Sonntag, 18. März 2018

Franz K. – Rock in Deutsch (1973)


Review from "The Crack in the Cosmic Egg":

Formed in Witten in 1969 as Franz Kafka. In their early days they were one of those very Teutonic underground rock bands, akin to Ton Steine Scherben or Lokomotive Kreuzberg, with a hard-edged agit-rock style. By the time of their debut (becoming just Franz K.) they had matured their sound from the early days of Fugs and Mothers style theatre in German.

SENSEMANN featured just two side-long tracks offering a great deal of freedom for invention, with aggressive German lyrics and similarly angular freaky guitars characterising their sound. A psychedelic hard-rock twist on Ton Steine Scherben perhaps.

Franz K. continued for many years, ROCK IN DEUTSCH is also reputedly good, but on later albums (at least another nine!) the vocals took over and they moved to a more mainstream rock and cabaret mixture, totally lacking the innovation of their debut.

1. Schieß und marschier 3:53
2. Cabora Bassa 2:29
3. Peterlied 12:52
4. Räder 4:13
5. Big Boss 7:04
6. Mackie Messer 2:48
7. Rita B. 6:05

Peter Josefus: Bass, Vocals
Mick Hannes: Guitar
Werner Becker: Piano, Organ
Stefan Josefus: Drums

Franz K. – Rock in Deutsch (1973)
(ca. 320 kbps, cover art included)

Franz K. - Wir haben Bock auf Rock

Band history translated from Wikipedia:

In 1969, Franz K. was established by Mick Hannah (guitar, born 15 July 1951), Peter Josefus (bass, vocals, November 6, 1951, † 14 November 1997) and Stefan Josefus (drums, born 24 February 1947). First, the trio played blues and impressively covered blues-rock from bands like Cream, Jimi Hendrix, Ten Years After – down to jazz/crossover. Initially they held gigs e.g. combined with local political cabaret of their roadie Manfred Günther, after 1970 they worked often together with lyricist Arnold Leifert. The style was in this period increasingly rocking up to hard rock.

In 1972 they released their first album "Sensemann", and thus belonged to the pioneers of German Rock. On this LP, there were only two tracks, each of 20 minutes length. In 1973 came the second album in less progressive vain in German. Both records sold poorly, however. In the next few years Franz K. released several singles. The breakthrough came in 1977 with the album "Bock auf Rock". In the years 1978 to 1983 the band released another six albums. Then it became quiet around the band and with producer Peter Orloff they moved into the pop field.

In 1997 Peter Josefus died of lung cancer. Mid 2000, his brother Stefan released the last recording with Peter "Nachts sind deine Küsse heiß" (Your kisses are hot at night) and put together a CD with pop songs from recent years. On a concert in December 2004 in the sold-out "Zeche Bochum" Mick Hannes and Stefan Josefus played together for the first time in over 20 years. The appearence, in which only six songs were played, was held at the event "Rock for animals". In fall 2008, SPV published a double CD with the two LPs "Bock auf Rock" and "Geh zum Teufel". In the summer of 2009, Franz K. started a comeback. In September 2009, their new album "Mehr Respekt" was published. The 2010 released single "Die Gute" is the only German version authorized by Steve Miller of his world hit "The Joker". A big party for old friends was the open-air concert in their home town Witten-Annen in July 2010.

Line Up 2010: Stefan Josefus (drums), Mick Hannah (guitar), Michael "Momo" Grimm (bass, vocals), Klaus Vanscheidt (guitar), Tim Husung (drums, percussion).


A1Wir haben Bock auf Rock4:36
A2Bye bye, Johnny4:30
A3Eh, Mann!3:55
A4Der König4:15
B2Halt mich fest3:25
B3Halt mich fest, Teil II (Boogie)5:10
B4Condor (Instrumental)4:12

Franz K. - Wir haben Bock auf Rock
(ca. 256 kbps, cover art included)

Samstag, 17. März 2018

Mekanik Destrüktiw Komandöh – Live! Die Kriegserklärung (1982)

"Live! Die Kriegserklärung" ("Live! Declaration of war") is a rare live recordings from the West-Berlin Punk & Avantgarde scene. "Mekanik Destrüktiw Komandöh" was an interesting project between punk, industrail and avantgarde. Alexander Hacke played in the weirdest projects and became famous with Einstürzende Neubauten.

Review from RateYourMusic:
"Babies von heute sind die Soldaten von morgen" ("Today's babies are tomorrow's soldiers").
Lots of overlap on this live album with the first "Weg zum Frieden" tape. The A-side was recorded in the Kant-Kino in June 1980 and is a bit more polished, the B-side was recorded in the SO 36 a month earlier, and the sound quality is much rougher. Which is a pity, as the band seems in a great form there – its incredibly intense, theatrical, dark punk with occasional jazz notes and loads of atmosphere, and it grooves like hell on tracks like "Babies von heute". Of course, if you don't speak German, you'll miss half the fun, as Volker Hauptvogel's lyrics are just as good as the music.

