Mittwoch, 9. Oktober 2019

Wolf Biermann ‎- Chile (Ballade Vom Kameramann) / Comandante Che Guevara (Single, 1973)

The poet and singer Wolf Biermann moved as a 17-year-old from the Federal Republic to the GDR in 1953. His unccompromisingly critical songs and poetry led in 1965 to a long period of exclusion from the GDR´s officially promoted culture, but he continued to write, perform, and even record his songs at his home in East Berlin´s Chausseestraße.

His apartment became the meeting-place for critical writers and thinkers, like the poets Helga Novak and Sarah Kirsch, the prominent dissident Robert Havemann, the poet and essayist Rainer Kirsch, the poet Kurt Bartsch, and the novelist Fritz Rudolf Fries. In 1976 Biermann was expatriated during an officially approved concert tour in the Federal Republic.

The unusual degree of unrest which this produced among GDR intellectuals led many to leave the GDR for the West, among them Sarah Kirsch and Kurt Bartsch.


Tracklist:

A Chile (Ballade Vom Kameramann) 4:00
B Comandante Che Guevara 3:27


Wolf Biermann ‎- Chile (Ballade Vom Kameramann) / Comandante Che Guevara (Single, 1973)

(192 kbps, cover art included)

Ernst Busch - Vorwärts und nicht vergessen - Ernst Busch singt Lieder der Arbeiterklasse

Originally posted in March 2015:
Yesterday I had the chance to listen to a lecture by Rudolf Lukowsky, a good friend and collegue of Ernst Busch. The 88 years old componist and musician talked about his collaboration with Ernst Busch.This album is a private collection of Ernst Busch recordings, compiled by Rudolf Lukowksy. Most of the recordings on this album are not the officially released versions but outtakes of rehearsal sessions.

Busch first rose to prominence as an interpreter of political songs, particularly those of Kurt Tucholsky, in the Berlin cabaret scene of the 1920s. He starred in the original 1928 production of Bertolt Brecht's "Threepenny Opera", as well as the subsequent 1931 film by Georg Wilhelm Pabst.
A lifelong Communist, Busch fled Nazi Germany in 1933 with the Gestapo on his heels, eventually settling in the Soviet Union. In 1937 he joined the International Brigades to fight against Fascism in Spain. His wartime songs were then recorded and broadcasted by Radio Barcelona and Radio Madrid. After the Spanish Republic fell to Franco, Busch migrated to Belgium where he was interned during the German occupation and later imprisoned in Camp Gurs, France and Berlin. Freed by the Soviet Army in 1945, he settled in East Berlin where he worked with Bertold Brecht and Erwin Piscator at the "Berliner Ensemble".

A beloved figure in the DDR, he is best remembered for his performance in the title role of Brecht's "Galileo" and his stirring recordings of workers songs, including many written by Hanns Eisler. Many of Busch's original recordings from the 1930s are available in digitized form online and on CD; also available are re-recordings created during the late 1940s and early 1950s, which are equally stirring but perhaps less subtle in approach.

Ernst Busch - Vorwärts und nicht vergessen
(192 kbps, complete artwork included)

VA - Der Oktober-Klub und seine Freunde (Schallfolie, 1969)

Singe-Bewegung" and "Oktoberklub" in East Germany, part 9.

Born out of the Hootenanny Club and the "Singebewegung" (Singing Movement) Oktoberklub (also Oktober-Klub) was a political activist's song group in the GDR (German Democratic Republic/ East Germany). The band derives its name from the october revolution. Oktoberklub sang international political songs (partially in "Nachdichtungen"), self-creations as well as traditional folk and working class songs.

"Der Oktober-Klub und seine Freunde" is a collection of live recordings released in 1969 on the "OKTAV akustisch Nr. 3 Schallfolie", a flexi disc produced in Moscow on the Melodija label and released by the "Verlag Junge Welt" in East Berlin.

Tracklist:
A1: Oktober-Klub Berlin - Verbesserungsvorschlag
A2: Gruppe "Lutschina" Moskau - Im dunklen Wald
A3: Tolcsvay-Trio Budapest - Tánc

B1: Oktober-Klub Berlin - Vietnam-Siegerlied
B2: Joan und José - A la Huelga - Auf zum Streik

Wolf Biermann & Wolfgang Neuss - Wolf Biermann (Ost) zu Gast bei Wolfgang Neuss (West) (1965)


Karl Wolf Biermann (born 15 November 1936) is a German singer-songwriter and former East German dissident.

Biermann was born in Hamburg, Germany. His mother, Emma (née Dietrich), was a Communist Party activist, and his father, Dagobert Biermann, worked on the Hamburg docks. Biermann's father was Jewish and a member of the German Resistance and was sentenced to six years in prison for sabotaging Nazi ships. In 1942, the Nazis decided to "eliminate" their Jewish political prisoners and Biermann's father was deported to Auschwitz concentration camp, where he was murdered on 22 February 1943.

Biermann was one of the few children of workers who attended the Heinrich-Hertz-Gymnasium (high school) in Hamburg. After the Second World War, he became a member of the "Free German Youth" (Freie Deutsche Jugend, FDJ) and in 1950, he represented the Federal Republic of Germany at the FDJ's first national meeting.

On finishing school at the age of 17, Biermann decided to emigrate from West to East Germany where he believed he could live out his Communist ideals. He lived at a boarding school near Schwerin until 1955, and then began studying political economics at the Humboldt University of Berlin. From 1957 to 1959, he was an assistant director at the Berliner Ensemble. At university he changed courses to study philosophy and mathematics under Wolfgang Heise until 1963, when he completed his thesis. Despite his successful defense of his thesis, he did not receive his diploma until 2008 when he was also awarded an honorary doctorate degree.

