es Äcker, Kohle, Stahl und Stein
und Fleiß und Kraft und andre schöne Sachen.
Selbst Geist und Güte gibt´s dort dann und wann!
Und wahres Heldentum. Doch nicht bei vielen.
Dort steckt ein Kind in jedem zweiten Mann.
Das will mit Bleisoldaten spielen.
Dort reift die Freiheit nicht. Dort bleibt sie grün.
Was man auch baut - es werden stets Kasernen.
Kennst Du das Land, wo die Kanonen blühn?
Du kennst es nicht? Du wirst es kennenlernen!"
Erich Kaestner (1899-1974)

Ernst Busch - Kennst Du das Land, wo die Kanonen blühen (Erich Kästner)
(320 kbps, cover art included)

Gina Pietsch, Jürgen Kupke, Hannes Zerbe - Brecht - Alles wandelt sich


Alles wandelt sich

Alles wandelt sich. Neu beginnen
Kannst du mit dem letzten Atemzug.
Aber was geschehen ist, ist geschehen. Und das Wasser
Das du in den Wein gössest, kannst du
Nicht mehr herausschütten.
Was geschehen ist, ist geschehen. Das Wasser
Das du in den Wein gössest, kannst du
Nicht mehr herausschütten, aber Alles
wandelt sich. Neu beginnen Kannst du
mit dem letzten Atemzug.

 
Gina Pietsch, born Juli 22, 1946, is a german singer and actress. She was a member of the "Oktoberclub" and was later part of the group "Jahrgang 49". She studied German and music at the Karl Marx University in Leipzig . At the Hochschule für Musik "Hanns Eisler" in Berlin she sudied chanson in the class of Gisela May. At the Hochschule für Schauspielkunst "Ernst Busch" i Berlin she studied acting, besides others with Ekkehard Schall as her teacher.

Gina Pietsch took part in numerous radio and television productions. In 1973 she released togethr with Gerry Wolff the album "He hör mal zu - Lieder des anderen Amerika" ("Hey listen to me - songs of the other America") ​​on the Amiga label. In the following years she played at  many theatres. Literary and musical recitals based on texts by Brecht, Goethe, Heine, Bachmann and Brown and evenings on Helene Weigel, Mikis Theodorakis and Rosa Luxemburg are part of her repertoire.  Since 1992, G. Pietsch is lecturer in singing and interpretation at the "Hochschule für Schaupiekunst Ernst Busch" in Berlin. Since 2009 she is involved politically in the Vereiniung der Verfolgten des Naziregimes -Bund der Antifaschistinnen und Antifaschiten ("Association of Victims of the Nazi Regime - Federation of anti-fascists").
Here is a 1991 recording of Brecht texts accompanied by Hannes Zebe (piano, keyboard) and Jürgen Kupke (clarinet).
 

(256 kbps, cover art included)

Samstag, 9. Oktober 2021

Hans-A-Plast - Sex Sex Sex EP (1981)

Here are our heroes from Hannover, Hans-A-Plast, with their EP "Sex Sex Sex", released in 1981 on the No Fun label, containing the tracks "Sex Sex Sex" and "Barfuss in Scherben / Lemminger Punks".

Tracklist:
A: Sex Sex Sex
B: Lemminger Punks

Hans-A-Plast - Sex Sex Sex EP (1981)
(320 kbps, cover art included)

Barry McGuire - Star Folk (1965, 2007)

Barry McGuire (born October 15, 1935) is an American singer-songwriter, primarily known for his 1965 hit "Eve of Destruction".