Side A · Live at Kant-Kino, Berlin
01. Banane/Zitrone (1:52)
02. Rhythmus der Musik (3:40)
03. Rohe Gewalt (2:23)
04. Das Mörderlied (5.23)
05. Die Superbraut (3:18)
06. Kreuzberg 36 (1:02)

Side B · Live at SO36, Berlin
01. Kleine Mädchen (1:48)
02. Das Friedenslied (4:50)
03. Babies von Heute (2:15)
04. Falsche Freunde (2:30)
05. Liebeslied (3:07)
06. Propaganda durch die Tat (2:29)
07. Spaß muß sein (3:49)
Total Time: 38:06

Volker Hauptvogel: vocals
Alexander Hacke: guitar
Edgar Domin: bass
Uli Radtke: drums
Stefan Schwietzke: sax
(ca. 256 kbps, cover art included)

Tom Robinson Band - The Winter Of 89

This album was recorded live in 1990 by a re-formed version of the band without either Dolphin Taylor, who was playing with STIFF LITTLE FINGERS at the time or Charlie Morgan who was playing with ELTON JOHN. Basic tracks recorded at Central TV Studios for the Bedrock programme, which has subsequently been released on DVD. Studio post production by Tom.

"Motorway - Live In Concert" is a pirate version of 'The Winter of 89' thanks to an unscrupulous record company called Merlin exploiting a loophole in EU law. Having licensed the album for £3000 they sold it on to other dodgy record companies around the world. The album has now been pirated variously under the titles 'Motorway', '2-4-6-8 Motorway' and even (incredibly) 'Power In The Darkness' using different covers, crap photographs and duff or nonexistent liner notes. In some cases even the song titles have been altered. The band receive no royalties from sales of these albums.

TR(bs), Danny Kustow (gtr), Mark Ambler(kyb), Steve Creese (drs) EXCEPT tracks 11 and 12 which feature Paul Harvey (gtr) Winston Blisset (bs) James McMillan (tpt) Mark Ramsden (sax) and on Track 12 Steve Laurie (dr)

1. Number One: Protection
2. The Winter Of '89
3. You Gotta Survive
4. Too Good To Be True
5. Martin
6. We Didn't Know What Was Going On
7. Up Against The Wall
8. Glad To Be Gay
9. Power In The Darkness
10. 2-4-6-8 Motorway
11. Atmospherics: Listen to the Radio
12. War Baby

Tom Robinson Band - The Winter Of 89
(256 kbps, front cover & alternative covers included)

Freitag, 16. März 2018

Kurt Weill - American Songbook Series (Smithsonian Collection)

The Smithsonian American Songbook Series traces the legacy of American songwriters with individual volumes devoted to a number of artists. This one featurs music by Kurt Weill in interpretationts by artist like Louis Armstong, Benny Goodman, Lotte Lenya, Bing Crosby, Lee Wiley, Sarah Vaughan and many others.
Kurt Julian Weill (March 2, 1900 – April 3, 1950) was a prominent and popular German-Jewish composer, active from the 1920s, and in his later years in the United States. He left nazi Germany in 1933 for Paris, London and then the USA in 1936. He was a leading composer for the stage who was most well known for his fruitful collaborations with Bertolt Brecht. With Brecht, he developed productions such as his most well known work "The Threepenny Opera", a Marxist critique of capitalism, which included the ballad "Mack the Knife". Weill was a socialist who held the ideal of writing music that serveda socially useful purpose. He also wrote a number of works for the concert hall, as well as several Judaism themed pieces.


1. Mack the Knife -- Louis Armstrong, Louis Armstrong
2. Jenny -- Helen Forrest, Benny Goodman & His Orchestra
3. That's Him -- Mary Martin
4. September Song -- Bing Crosby
5. This Is New -- Lee Wiley
6. Green-Up Time -- Buddy Clark
7. One Life to Live -- Portia Nelson
8. Susan's Dream -- Kaye Ballard
9. One Touch of Venus -- Greta Keller
10. Moon-faced, Starry-eyed -- The Hi-Lo's
11. Speak Low -- Sarah Vaughan
12. Pirate Jenny -- Lotte Lenya
13. Lonely House -- June Christy
14. Lost in the Stars -- Tony Bennett
15. It Never Was You -- Judy Garland
16. Alabama Song -- Georgia Brown
17. Mr. Right -- Dorothy Loudon
18. There's Nowhere to Go but up -- William Roy, Julie Wilson
19. Surabaya Johnny -- Lotte Lenya
20. My Ship -- Lena Horne

Donnerstag, 15. März 2018

Christof Schlingensief - Three Radio Plays (Rocky Dutschke `68, Freakstars 3000 & Lager ohne Grenzen)

Christoph Schlingensief (born October 24, 1960 in Oberhausen, died August 21, 2010) was a German film director, theatre director, actor, author, artist, and talkshow host.