In 1960, Biermann met composer Hanns Eisler, who adopted the young artist as a protégé. Biermann began writing poetry and songs. Eisler used his influence with the East German cultural elite to promote the songwriter's career, but his death in 1962 deprived Biermann of his mentor and protector. In 1961 Biermann formed the "Berliner Arbeiter-Theater" ("Berlin Workers' Theater"), which was closed in 1963 before the production of Biermann's show "Berliner Brautgang", which documented the building of the Berlin wall. The play was officially banned and Biermann was forbidden to perform for six months. Although a committed communist, Biermann's nonconformist views soon alarmed the East German establishment. In 1963, he was refused membership in the
ruling Socialist Unity Party of Germany (SED), although no reason was given at the time for his rejection. After the Wende, documents available from Biermann's file at the Stasi Archives revealed that the reviewers were under the impression that he was a regular user of stimulants, leading to the rejection of his application.

In 1964, Biermann performed for the first time in West Germany. A performance in April 1965 in Frankfurt am Main on Wolfgang Neuss' cabaret program was recorded and released as an LP titled "Wolf Biermann (Ost) zu Gast bei Wolfgang Neuss (West)". Later that year, Biermann published a book of poetry, "Die Drahtharfe", through the West German publisher Klaus Wagenbach. In December 1965, the Central Committee of the Socialist Unity Party of Germany denounced him as a 'class traitor' and placed him onto the performance and publication blacklist. At this time, the Stasi developed a 20-point plan to "degrade" or discredit his person.

While blacklisted, Biermann continued to write and compose, culminating in his 1968 album Chausseestraße 131, recorded on equipment smuggled from the west in his apartment at Chausseestraße 131 in Mitte, the central borough of Berlin.

To break this isolation, artists like Joan Baez and many others visited him at his home during the World Youth Festival in 1973. Karsten D. Voigt, chairman of the West German Socialdemocratic Youth (Juso) protested against the suppression of the freedom of opinion and information by the state security.

In 1976, the SED Politbüro decided to strip Biermann of his citizenship while he was on an officially authorized tour in West Germany. It later turned out that the Politbüro had decided to do so before the first concert in Cologne, even though this concert was used as the official justification afterwards. Biermann's exile provoked protests by leading East German intellectuals, including actor Armin Mueller-Stahl and novelist Christa Wolf. In 1977, he was joined in West Germany by his wife at the time, actress Eva-Maria Hagen and her daughter Catharina (Nina Hagen).

Now living in the West, Biermann continued his musical career, criticizing East Germany's Stalinist policies. He was able to perform publicly again in East Germany in late 1989 during the Wende that eventually toppled the Communist government. In 1998, he received a German national prize. He supported the 1999 NATO Kosovo War and the 2003 invasion of Iraq.  He lives in Hamburg and in France. He is the father of ten children, three of them with his wife Pamela Biermann.
About the album:

In 1964-1965, the conflict between Wolf Biermann and the SED authorities eventually escalated; Biermann gave his first performances in West Germany and earned his first critical acclaim there. His first record release, "Wolf Biermann (Ost) zu Gast bei Wolfgang Neuss (West)" (1965), a collaboration with the West German political satirist Wolfgang Neuss (1923-1989),was only published in West Germany. In the GDR, Wolf Biermann was finally banned from performing and publishing; his poetry and songs were classified as obscene and a betrayal of communist ideals.


Tracklist:

A1Wolfgang NeussBegrüßungs-Conference 3:22
A2Wolf BiermannKeine Party ohne Biermann 1:55
A3Wolf BiermannKunststück 2:20
A4Wolfgang NeussSie - hallo, Sie 1:10
A5Wolf BiermannWas verboten ist, das macht uns gerade scharf 1:55
A6Wolfgang NeussOnkel Paul schreibt vom Schwarzen Meer 1:55
A7Wolf BiermannDas Familienbad (Die Ballade vom biederen Familienvater) 2:30
A8Wolfgang NeussInnere Führung-Kettenreaktion 1:50
A9Wolf BiermannSoldatenmelodie 1:45
A10Wolfgang NeussFrische Luft-Nummer 3:26
B1Wolfgang NeussDer Schlachter 13:30
B2Wolf BiermannBallade vom Drainageleger Fredi Roßmeisl 3:40
B3Wolf BiermannBallade von der Buckower Süßkirschenzeit 3:10
B4Wolf Biermann, Wolfgang NeussKleinstadt-Sonntag 4:20


 Wolf Biermann & Wolfgang Neuss - Wolf Biermann (Ost) zu Gast bei Wolfgang Neuss (West) (1965)
(256 kbps, cover art included)

Wolf Biermann - Das geht sein´ sozialistischen Gang (1976)


One of the unsung heroes of the Cold War, poet Wolf Biermann was born in 1936 in Hamburg, Germany. The son of a German communist killed in Auschwitz, Biermann emigrated—“in unbroken humility” - to East Berlin in 1953 - to “sing in revolt” - with Brecht's Berliner Ensemble.
With his aggressive, provocative and ironic lyrics, Biermann criticized the social and political situation, first in the GDR and then, after his expatriation in 1976, in the Federal Republic of Germany.

“I can only love what I am free to leave.”