The compilation "Star Folk" is a totally unexpected find from out of left field in just about every way that it's possible for a compact disc to be, in part because it's not really (or entirely) a Barry McGuire release. If you look closely, it's by "Barry McGuire (and the stars from the New Christy Minstrels)," but it's not a New Christy Minstrels collection, either. For starters, this is a folk revival CD from a reissue label (RPM) that's hardly known for its commitment to the latter musical genre -- in terms of content, this CD might have seemed more likely coming out of Sundazed or Rhino. For another, it is, indeed, folk music -- Barry McGuire as a solo artist is most closely associated with either the folk-rock sounds of "Eve of Destruction" or the religious music of his later career, but this is from earlier than either of those periods. And finally, it isn't entirely a Barry McGuire collection, though he is the dominant and most prominent personality on it. Rather, this 24-song collection is made up of the releases of Horizon Records, a small label owned by West Coast folk music impresario Dave Hubert, who had the foresight to record McGuire, Karen Gunderson, Art Podell, Paul Potash, and Barry Kane -- all future members of the New Christy Minstrels -- in various solo and ensemble settings (sometimes in association with Rod McKuen, leading an impromptu gathering of folkies called the Keytones). The result is amazingly close to what the New Christy Minstrels created, especially on numbers such as "Town and Country," the haunting "So Long, Stay Well," "Midnight Train" (the latter actually done by the Sherwood Singers, featuring Gunderson), and "Gold Wedding Ring." In terms of the listening, it amounts to a lost treasure trove of Christys-style music, originally issued on the Ember label under the generic "Star Folk" name, and in stunning sound. Indeed, one would very much want to hear more of the Sherwood Singers, based on their material represented here, but no fan of the Christys is going to complain about this collection. The McGuire material is very solid and a good rival for his best work with the New Christy Minstrels, and shows off that stunning voice in its youthful glory to magnificent effect, and one can hardly complain about the guitar and banjo accompaniments. The annotation by Peter Doggett does a fair job of sorting out the varying origins of the 24 songs.


Tracklist:

1 Greenback Dollar
2 Doo Dah
3 Jelly Coal Man
4 Old Paint
5 Love Song
6 Good Times Is All Done Now
7 The Banjo Song
8 Town And Country
9 So Long, Stay Well
10 Midnight Train
11 Gold Wedding Ring
12 One By One
13 Oh, Miss Mary
14 Another Country
15 You Know My Name
16 The Way You Are
17 The First Time
18 Hush A Bye
19 Fireball Mail
20 Another Man
21 Jump Down, Turn Around
22 Little Boy
23 Far Side Of The Hill
24 Puff The Magic Dragon

(320 kbps, cover art included)

Freitag, 8. Oktober 2021

Hans-A-Plast - Hans-A-Plast (1979)

Let´s go one more step back in the Hans-A-Plast history:
 
Hans-A-Plast was a punk band from Hannover, Germany, founded in 1978.

Here´s their self-released debut "Hans-a-plast", which appeared 1979 and was very successful. Great lyrics, great female voice!

Tracklist:

Rock'N Roll Freitag 1:29
Lederhosentyp 2:02
Für 'Ne Frau 1:57
Monopoli 2:00
Teenage Traum 2:50
Rank Xerox 2:37
Es Brennt 4:03
Starfighter 2:43
Polizeiknüppel 2:53
Man Of Stone 2:22
Amerikaner 4:00
Hau Ab Du Stinkst 2:44
(320 kbps, cover art included)

Freitag, 1. Oktober 2021

VA - HanNOver Fun FUN Fun (1980, No Fun)

In 1979 Hans-A-Plast, one of the many flowers of the Hanoverian punk scene, had recorded their first LP, which sold surprisingly in the same year several thousand units. So much success, of course, called the record industry to the plan, but the band formed along with the fanzine maker Hollow Skai in Hannover, the NO FUN label in 1980.

One of the first own actions would have been the recording of the second "No Fun Festival", this show took place on 7 and 8 March 1980 in UJZ Glocksee, Hannover with about 2000 people. However, 11 bands made it to Glocksee-stage .The highlights of these performances were in total for the proposed sampler. Surprisingly was the performance of the 39 Clocks on it not on the tape, so that this project went into the studio and recorded their contribution - borrowed -because of the live atmosphere - the approval of Hans-A-Plast. Hollow Skai rightly observed in the detailed booklet of this CD, that for every taste, at least one new wave band was there - a musical in this latitude unprecedented event in Hannover!Even thirty years after the occurrence of this concert, you can feel the special mood of this music.
This album is a musical document from the early days of the German punk and new wave.


Tracklist:

–Splizz - Tripping On Minster Beach (GB) / Private Keep Out 6:02
–Cretins - Dachau-Disco 3:09
–Der Moderne Man - Das Disco-Lied 4:43
–The 39 Clocks - 39 Explosion Heats 3:30
–Hans-A-Plast - Amerikaner 4:04
–Rosa - De Sade War Hart 3:37
–Daily Terror - Andere Zeiten 4:01
–Daily Terror - Schmutzige Küsse 1:38
–Schwanzkann's - Ich Und Mein Schwanz 2:25
–Kaltwetterfront - Disco Boy 3:09
–Phosphor - Wald 2:03
–Rotzkotz - No Name 3:22


VA - HanNOver Fun FUN Fun (1980, No Fun)
(320 kbps, cover art included)