In the beginning he organized culture-events in the cellar of his parents house. Artists like Helge Schneider or Theo Jörgensmann performned at this place.
He created controversial and provocative theatre pieces as well as motion pictures. One of his main works, the so-called "Germany-Trilogy" consisting of the movies "Hundert Jahre Adolf Hitler"("A Hundred Years Of Adolf Hitler"), "Das deutsche Kettensägenmassaker"("The German Chainsaw-Massacre) and "Terror 2000" which handle three markpoints in German history of the 20th century. While "Hundert Jahre Adolf Hitler" is about the last hours of Adolf Hitler, "Das deutsche Kettensägen-Massaker" heads the German reunion of 1989 and shows a few East-German people who cross the border to visit West-Germany and get slaughtered by a psychopathic family with non-running chainsaws. "Terror 2000" is about the 1970´s Red Army Faction terror in Germany.

In 1993 he debuted as a theatre director at the Berliner Volksbühne with “100 Years of the CDU – Games Without Frontiers”. This was followed by various projects outside the theatre, such as the Mission project for drug addicts and the homeless at Hamburg Central Station in 1997, “Passion Impossible – 7 Days Emergency Call for Germany” or, in 2000, the Big Brother game for asylum seekers in Vienna, “Please Love Austria”.

In 1997 he was arrested at documenta X during an art action because he used a sign with the inscription “Kill Helmut Kohl”. In 1998 he founded the party “Chance 2000” ("Opportunity 2000") and took part in the campaign for elections to the Bundestag.

Schlingensief is an extremely provocative artist and his major targets are the German and Austrian identity.

Christof Schlingensief produced a few radio plays, we present four of them in this posting:
"Lager ohne Grenzen" about the Kosovo war, "Freakstars 3000" about the normality of handicapped people and two versions of the mind-blowing radio play "Rocky Dutschke `68".

"Rocky Dutschke `68" was produced in 1997 by the WDR (German radio station) and won the "Prix Futura". It is a remake of a theatre play for the "Volksbühne" in Berlin.
This audio collage simulates a meeting of some student activists of the 1968 generation in a radio studio: Amonst others Wolf Biermann, Marget Kleinert (editor of the "Thoughts without pain"-broadcasting) and Heiner Müller are talking about hobbys, work and Rudi Dutschke. This fake broadcasting "assimilates" German history and present and reflects some phenomenons of our trivial media society. Full of provocation and cynicism it shows the thoughtless dealings with language, music and ideologic ideas.

"One of the best radio-shows I ever experienced," as R3000 wrote about this recording over at - thanks a lot for bringing the work of Schlingensief back to my attention!

Maybe you want to read the other posting about Christof Schlingensief.

Christof Schlingensief - Three Radio Plays

Mittwoch, 14. März 2018

Eddie Gale ‎– Eddie Gale's Ghetto Music (1968)

The aesthetic and cultural merits of Eddie Gale's "Ghetto Music" cannot be overstated. That it is one of the most obscure recordings in Blue Note's catalog - paid for out of label co-founder Francis Wolff's own pocket - should tell us something.

This is an apocryphal album, one that seamlessly blends the new jazz of the '60s - Gale was a member of the Sun Ra Arkestra before and after these sides, and played on Cecil Taylor's Blue Note debut, "Unit Structures" - with gospel, soul, and the blues. Gale's sextet included two bass players and two drummers - in 1968 - as well as a chorus of 11 voices, male and female. Sound like a mess? Far from it. This is some of the most spiritually engaged, forward-thinking, and finely wrought music of 1968.

What's more is that, unlike lots of post-Coltrane free jazz, it's ultimately very listenable. Soloists come and go, but modes, melodies, and harmonies remain firmly intact. The beautiful strains of African folk music and Latin jazz sounds in "Fulton Street," for example, create a veritable chromatic rainbow. "A Walk with Thee" is a spiritual written to a march tempo with drummers playing counterpoint to one another and the front line creating elongated melodic lines via an Eastern harmonic sensibility. The final cut, "The Coming of Gwilu," moves from the tribal to the urban and everywhere in between using Jamaican thumb piano's, soaring vocals à la the Arkestra, polyrhythmic invention, and good, old-fashioned groove jazz, making something entirely new in the process. While Albert Ayler's "New Grass" was a failure for all its adventurousness, Eddie Gale's "Ghetto Music", while a bit narrower in scope, succeeds because it concentrates on creating a space for the myriad voices of an emerging African-American cultural force to be heard in a single architecture. This is militant music posessed by soul and spirit.     

  1. "The Rain" - 6:30
  2. "Fulton Street" - 6:51
  3. "A Understanding" - 7:41
  4. "A Walk With Thee" - 6:09
  5. "The Coming of Gwilu" - 13:37

Eddie Gale ‎– Eddie Gale's Ghetto Music  (1968)
(192 kbps, cover art included)   

Sonntag, 11. März 2018

Bullwackies All Stars ‎- Black World Dub (1979)

"Black World" came out originally in 1979, on the Wackies’ imprint Hardwax. It’s a tough album, with Sibbles guiding the selection as well as sharing bass duties - there are versions of his classic composition "Guiding Star" and stylish Wackies heavyweight, This World; and "Tribute To Studio One" reworks Heptones "Gonna Fight / Hail Don D." as modern steppers, with the kit-drums - as throughout this album - supplemented effectively by the latest electronic innovation from Japan. Drifter and Skylarking put in appearances; and two full Joe Auxumite vocals from the solo album scheduled for release around this time, but abandoned when most of the tapes were lost. A dub version of Delroy Wilson’s "Rain From The Skies" rounds out proceedings.