Wolf Biermann became popular as a performer of his satirical songs and ballads - but - as he grew critical of the régime - was forbidden to perform in East Germany from 1962 - more or less - until 1976 when he was stripped of his citizenship and sent into exile by the politburo - a theatrical gesture - after his concert in Cologne under the sponsorship of the West German metalworkers union.

After being banned from public performance for eleven years, Biermann appeared on September 11, 1976, in the Nikolai Church in Prenzlau. He later claimed that his visit was tolerated because the Stasi confused him with a pastor there of the same name. The Lutheran churches had become places where some opposition to the state could be tolerated, and the good atheist Wolf Biermann found his first audience since 1965 there. Following this performances, the ruling party (the SED) boewed to enormous popular pressure from the IG Metall, the West German metal worker´s union, to allow Biermann to go to West Germany in November 1976. On November 13, 1976, Biermann gave a concert in the Sporthalle in Cologne, which was broadcast on West German television and, of course, seen surrepititiously in East Berlin. His concert was the overt act that enabled the "rotten old men" (his words in a song) of the SED to banish him. The power of his performance was linked to the oppositional message. Poetry read by the elite is much less dangerous than songs or films that reach the masses. The leadership of the SED announced that because Biermann was born in Hamburg (in West Germany), his permission for him to remain in the GDR had been rescinded. Truly scurrilous accounts of his sexual life began to circulate to the media. Three days after his legendary concert in the Cologne sport arena, he was expatriated by the East German party leaders for his "hostile performance" and not permitted to return to the GDR.

Over 100 artists, writers and actors in the socialist German state staged public protests. When the authorities responded with intimidation, jail sentences and bans, masses of intellectuals picked up and left the GDR.
Biermann saw his expatriation as a catastrophe. "I thought it was all over with my life as a singer and poet," he said later.
Indeed, the first years in exile weren't easy. Nevertheless, the "Troubadour of inner German conflict," as the "Süddeutsche Zeitung" called him in a 1987 article, carried on with his career. He published several volumes of lyric and prose and settled old scores with both East and West Germany on concert tours at home and abroad.

“I do not keep silent about my silence.”

Not to be undone - Wolf Biermann - the source of countless poetries and recorded lyrics - returned to perform in East Berlin in 1989, and was named an honorary citizen of Berlin eight years later.

“Still it is taking place - the sunrise. The dark night, still - it is being preformed.”

Wolf Biermann now lives in Hamburg, Germany.

Biermanns legendary 1976 concert was documented on the double-album "Das geht sein´ sozialistischen Gang":

Wolf Biermann - Das geht sein´ sozialistischen Gang
(192 kbps, cover art included)

Spectacle - Art - Society




“Spectacle – Art – Society” is the titel of a german reader about Guy Debord and the Situationist International edited by Stephan Grigat, Johannes Grenzfurthner and Günther Friesinger.

What is it all about?

The Situationist International (SI) was a very small group of international, political and artistic agitators with roots in Marxism, Anarchism and the early twentieth century European artistic avant garde. Formed in 1957, the SI was active in Europe through the 1960s and had aspirations for major social and political transformations. In the 1960s the group, split into a few different groups, including the Situationist Bauhaus, the Antinational and 2ns SI.

They originated in a small band of avante-garde artists and intellectuals influenced by Dada, Surrealism and Lettrism. The post-war Lettrist International, which sought to fuse poetry and music and transform the urban landscape, was a direct forerunner of the group who founded the magazine ‘Situationiste Internationale’ in 1957. At first, they were principally concerned with the “suppression of art”, that is to say, they wished like the Dadaists and the Surrealists before them to supersede the categorization of art and culture as separate activities and to transform them into part of everyday life. 


At first, the movement was mainly made up of artists, of whom Asger Jorn was the most prominent. From 1962, the Situationists increasingly applied their critique not only in culture but to all aspects of capitalist society. Guy Debord emerged as the most important figure.
The Situationists rediscovered the history of the anarchist movement, particularly during the period of the First International, and drew inspiration from Spain, Kronstadt, and the Makhnovists. They described the USSR as a capitalist bureaucracy, and advocated workers’ councils. But they were not entirely anarchist in orientation and retained elements of Marxism, especially through Henri Lefebvre’s critique of the alienation of everyday life. They believed that the revolutionary movement in advanced capitalist countries should be led by an “enlarged proletariat” which would include the majority of waged laborers. In addition, although they claimed to want neither disciples nor a leadership, they remained an elitist vanguard group who dealt with differences by expelling the dissenting minority. They looked to a world-wide proletarian revolution to bring about the maximum pleasure.

The Barbelith Webzine gives you a deeper insight in the history and theory of situationism.

You find a large collection of Situationist-related literature, entire books, lengthy articles, excerpts from the journals “Potlatch” and “Internationale Situationniste”, and newspaper articles on http://library.nothingness.org/articles/SI/all/.

Dienstag, 8. Oktober 2019

Pankow - Aufruhr in den Augen (Amiga, 1988)

With the fall of the Iron Curtain and the associated open access to media outside Germany Pankow also moved briefly into the focus of the Anglo-American journalism. The U.S. historian Timothy W. Ryback, known for his 1990 published book Rock around the bloc: a history of rock music in Eastern Europe and the Soviet Union, characterized Pankow as one of two most prestigious and most professional groups of East Berlin's rock music scene, writing that they "originally showed the influence of the Rolling Stones, but has developed into a dynamic band that combines the energy of the Clash with the innovation of the Talking Heads."