A1 Recording Connection 3:50
A2 Skylarking 4:22
A3 Troubled Land 3:46
A4 Morning Star 3:40
A5 United Rock 4:24
B1 Black World 4:28
B2 Simple Little Woman 5:10
B3 Tribute To Studio One 2:01
B4 Shining Star 3:01
B5 Rain From The Cloud 3:27

Bullwackies All Stars ‎- Black World Dub (1979)
(320 kbps, cover art included)

Freitag, 9. März 2018

David Bowie in Bertolt Brecht´s "Baal" (1982) - Rest in peace!

Baal is an EP by David Bowie, comprising recordings of songs written for Bertolt Brecht’s play Baal. It is also referred to as David Bowie in Bertolt Brecht’s Baal, as credited on the sleeve.

In August 1981, Bowie had begun rehearsals to appear in the BBC version of Baal. The lyrics to the songs were all translated by Ralph Manheim and John Willett. Dominic Muldowney provided all new musical settings, except for "The Drowned Girl", which was a setting by Kurt Weill done originally for Das Berliner Requiem.
In September 1981, Bowie and Tony Viscontireturned to the Hansa studios in Berlin to re-record the five songs Baal performed in the play.

“Baal’s Hymn” is a combination of the vignettes spread throughout the play, and establishes Baal’s amoral character. “Remembering Marie A” concerns Baal’s reminiscences of a past conquest, where he can remember a cloud drifting overhead, but not the face of the girl he was with. “Ballad of the Adventurers” is Baal’s aggressive lament to the death of his mother. “The Drowned Girl” relates the suicide of one of Baal’s conquests – a video clip for this song was shot by David Mallet at the same time as the one for “Wild is the Wind”. “The Dirty Song” is a short number, with Baal humiliating his lover Sophie.

His performance as Baal was transmitted on February 2, 1982, and RCA issued the EP to coincide with this. Both the play and EP were well received, with the latter reaching #29 in the UK chart, commendable considering the unconventional tracks. As well as the 7" edition (which came packaged in a double gatefold sleeve containing extensive notes pertaining to the musical content and a short biography of Bertolt Brecht) the EP was released as a 12" which gained it some play in clubs as well as radio airplay.


A1) Baal's Hymn
A2) Remembering Marie A
B1) Ballad Of The Adventurers
B2) The Drowned Girl
B3) Dirty Song

David Bowie in Bertolt Brecht´s "Baal" (1982)
(320 kbps, cover art included)

Donnerstag, 8. März 2018

Josh White - Presenting...

A gifted and charismatic entertainer, Josh White (1914-1969) was a blues star of the 1930s, a cabaret star of the 1940s, and a folk star of the 1950s and the 1960s. In 1963, a Billboard magazine poll ranked him America's third most popular male folksinger, surpassed only by Pete Seeger and Harry Belafonte, and ahead of Bob Dylan. White brought American folk and blues to audiences around the world and released several dozen albums, all featuring his distinctive guitar style, supple voice, and unique showmanship.

In this compelling biography, Elijah Wald traces White's journey from a childhood leading blind singers on the streets of Greenville, South Carolina, to the heights of Manhattan cafe society. He explores the complexities of White's music, his struggles with discrimination and stereotypes, his political involvements, and his sometimes raucous personal life.

White was always drawn to music and made his first recordings at age fourteen. By the 1930s he had become a recording star, with equally strong careers in blues and gospel. In the 1940s he was discovered by white audiences and regularly appeared in New York cabarets alongside such artists as Billie Holiday. He also became an outspoken proponent of civil rights and frequently appeared at rallies and benefits, as well as at the Roosevelt White House, becoming known as "the Presidential Minstrel." He was one of the few black figures to star on Broadway and appear in Hollywood films, the only black solo performer to have his own national tour, and a daring sex symbol with adoring fans on both sides of the color line.

In the 1950s, White won acclaim in Europe, then saw his achievements collapse in the polarized political ferment of the McCarthy era. Attempting to strike a balance that would keep his career afloat, he instead ended up alienating both political camps. Although still a star in England, he became the forgotten man at home until his resurrection during the folk revival.

 1. Apples, Peaches And Cherries
  2. Bad Depression Blues
  3. Black and Evil Blues
  4. Fare Thee Well
  5. Frankie & Johnny
  6. Free And Equal Blues 
  7. Howlin' Wolf Blues
  8. I Gave My Love A Cherry
  9. John Henry
  10. Little Brother Blues
  11. Nobody Wants You When You're Down And Out
  12. Prison Bound
  13. Foggy Foggy Dew
  14. House Of The Rising Sun
  15. The Lass With The Delicate Air
  16. I'm Gonna Move To The Outskirts Of Town
  17. Hard Time Blues
  18. Strange Fruit
  19. Lord, I Want To Die Easy

Josh White - Presenting...
(320 kbps, front cover included)

Mittwoch, 7. März 2018

Paul Robeson - Spirituals (1945)

Born on April 9, 1898, in Princeton, New Jersey, Paul Robeson went on to become a stellar athlete and performing artist. He starred in both stage and film versions of The Emperor Jones and Show Boat, and established an immensely popular screen and singing career of international proportions. Robeson spoke out against racism and became a world activist, yet was blacklisted during the paranoia of McCarthyism in the 1950s. He died in Pennsylvania in 1976.

When he was 17, Robeson earned a scholarship to attend Rutgers University, the third African American to do so, and became one of the institution's most stellar students. He received top honors for his debate and oratory skills, won 15 letters in four varsity sports, was elected Phi Beta Kappa and became his class valedictorian.

Increasing political awareness impelled Robeson to visit the Soviet Union in 1934, and from that year he became increasingly identified with strong left-wing commitments, while continuing his success in concerts, recordings, and theatre. In 1950 the U.S. State Department withdrew his passport because he refused to sign an affidavit disclaiming membership in the Communist Party. In the following years he was virtually ostracized for his political views, although in 1958 the Supreme Court overturned the affidavit ruling. Robeson then left the United States to live in Europe and travel in countries of the Soviet bloc, but he returned to the United States in 1963 because of ill health.

Robeson appeared in a number of films, including Sanders of the River(1935), Show Boat (1936), Song of Freedom (1936), and The Proud Valley (1940). His autobiography, Here I Stand, was published in 1958.

Go Down Moses2:44
Balm In Gilead2:13
By An' By2:29
Sometimes I Feel Like A Motherless Child2:31
John Henry2:27
Water Boy2:30
Nobody Knows The Trouble I've Seen2:41
Joshua Fit De Battle Of Jericho1:53
Paul Robeson - Spirituals (1945)   
(320 kbps, cover art included)               

Dienstag, 6. März 2018

Léo Ferré - Same (Odéon, 1953)

Although little known in English speaking countries, Léo Ferré (1916-1993) is a monument of French chanson, revered throughout the francophone world. A singer, songwriter, author, composer, and even orchestra conductor, he is mostly remembered for songs like "Avec le Temps," "Les Anarchistes," and "Jolie Môme." His career began in the cabaret and took him through four decades and a number of styles, but his best material and his popularity peak happened in the ‘60s and early ‘70s, as the generation of May ‘68 adopted him as an anarchist figure.

Léo Ferré was born and raised in the principality of Monaco, between France and Italy. Throughout his life, the artist would live and work in the two countries alternately, even recording a few songs in Italian. He completed his college studies in 1934 in Rome. Since his father refused to let him go to the music conservatory, he went to Paris for studies in law, earning a diploma in Political Sciences in 1939. The second World War dragged him into the military and upon Paris' capitulation he fled back to Monaco. He got married for the first time in 1943, began to work at Radio Monte-Carlo, and wrote his first songs.

After the Liberation (1945) Ferré gave his first performances in Parisian cabarets, encouraged by Charles Trenet, Edith Piaf, and Juliette Gréco who would sing many of his songs. His first wife divorced him in 1950. Shortly after, he met Madeleine Rabereau, who would become his second wife and have a decisive influence on his career, pushing him constantly forward. He cut his first 78 rpms for Le Chant du Monde and wrote his first piece of "serious" music, the oratorio "La Chanson du Mal-Aimé." In 1953, Ferré was signed by the record label Odéon and recorded his first LP which includes "Paris-Canaille."

In the late ‘50s and early ‘60s he recorded a series of albums devoted to French poets, interspersed with LPs of his own songs. His lyrics alternate between love topics and a social commentary that grows more and more bitter: "Thank You Satan," "Mon Général" (against Charles De Gaulle), "Ni Dieu, Ni Maître." When the events of May ‘68 take place, Ferré is at a popular and artistic peak. Now forever associated to the Anarchist movement, he let himself be transported by the younger generation. He abandoned the over-emphatic, theatrical style of singing that was also Jacques Brel's trademark, recorded and toured with the rock group Zoo, and included monologues in his concerts. In October 1970 came out the single "Avec le Temps." It became his signature song.

Starting in 1975, Ferré attempted a career in classical music, conducting orchestras for his works and classics (he recorded works by Beethoven and Ravel). For the next decade he continued to release albums and tour, but his prime had passed. His writings and television appearances were feeding his popularity more than his musical production of the time, and by 1985 he had considerably slowed down his activities. He was preparing a come back to the stage when illness struck in 1992. He died in July 1993 at age 77. 