In the song "Langeweile" ("Boredom"), the criticism was expressed in the words "Seen the same country too long, heard the same language too often, waited too long, hoped too much, bowed down to the old men too often". The song "Paule Panke" was banned by the state-run Amiga record label, while "Langeweile" was banned from radio airplay; however, the band performed both at every concert.

Pankow has occasionally been compared with the Rolling Stones and have implemented many musical styles and theatrical projects in their history.

On November 3, 2011, Pankow commenced a 30-year anniversary tour. They are still playing life on stage.

Tracklist:

1. Aufruhr in den Augen
2. Einsam
3. Langeweile
4. Straßenlärm
5. Marilyn
6. Gib mir'n Zeichen
7. Ich bin ich
8. Der Ausreißer
9. Du kriegst mich nicht
10. Ich bin bei dir
11. Wieder auf der Straße


Pankow - Aufruhr in den Augen (Amiga, 1988)
(320 kbps, cover art included)


Montag, 7. Oktober 2019

Charles Mingus - Blues & Roots (1960)

In response to critical carping that his ambitious, evocative music somehow didn't swing enough, Charles Mingus returned to the earthiest and earliest sources of black musical expression, namely the blues, gospel, and old-time New Orleans jazz. The resulting LP, "Blues and Roots", isn't quite as wildly eclectic as usual, but it ranks as arguably Mingus' most joyously swinging outing. 

Working with simple forms, Mingus boosts the complexity of the music by assembling a nine-piece outfit and arranging multiple lines to be played simultaneously -- somewhat akin to the Dixieland ensembles of old, but with an acutely modern flavor. Anyone who had heard "Haitian Fight Song" shouldn't have been surprised that such an album was well within Mingus' range, but jazz's self-appointed guardians have long greeted innovation with reactionary distaste. 

After "Blues and Roots", there could be no question of Mingus' firm grounding in the basics, nor of his deeply felt affinity with them. Whether the music is explicitly gospel-based -- like the groundbreaking classic "Wednesday Night Prayer Meeting" -- or not, the whole album is performed with a churchy fervor that rips through both the exuberant swingers and the aching, mournful slow blues. Still, it's the blues that most prominently inform the feeling of the album, aside from the aforementioned "Wednesday Night Prayer Meeting" and the Jelly Roll Morton tribute "My Jelly Roll Soul." 

The recording session was reportedly very disorganized, but perhaps that actually helped give the performances the proper feel, since they wound up so loose and free-swinging. With a lineup including John Handy and Jackie McLean on alto, Booker Ervin on tenor, frequent anchor Pepper Adams on baritone, and Jimmy Knepper and Willie Dennis on trombones, among others, "Blues and Roots" isn't hurting for fiery soloists, and they help make the album perhaps the most soulful in Mingus' discography.


Tracklist:

A1 Wednesday Night Prayer Meeting 5:39
A2 Cryin' Blues 4:58
A3 Moanin' 7:57
B1 Tensions 6:27
B2 My Jelly Roll Soul 6:47
B3 E's Flat Ah's Flat Too 6:37

(192 kbps, cover art included)

Sonntag, 6. Oktober 2019

GDR Subculture, Vol. 9: VA - Sag mir, wo du stehst! - DDR-Underground 1986 - 1990

The final years of the GDR were dominated by the impact of Gorbachev´s accession to power in the Soviet Union in 1985. His policy of "new thinking", embodied in the twin concepts of glasnost and perestroika, alarmed the SED and gave courage to those in the cultural sphere who favoured radical change.

West German television and radio could be received in many parts of the East. The Western influence led in the 1980s to the formation of more "underground" groups with a more punk and new wave orientated sound. A few of these bands - the so-called "Die anderen Bands" ("the other bands") - were Die Skeptiker, Die Art and Feeling B. Additionally, hip hop culture reached the ears of the East German youth.



"Die anderen Bands" is a term combining alternative music bands of 1980s in the GDR. They shared a more or less open criticism of their country's political system, and a high degree of creativity. Many members of these bands played significant parts during the time of political change in 1989. The bands came from a broad range of musical genres, especially Punk, Blues, Wave, Indie and Electronic music.

Tracklist:

(320 kbps, cover art included)




Bertolt Brecht - Die Mutter - Nach dem Roman von Maxim Gorki (Therese Giehse, 1979)

This set is a complete recording of the play "The Mother" (German: "Die Mutter") by Bertolt Brecht.
It is based on Maxim Gorky´s 1906 novel of the same name. Gorky´s novel deals with the revolutionary struggle of the young worker Pawel and his comrades. Gorki writes about the growing proletarian consciousness of his protagonists.

It was written in collaboration with Hanns Eisler, Slatan Dudow and Günter Weisenborn from 1930–31 in prose dialogue with unrhymed irregular free verse and ten initial songs in its score, with three more added later.
The Mother is Brecht's most elaborate use of his radically experimental "Lehrstücke", or 'learning plays,' which he describes as "a piece of anti-metaphysical, materialistic, non-Aristotelian drama." The play suggests that to become a good mother involves more than just complaining about the price of soup; rather, one must struggle against it, not only for her and her family's sake, but for the sake of all working families. The title character, the mother Pelagea Vlassova, journeys through the play’s fourteen scenes, the death of her son, and her own impending illness, fighting illiteracy while constantly filled with good humor and wily activism. The moment in October 1917 when she becomes free to carry and raise her own Red Flag on the eve of the czar's overthrow proves momentous. The play has garnered continued recognition for its forensic, witty and, some would say, humanist critique of capitalism seen through the experiences of those obliged, as Brecht saw it, to live beneath that system's crushing weight.
This is a complete recording of Bertolt Brecht´s stage play "Die Mutter". Therese Giehse plays the leading role - besides members of the Schaubühne am Halleschen Ufer like Heinrich Giskes, Bruno Ganz, Jutta Lampe, Christof Nel and Otto Sander - under the direction of Peter Stein. The music is Hanns Eisler´s Berliner Ensemble (1951) stage version, conducted by Peter Fischer.
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Hanns Eisler, Bertolt Brecht - Die Mutter - Kantate op. 25