A1Monsieur William
A2La Chambre
A4Le Pont Mirabeau
B2Notre Amour
B3... Et Des Clous
B4Les Cloches De Notre-Dame
B5Paris Canaille

Léo Ferré - Same (Odéon, 1953)
(320 kbps, front cover included)         

Montag, 5. März 2018

Violeta Parra - Las Ultimas Composiciones (1966)

Violeta Parra was an amazing woman who nearly single-handedly launched a revolution in music, art and culture in Chile... and went on to inspire a political revolution as well. This album captures some of her last works. Bittersweet, sometimes angry, sometimes sorrowful, but alway masterful, it captures her sentiment not long before she committed suicide. This is a must-have for folk music lovers, Canciones Nuevas lovers, and lovers of political music. Victor Jara, Isabel and Angel Parra, Inti-Illimani, Rolando Alarcon, Quilapayun and many others owe Violeta so much. Listen and know why.

"Las Ultimas Composiciones" is an excellent collection of 14 songs ranging from sweet lyricism to driving resistance. It is the last recording issued in her lifetime and many of the songs include accompaniment by Alberto Zapican and Violeta's children, Isabel and Angel Parra. The version here of "Gracias a la Vida" is especially haunting.

Gracias A La Vida - Canción
El "Albertio" - Rin, Danza
Cantores Que Reflexionan - Refalosa
Pupila De Aguila - Huayno
Run Run Se Fue Pa'l Norte - Canción
Maldigo Del Alto Cielo - Sirilla Canción
La Cueca De Los Poetas - Cueca
Mazurquica Modernica - Mazurka
Volver A Los 17 - Sirilla Canción
Rin Del Angelito - Rin Danza
Una Copla Me Ha Cantado - Lamento
El Guillatun - Danza Estilo Araucano
Pastelero A Tus Pasteles - Cueca
De Cuerpo Entero - Cueca

Violeta Parra - Las Ultimas Composiciones (1966)
(192 kbps, cover art included)

Samstag, 3. März 2018

Doc Watson - Southbound (1966)

"Southbound" is the second studio album by the American folk music artist Doc Watson, released in 1966.

"Southbound" was a pivotal record for Doc Watson. Upon its 1966 release, it demonstrated that Watson was capable of more than just dazzling interpretations of folk songs, but that he could also write excellent original material and rework new country songs in a fascinating manner.

"Southbound" also marked the recorded debut of Merle Watson, Doc's astonishingly talented son.               


A1Walk On Boy3:19
A2Blue Railroad Train2:41
A3Sweet Georgia Brown1:52
A6Windy And Warm2:11
A7Call Of The Road2:16
B1Tennesse Stud3:33
B2That Was The Last Thing On My Mind2:44
B3Little Darling Pal Of Mine2:40
B4Nothing To It2:00
B5Riddle Song2:34
B6Never No More Blues3:09
B7Nashville Pickin'1:50

Doc Watson - Southbound (1966)
(192 kbps, cover art inlcuded)

Samstag, 24. Februar 2018

Cochise - Wir werden leben (1981)

Cochise from Dortmund played folk and rock music with mostly political lyrics inspired by a left wing perspective. The band was founded in 1979 and became one of the musical voices of the alternative movement in West Germany. They developed an unique lyrical and musical language connecting the political contents of the 70s and 80s with powerfull, delightfull music and the rebellious attitude of a whole generation.
"Wir werden leben" was their second album. Alongside Ton Steine Scherben, Checkpoint Charlie or Schroeder Roadshow they were important protagonists of the "Polit-Rock" scene, playing at every hotspot of the social movements in the 1980s - like Wackersdorf, Starbahn West, Mutlangen and squattet houses.


A1Wir werden leben4:15
A2Das Haus4:45
A3Die Indianer sind noch fern4:50
A5Platanen statt Autobahnen1:31
B1Is das nich gemein mit diesm Gesangsverein?4:54
B2Rock´n Roll Rentner4:10
B4Letztn Somma warn wa schwimmn1:52
B5Jetzt oder nie - Anarchie!3:05

Cochise - Wir werden leben (1981)
(320 kbps, cover art included)

Mittwoch, 21. Februar 2018

Isabel & Angel Parra - Le Pena de los Parra (1971)

Chile´s most important twentieth century popular music movment, nueva cancion (New Songs) was officially born in July 1969 during the First Festival of New Songs organized by the Catholic University of Santiago. In the 1950s and 1960s Margot Loyola, Violeta Parra, Hector Pavez, Gabriela Pizarro, the Cuncumen group and others began to recuperate Chilean folk music. In the mid-1960s the neo-folklore movement was formed in Chile by musicians like Angel Parra, Isabel Parra, Patricio Manns, Rolando Alarcon and Victor Jara as well as groups like Los Cuatro Cuartos. Nueva cancion was born dirctly out of the group´s work and of the radicalization of the creative work of singer-songwriters by groups like Quilapayun, Inti-Illimani, Curacas, Aparcoa and Illapu. As a result, a number of classical-trained musicinas, including Sergio Ortega, Luis Advis and Gustavo Becerra began to work with popular musicinas.