Image
In 1930, Hanns Eisler began his lifelong collaboration with writer Bertolt Brecht, immediately producing "Die Massnahme" and one of the first important works of socialist realism, the moving cantata "Die Mutter" (The Mother, 1932).

This work contains neo-Classical elements, energetic choruses ("Der zerrissene Rock"/"The Torn Coat", about factory bosses who deride workers' needs, and the "Grabrede"/"Funeral Oration", a melodically powerful Stravinskian harmonization of Gregorian chant), and touching arias (the extraordinarily beautiful quasi-twelve-tone song "Lob der dritten Sache"/"In Praise of Lower Class Causes"). The final chorus contains the image of the Mother carrying the red banner, untiringly.

This album is a recording from GDR times of the cantata based on "Die Mutter" with choir and orchestra of the Academy for Music "Hanns Eisler" and Käthe Reichel, Hilmar Thate and others. Also included are two lively selections from Suite Nr. 4 "Die Jugend hat das Wort" ("Youth Has the Floor").

Tracks:
1. Overtüre
2. Wie Die Krähe
3. Das Lied Von Der Suppe
4. Der Zerissene Rock
5. Gedanken ÜBer Die Rote Fahne
6. Lob Des Kommunismus
7. Lob Des Lernens
8. Lob Eines Revolutionärs
9. Im Gefängnis Zu Singen
10. Lob Der Wlassowas
11. Lob Der Dritten Sache
12. Grabrede
13. Steh Auf !
14. Lob Der Dialektik
15. Marsch Der Jugend Die Das Wort Hat
16. Finale

Hanns Eisler, Bertolt Brecht - Die Mutter - Kantate op. 25
(192 kbps)

Samstag, 5. Oktober 2019

Therese Giehse - Singt Brecht (LP 1972)























Therese Giehse (6 March 1898 – 3 March 1975), born Therese Gift, was a distinguished German actress. Born in Munich to German-Jewish parents, she first appeared on the stage in 1920. She became a major star on stage, in films, and in political cabaret. In the late 1920s through 1933, she was a leading actress at the famous Munich Kammerspiele.

When the Nazis came to power in 1933, Giehse left Germany for Zürich, Switzerland, where she continued to act in exile, playing leading roles in Zürich, including in Erika Mann's acclaimed political cabaret, "Die Pfeffermühle" (which was itself also an exile, having been transported from Munich to Zürich in 1933 as well). During her exile, she traveled throughout central Europe with Pfeffermühle. On 20 May 1936 she married the homosexual English writer John Hampson, in order to obtain a British passport and thereby avoid capture by the Nazis. She returned to Germany after World War II, and performed in theatres on both sides of the Iron Curtain, but mostly in her native Bavaria, until her death in 1975.

In exile, Giehse played the first "Mother Courage" in the world premiere of Bertolt Brecht's play "Mother Courage and Her Children", in 1941 at the Schauspielhaus Zürich.
After the war, Giehse returned to Munich and to the Munich Kammerspiele, where, in 1950, she again played the role of Mother Courage, this time directed by Brecht himself. This production became documented as the second "Model production" of Brecht's play (the first "Model production" had been performed by Brecht's wife, Helene Weigel in 1949 in Berlin). Giehse and Brecht would often converse in their strong Bavarian (southern German) dialect during rehearsals, making Brecht's wife jealous of their kindred spirit.
In the 1950s, Giehse played several roles as a member of Brecht's theatre, the Berliner Ensemble. In the mid-1970s, she returned to the Berliner Ensemble to perform several Brecht Evenings of the poems, plays, and writings of her lifelong friend and colleague. As a member of the Berliner Ensemble and collaborator with Brecht, she was a much-sought-after interpreter of his work and recordings of her reciting and singing his work appeared on records in both East and West Germany.

Throughout the 1950s and 1960s, Giehse continued to perform many lead roles in various theatres in Germany, often using her considerable comic skills to play character roles, as well as great dramatic roles, such as the leads in several landmark productions by Friedrich Dürrenmatt, the world premiere of The Visit in 1956, and The Physicists in 1962. Later, she also worked with Peter Stein's renowned Schaubühne am Halleschen Ufer in Berlin.
She also appeared in over 20 films and a number of television productions.


Tracklist:

01. Lied der Mutter Courage
02. Lied der Mutter Courage ~ Das Lied von der grosen Kapitulation
03. Lied der Mutter Courage ~ Das Wiegenlied
04. Die Lieder der Mutter ~ Lob des Kommunismus
05. Die Lieder der Mutter ~ Lob der dritten Sache
06. Lieder von Hanns Eisler ~ Ballade vom Wasserrad
07. Lieder von Hanns Eisler ~ Deutsches Miserere
08. Lieder von Hanns Eisler ~ Lied einer deutschen Mutter 1939
09. Lieder von Hanns Eisler ~ Mutter Belmlen
10. Lieder von Peter Fischer ~ Der Apfelbock oder die Lilie auf dem Felde
11. Lieder von Peter Fischer ~ Der Wolf ist zum Huhn gekommen
12. Lieder von Peter Fischer ~ Die Krucken
13. Lieder von Peter Fischer ~ Das Lied von der Tunche
14. Lieder von Peter Fischer ~ Die haltbare Graugans
15. Lieder von Peter Fischer ~ Lied der Schwestern
16. Lieder von Peter Fischer ~ Gegen Verführung
17. Lieder von Peter Fischer ~ Groser Dankchoral

Therese Giehse - Singt Brecht (LP 1972)
(192 kbps, cover art included)

Sonja Kehler - Brecht-Portrait (Wergo, 1978)

Sonja Kehler was born on February 2, 1933 in Haldersleben near Magdeburg. After graduating from the College of Drama in Leipzig she was given engagements at several theatres in the GDR, before launching on an international career as a freelance singer and actress. Sonja Kehler made a name for herself above all as a performer of works by Bertolt Brecht, whether as Shen Te in "The Good Person of Sezuan", as Jenny in "The Threepenny Opera" or as Grusche in "The Caucasian Chalk Circle".

Nevertheless in the 80s she was barely alowed to perform in the GDR. The repression started when one of her musicians didn´t come back to GDR after a concert "in the West". Sonja Kehler told about that time in an interview: "I couldn´t get work in the GDR, no concerts, no recordings, but I was allowed to tour abroad again because it brought in foreign currency. I had of course done a lot in the GDR before that: concerts, theatre, shows, television work. But at a particular point that all stopped and I was only allowed to perform abroad. At that time Bernd Wefelmeyer was already my accompanist. In 1978 I made a very accomplished Brecht recording with hi but it was never released in the GDR, although WERGO did market it in the West".
The album "Brecht-Portrait" was produced by VEB Deutsche Schallplatten Berlin (GDR), but only released in West Germany on the WERGO label.

Tracks:

Side A:
01 Von der Freundlichkeit der Welt
02 Ballade vom angenehmen Leben
03 Die Seeräuber - Jenny
04 Das Lied von der Unzulänglichkeit menschlichen Strebens
05 Ballade zum § 218
06 Hier ruht die Jungfrau
07 Lied eines Freudenmädchens
08 Das Vielleicht - Lied
09 Kriegslied / Die Mutter liegt im Krankenhaus
10 Legende bom toten Soldaten

Side B:
01 Bilbao Song
02 Das Lied von der harten Nuß
03 Das Was - Man - Hat - Hat - Man - Lied
04 Das Lied vom achten Elefanten
05 Ballade vom Knopfwurf
06 Bei den Hochgestellten
07 Lied vom Kelch
08 Ballade vom Wasserrad

Sonja Kehler - Brecht-Portrait (1978)
(192 kbps, front cover included)

Freitag, 4. Oktober 2019

VA - Über den Tag hinaus - Lieder und Collagen aus der Zeit des Aufbruchs 1989/90

In the last years of the GDR, a rupture between officially sanctioned and alternative culture emerged, even within the hegemony of state-controlled media. In the realm of “popular” culture - a term made problematic by the totalizing and occasionally didactic function assigned to cultural production in socialism - the generation “born into socialism” seemed willing to indict the pedagogical and political imperatives of the ruling Socialist Unity Party (SED). In other words, alternative artists, usually, though not exclusively, unofficial, filled the absence of critical thought and attitude left vacant by the much official culture of the GDR. The emergence of alternative “amateur” singer-songwriter and bands played a crucial role in this critical “filling in”; they were often criminalized along withtheir fans.

Within the free social space offered by the church, a peace movement developed during the late 1970s and early 1980s. The effort to build an independent citizens' peace movement based in the church played an important role in linking together various groups committed to nonviolent protest, peace, ecology, and human rights into a coherent, if still organizationally weak, opposition during the East German revolution of 1989.

This album is a collection of music and sounds recorded in the GDR in 1989/1990. The music was performed at weekend-meetings like "Unter uns" in parish gardens in Mecklenburg-Vorpommern, protected by the church,


Tracklist:

CD 1:
01 Eine Prise Hoffnung für den Tag. Die Regierung ist abgetreten.
02 Man hat sie um ihr Leben schwer betrogen. Reisefreiheit für alle.
03 Und zum Gehen den Mut. Die ersten Sportboote auf Westkurs oder: die Grenzsoldaten ohne Auftrag
04 Für jede Waage gibt es ein Gewicht. Vom politischen Ende des 21. Sekretärs der SED-Bezirksleitung Schwerin
05 Wo ich bunt als Blume blühen kann. Reformen in der Volksbildung.
06 Daß ich soll den Maulkorb tragen.Wie Rostocker Bürger den Chefredakteuren den Marsch blasen.
07 Die Königskinder werden groß. Die SED-Genossen während ihrer 24. Kreisdelegiertenkonferenz in Schwerin.
08 Die Welt zuckt schwach in unserer Hand.Wie Rostocker Bürger die Stasi-Zentrale besetzen.