The club known as 'La pena de los Parra' played a key role in the movement, and sparked the creation of similar clubs (panas) throughout the country, particularly in university areas. The DICAP record label and several radio programmes also playd an important part in disseminating nueva cancion

The movement was particularly significant during the period leading up to Allende´s victory in 1970, and throughout the three years of Popular Unitiy government. When it was brought down by the military coup of September 1973, many members of the movement were killed, among them Victor Jara; others (like Angel Parra) were jailed and Inti-Illimani, Quilapayun, Patricio Manns and Isabel Parra, among others, were forced into exile.


A1 Rio Manzanares / Der Manzanares Strom 2:00
A2 Ya No Somos Nosotros / Wir Sind Nicht Mehr Wir Selbst 2:20
A3 Decimas Del Folklore / Volkstümliche Reime 3:08
A4 Ayúdame Valentina / Hilf Mir, Valentina 3:00
A5 Hasta Cuando Compañero / Wie Lange Noch, Genosse 1:50
A6 Canto A Mi América / Gesang An Mein Amerika 1:48
B1 Casamiento De Negros / Hochzeit Der Schwarzen 1:55
B2 Coplas Americanas / Amerikanische Verse 3:23
B3 Yo Defiendo Mi Tierra / Ich Verteidige Mein Land 2:15
B4 A Desalambrar! / Reißt Die Zäune Nieder 2:15
B5 Al Centro De La Injusticia / Im Zentrum Des Unrechts 3:15
B6 Cuartetas Por Diversión / Spottverse

Isabel & Angel Parra - Le Pena de los Parra (1971)
(320 kbps, cover art included)

Dienstag, 20. Februar 2018

Vladimir Vissotski - Wir drehen die Erde

Vladimir Semyonovich Vysotsky (or Vladimir Vissotski) was born and brought up in central Moscow. He made his living as an actor, joining Yuri Lyubimov's company at the Taganka Theatre in 1964 and performing there to the end of his life. He was a mainstay of the theatre's ensemble style, but also took the leading role in several epoch-making productions, notably as Galileo in Brecht's play, and then as a generationdefining Hamlet. Besides the theatre, Vysotsky regularly appeared in films, usually playing "bad boy" roles. Part of his stock-in-trade as an actor was the performance of songs to guitar accompaniment, and it was in this genre, delivering his own words, that he became more famous in his own lifetime than any other Russian creative artist.

The beginning of Vysotsky's professional life coincided with the appearance of guitar poetry, which in its turn was enabled by the availability of the portable tape recorder in the USSR. Vysotsky's songs could therefore be recorded free of official controls, and the results duplicated. The popularity of these homemade tapes, and the semi-legal appearances Vysotsky made in clubs and other institutions, brought him to the attention of the authorities. He was subjected to harrassment because, in official eyes, the content and especially the style of his songs, saturated with robust humor, were unacceptable even within the relatively permissive boundaries of Socialist Realism in its later phases. Vysotsky was regularly censured by various official bodies, but, shielded by his unprecedented popularity, he was never subjected to serious reprisals.

Vladimir Vysotsky became an immensely popular singer/songwriter in the former Soviet Union and was eventually silenced and banished by government officials. When he died in 1980, at the age of 42, over one million people attended his funeral. The posthumous release of his poetry, in addition to his musical legacy and acting, endeared him to the masses. Fans still make pilgrimages to his grave to pay respects to the man who was, for his country, what Bob Dylan and Leonard Cohen were to America.

Until his death, Vladimir Vysotsky was a prophet without honor in his own country; although he wrote more than a thousand highly popular songs, he died without an official record release to his name. The reason for this studied neglect lay in the political tenor of his material. Vysotsky, who began performing in the 1960s, was quite critical of the Communist regime, and his lyrics took position on the Soviet status quo. His songs derived from the "blatny pesny" (literally, delinquent song) tradition, with its celebration of sex, drink, and street fights. Informally distributed cassettes ensured Vysotsky a wide and enthusiastic following. After his death, in 1980, Gorbachev granted his music an imprimatur and a 20-album retrospective was released.

Although aparently compiled in Germany, this CD is in Russian and contains some of Visotsky's most popular work. Although Visotsky composed more than a 1,000 songs, only a few of them were sanctioned by the Soviet government. This CD contains many of the songs that were "officially" released to the public and were a staple on Russian radio in the 70's. A unique feature of this CD is that it contains many songs with orchestral background in contrast to the griddy guitar solos that Visotsky usually performed in underground clubs.

Vladimir Vissotski - Wir drehen die Erde
(192 kbps, front & back cover included)

Zülfü Livaneli & Mikis Theodorakis – Güneş Topla Benim İçin (1985)

From the back cover:

Two internationally renowned musicians, Mikis Theodorakis from Greece and Zülfü Livaneli from Turkey, have – at a time of considerable political tension between their two countries – made a record together. Five compositions by each of the two artists were recorded in Instanbul and in Athens respectively.

For 18 weeks this LP was top of the Turkish charts, and in September 1986, the 'Golden Record' was presented to Mikis Theodorakis personally in Istanbul.
"I am glad that this cooperation with my highly esteemed colleague Livaneli has given me a chance to get in touch with the Turkish people, whom I have always appreciated and loved. I hope that this small, but symbolic Turkish-Greek cooperation should herald – like a first swallow – the spring in the relations between our two peoples!" - Mikis Theodorakis, Athens, 24th January 1986

Above I've used the title of the original Turkish release because it should be known to more readers. This German re-release is quite rare and has his own little history. For the German market the track order has been altered and the title "Together" was chosen, 12 years later it was used again for the 1997 live CD recorded during a concert in Berlin by these 2 artists.

This vinyl record is the only release ever on that label. In fact Ararat Verlag was a little book editor run by a Turkish immigrant serving the Turkish community and those Germans interested in Turkish culture with literature, poetry and children's books in Turkish language, often also including a German translation. Today the book shop has developed into a framing and print shop, and a second one with graphics and postcards for the many tourists, still at the old address.

01. Zülfü Livaneli & Mikis Theodorakis • O Günler · Τώρα στα ογδόντα έξι · Jene Tage · Those days 02:55
02. Zülfü Livaneli • Güneş Topla Benim İçin · Sammle Sonne ein für mich · Gather the sun for me 04:12
03. Zülfü Livaneli • Yanyana · Seite an Seite · Together 04:19
04. Zülfü Livaneli • Bizim · Unser · Ours 03:01
05. Zülfü Livaneli • Kırlangıç · Eine Schwalbe · The swallow 03:15
06. Zülfü Livaneli • Geceleyin · Nachts · At night 02:59
07. Zülfü Livaneli • Sevgiyle · Mit Liebe · With love 02:48
08. Zülfü Livaneli • Memik Oğlan · Der junge Memik · Young Memik 04:19
09. Sevingül Bahadır • Hep Seni Anar · Erinnerung · Always in thoughts of you 02:19
10. Zülfü Livaneli • Selam Olsun · Der Gruß · Welcome 04:46

Recorded by Fazıl Atuk at Studio Pan, Istanbul, and Yannis Smirneos at Studio Polysound, Athens
© Ararat Verlag, Bergmannstr. 99a, 1000 Berlin 61 Kreuzberg
(256 kbps, cover art included)

Montag, 19. Februar 2018

Josh White - The Story of John Henry - 25th Anniversary Album (1957)

Josh White had a talent for self-reinvention, and his career - which began in the 1920s and stretched essentially uninterrupted all the way into the '60s - is an amazing story of adaptability and survival.

Slick, sly, and fiercely intelligent, White began as a Piedmont blues player, but became a sort of pre-Harry Belafonte black sex idol, complete with a leftist social and political agenda, during his so-called cabaret blues period in the late '40s, and when the McCarthy era led to his blacklisting, he rebounded into the folk revival with several carefully assembled albums for Jac Holzman's newly created Elektra label that recast him as a folk balladeer. 

This set, originally released as an LP in 1957, was the first of those albums for Elektra. Few performers could make the folk-blues straddle the line between being rustic on the one hand and artfully urbane on the other like White was able to do, and while to some extent it was a stage act, there is no doubting White's ultimate devotion to his material. 
The key track here is the first one, an epic 23-plus-minute version of "John Henry" that was the center of White's live performances during his folk period and was somewhat of a signature song for him. Although some doubted White's authenticity as a folk-blues performer (they really shouldn't have), the fact remains that White was an excellent acoustic guitar player and a subtle and versatile singer who carefully selected his material, well aware of how it made him appear. 

Listeners should definitely check out some of White's early Piedmont-styled 78s from the '20s, though, like "Blood Red River" and "Silicosis Is Killin' Me," to really hear this intelligent performer at his best.

1. The Story Of John Henry... a musical narrative   23:33
2. Black Girl   2:58
3. Free And Equal Blues   3:49
4. Live The Life   2:22
5. Sam Hall  2:58
6. Where Were You, Baby?   3:38
7. Delia's Gone   3:49
8. Run, Mona, Run   1:37
(320 kbps, cover art included)

Samstag, 17. Februar 2018

Paul Graetz - Heimweh nach Berlin

In the late 1920s, Berlin was the world´s third-largest city and a metropolis of culture and science with a vibrantly diverse population comprised of immigrants and native Berliners. In the aftermath of the Nazi regime´s rise to power in 1933 and the terror of the 1938 November Pogroms, an appalling number of men and women who had contributed to the diversity of Berlin´s cultural and social landscapes were persecuted and driven into exile - many others were deported and murdered.
As the "most quintessential of Berlin´s comedians", Paul Graetz was among the most popular German cabaret performers in the years before 1933.

Graetz, who was a Jewish artist and had warned against the threat posed by the Nazis, fled Germany after the Reichstag fire.

After working in London as an actor, he emigrated to New York and then to Hollywood, where he died in 1937, "heartbroken at the loss of his native Berlin", as a fellow-artist reported.

Paul Graetz - Heimweh nach Berlin
(192 kbps, front cover included)