CD 2:
01 Clemens Blaschek - Tiefdruck
02 Was - Schlaflied
03 Klaus-Peter Sandmann & Stephan Weiss - Sag mir den Grund
04 Wortspiel - Abendlied
05 Clemes Blaschek - Start `88
06 Ingo Barz & Karl Scharnweber - Ein Platz für unsere Träume
07 Was - Ampellied
08 Ingo Barz - Schlangenlied
09 Spälkram - Michel
10 Karl Scharnweber & Gruppe - Ist der Wald schon verkauft (aus der Liturgie zur Umkehr)
11 Spälkram - Ein stolzes Schiff
12 Ingo Barz - Marianne
13 Was - Ach ich wünsche mir so sehnlich
14 Ingo Barz & Karl Scharnweber - Hören-Sehen-Sprechen
15 Was - Kribbeln im Bauch
16 Clemens Blaschek - Die Fahrt dauert lang
17 Klaus-Peter Sandmann & Stephan Weiss - Komm mit mir an mein Fenster
18 Annemarie & Clemens Blaschke - Morgenlied

(320 kbps, cover art included)


Donnerstag, 3. Oktober 2019

GDR Subculture, Vol. 7: VA - Rock aus Deutschland Ost Vol. 20; Aufbruch Umbruch Abbruch - Die letzten Jahre

Since the fall of the Berlin Wall, that eruption of History accompanied the collapse of a theoretical socialist utopia, the German Democratic Republic (GDR). The changed political climate influenced the production of literature and popular culture in the vanquished and vanishing GDR; but it also brought tensions that had existed within GDR culture of the 1980s to a boil. Throughout that decade, a rupture between officially sanctioned and alternative culture emerged, even within the hegemony of state-controlled media. In the realm of “popular” culture—a term made problematic by the totalizing and occasionally didactic function assigned to cultural production in socialism—the generation “born into socialism” seemed willing to indict the pedagogical and political imperatives of the ruling Socialist Unity Party (SED). In other words, alternative artists, usually, though not exclusively, unofficial, filled the absence of critical thought and attitude left vacant by the much official culture of the GDR. The emergence of alternative “amateur” bands played a crucial role in this critical “filling in”; they were often criminalized along with their fans.3 One thing is clear: the politicization4 of popular culture played a part in the decline and demise of the SED; the utopian myth of “real existing socialism” and the propaganda that sustained it contributed significantly to the collapse of the state that had produced the vision in the first place.

In the search for a popular GDR identity, rock (and punk rock) music constitute one sign system among others, equipped with a style, a sound, a language, and dance, as well as various public and private spaces, to designate or define a group or “scene.” Performance always engaged the attention of the state, especially when one aspect of that performance was everyday appearance, from long hair to no hair. To set the stage, an abbreviated history of the relationship between the party and the performers of rock music follows. Early on in its existence, the SED took note of and attempted to control or direct the production of rock music; specifically, the party leadership was invested in resisting the Americanization of popular culture. As early as 1958, Walter Ulbricht called for an end to the influx of “. . . currently mass produced (musical) products of dubious origin.” He wanted instead music that would contribute to the construction of the socialist personality. The legacy of this caveat was evident even in the 1980s when punk was officially dismissed and also targeted as subversive, when functionaries suppressed the release of certain songs or expurgated albums because there were residual bits of text deemed inappropriate for socialist art.

Tracklist:

Herbst in Peking - Bakschischrepublik
Der große Vorsitzende WU stellt die Weichen
Naiv - Sag mir, wo du stehst
Feeling B - Mix mir einen Drink
AG Geige - Maximale Gier
Die Firma - Frau Müller
Die Art - Wide wide world
Ichfunktion - Was soll ich bloß thunfisch
Die anderen - Freitag abend in Berlin
Hard Pop - Schlaflied
Die Vision - Love by wire
Der Expander des Fortschritts - Wolfszeit
The Local Moon - Doloures echo / Response
Tausend Tonnen Obst - Safersex
Freygang - Zwei Bier, zwei Korn
Big Savod & the Deep Manko - Anyway what we'll find
Der Dachdecker EH analsiert die Bitmusik und ihren Einfluß auf den Klassenkampf
Sandow - Born in the GDR


VA - Rock aus Deutschland Ost Vol. 20; Aufbruch Umbruch Abbruch - Die letzten Jahre
(320 kbps, cover art included)

Folkländer - Wenn man fragt, wer hat´s getan (Amiga, 1982)

In the 1970s, there was a really thriving independent East German folk scene, based around clubs, folk-workshops, a circuit of Tanz-Häuser (dance houses comparable to Hungary´s táncház scene) and the inevitable Stadtfeste.

Folkländer grew out of rehearsal sessions in Leipzig in January 1976. The group went on to become one of East Germany´s most import folk-rock bands although Folkländer and Bierfiedler were a classic example of Ossi intertwining. In 1976 Folkländer organized the "1. DDR-offene Folkwerkstatt" in Leipzig.

Bands memebers came and went like bees at an orchard hive on a sunny day but with that entomological nightmare tendency to return to the wrong hive. Jürgen B. Wolff, later of Duo Sonnenschirm fame, later graphic artist for Rudolstadt, conducted research that would greatly inform Folkländer´s repertoire.

"Wenn man fragt, wer hat´s getan" is a live recording, released in February, 1982.

Tracklist:

A1Gesellenwoche2:20
A2Widele Wedele / Ältester Schottisch3:45
A3Branle / Bettlerlied2:53
A4Schottisch / Zwiefacher3:00
A5Der Deserteur3:07
A6Gute Nacht, Auf Wiederseh'n, Marie4:23
A7Auf Du Junger Wandersmann3:05
B1Auswandererlied4:25
B2Heit Gieht's Nôch Sachsen Naus0:35
B3Der Deutsche Philister3:33
B4Ballade Von Den Seeräubern4:47
B5Der Herr Von Falkenstein4:20
B6Mönch Und Nonne / Böhmische Polka2:15
B7Nachtwächterlied3:13

Folkländer - Wenn man fragt, wer hat´s getan (Amiga, 1982)
(192 kbps, cover art included)

GDR Subculture Vol. 5: Krakatit Radio Lora Schweiz 11.10.89 DDR Fluechtlinge `89

Radio LoRa is an alternative local radio station in the Swiss. On October 11, 1989 Radio Lora broadcasted a program about refugees from the GDR, featuring music by GDR alternative bands like Hard Pop, Die Skeptiker, Feeling B, Herr Blum, AG Geige, Heinz & Franz, Die Art and others.



Thanks a lot to Tape Attack for the original posting.

Krakatit Radio Lora Schweiz 11.10.89 DDR Fluechtlinge `89
(192 kbps, artwork included)

GDR Subculture, Vol. 3: "Bleibe im Lande und wehre dich täglich - Streiflichter auf die DDR-Rockszene" - Radio-Broadcast about "DDR Rock" (26.09.1989, Musicbox, Swiss)

The radio-broadcast "Bleibe im Lande und wehre dich täglich -  Streiflichter auf die DDR-Rockszene" from "Musicbox", a Swiss radio programm, is a very interesting document reporting about the GDR music scene in the year of the fall of the wall.
 Broadcasted 30 years ago, the feature combines music and interviews with memebers from bands like Big Savod, Tausend Tonnen Obst, Herr Blum, Die Anderen and Herbst in Peking. The musicians talk about the situation in the GDR music scene, about making compromises with the established system, about music between East and West, about politics and the ongoing changes in the GDR society.

Thanks to Tape Attack for this intimate impressions from the GDR music scene in the year 1989.

"Bleibe im Lande und wehre dich täglich - Streiflichter auf die DDR-Rockszene" (26.09.1989)
(192 kbps)

VA - Grenzfälle (Zong, 1990) - GDR Subculture Vol. 8

GDR Subculture, Vol. 8

"Grenzfälle" is a another compilation of the East-German (ex-German Democratic Republic / GDR) underground music-scene. The album features recordings by artist like Der Expander des Fortschritts, AG Geige, Die Skeptiker, DEKA Dance, Feeling B and many others.


Tracklist:

A1 –Hard Pop - Schlaflied
A2 –Big Savod & The Deep Manko - Hold Me Now
A3 –Die Art - Eternal Fall
A4 –The Fate - Krueger
A5 –Die Vision - Love By Wire
A6 –Kampanella Is Dead - Long Time Running
A7 –B. Crown - Children Of The Sun
B1 –Der Expander des Fortschritts - Der Stand der Dinge
B2 –AG Geige - Maximale Gier
B3 –Die Skeptiker - Dada in Berlin
B4 –Mixed Pickles - Lied an eine ergraute Lehrerin
B5 –Naiv - Sag mir, wo du stehst
B6 –Feeling B - Mix mir einen Drink
B7 –DEKA dance - The Contempt


VA - Grenzfälle (Zong, 1990)
(320 kbps, cover art included)

GDR Subculture, Vol.1: Kleeblatt No. 23 - Die anderen Bands (Amiga, 1988)


Originally posted in September 2014:

This year the official Germany will celebrated the 25th anniversary of the fall of the wall, which lead to it´s reunification.

German unity has been a shaky marriage. That may seem like a surprise to people outside Germany. But opinion polls inside Germany show widespread discontent, especially in the formerly Communist east. Chancellor Angela Merkel has called it a success and other political leaders will be singing the praises of unification in their lofty speeches and German media interviews in the next months. But for many in the east, like straight-talking Brandenburg  ex-premier Matthias Platzeck, German unification in 1990 was not a merger of equals but instead an “Anschluss” (annexation) with West Germany taking over East Germany.

Many easterners have endured change, hardship, upheaval and various negative developments – including sometimes being evicted from their houses that people who fled during the Cold War returned to reclaim. Free speech and freedom to travel have been great but the price has been high: millions lost their jobs, their homes as well as the fabric of their society and their way of life. Many are still struggling to come to terms with life in reunited Germany – and are understandably nostalgic about life in East Germany, to the great irritation of western Germans who have helped pay 1.6 trillion euros to rebuild the east.

Reasons for their disenchantment can be seen everywhere: The eastern population has shrunk by about 2 million, unemployment soared, young people are moving away in droves and what was one of the Eastern Bloc’ leading industrial nations is now largely devoid of industry. Did it all have to happen like that?

The so called "Wende" was not only the end of the narrow minded pseudo-communist dictatorship, but was at the same time the beginning of the end of the lion´s share of the east german subculture and mainstream music scene.

So we will take this anniversary as a chance to bring back some very interesting music to our mind and ears. We will post some compilations featuring music that was part of the musical subculture in the last years of the DDR and during the time of change.

The "Kleeblatt" compilations were an Amiga forum for young, unknown bands. Volume 23 features some bands from the punk and indie rock scene.

Tracklist:

Side1:
Feeling B - Artig
Feeling B - Alles ist dufte
Feeling B - Geh zurück in dein Buch
Hard Pop - Grau
Hard Pop - Tote Ballerina
Hard Pop - Angst vom Mund

Side 2:
Sandow - Wir
Sandow - Fliegen
Sandow - Anders
WK13 - P2
WK13 - Asphalt
WK13 - Sonntag

Kleeblatt No. 23 - Die anderen Bands
(192 kbps, cover art included)