VA – Rote Lieder 70-76 (AMIGA, 1977)

The Festival of Political Song was from 1970 to 1990 in East Berlin, held annually in February (except during the Tenth World Festival in the summer of 1973). It was one of the biggest music events in the DDR (GDR) and an “international institution” (Mikis Theodorakis, 1983).

The album “Rote Lieder `70 – `76” features original recordings from the first to the 6th “Festival of Political Song” in East Berlin and the Festival PLX 1973 (Political Songs of the 10^th World Festival, East Berlin). Artists from Ireland, Chile, Italy, Russia, India, France, Uruguay, South Africa, Greece, Cuba and the GDR represent the internatinal communist movement.

Tracklist:
 

A1: The winds are singing freedom – The Sands Family

A2: Comienza la vida nueva (Das neue Leben beginnt) – Quilapayun

A3: Alla mattina con la luna – Canzoniere Internationale und Duo Di Piadena

A4: Konzertierte Aktion – Dieter Süverkrüp

A5: Optimistisches Lied – Gruppe Schicht

A6: Baikal-Amur-Magistrale – Gruppe Lingua

A7: Lang lebe Bangladesh – Dr. Bhupen Hazarika

A8: Cancion del poder popular – Inti Illimani

B1: Kenen joukoissa seisot – Gruppe Agitprop

B2: Grandola, vila morena – José Afonso

B3: Les Communistes – Pia Colombo

B4: A desalambrar – Daniel Viglietti

B5: Afrika – Miriam Makeba

B6: Das Meer braust weiter – Muszty & Dobay

B7: Eviva Liberta – Gruppe Xasteria

B8: Guantanamera – Manguaré

B9: Wir sind überall – Oktoberklub

VA – Rote Lieder `70 – `76 (Amiga, 1977)
(320 kbps, front cover included)

 

Sorgenhobel (1981, Germany)

Sorgenhobel started in 1977 as a band playing german and international folk-music, contemporary and political songs. They all were amateurs, non commercial and had nothing to do with the music
business.
All band members worked for their living or were unemployed at times.

Most of the time the group had 5-6 members, some changing over the years, about 13 to 14 people. You could hear them at social & political events, at union gatherings & celebrations like 1.of may, demonstrations, community projects & so on.

From their opinion they saw themselves as part of the worldwide movement for human rights, peace & anti-nuclear power, supporting people working for their rights, worlwide.

Musical influence was the anglo-irish & american folk revival & the recovered tradition of german folkmusic, forgotten & unpopular, depended on the terror of the nazi-regime. So they tried (with other musicians like Fiedel Michel or the Kröher brothers) to make the good part of this music popular again.

The members of the group came from different parts of (west-)germany, & had different jobs, they all met in berlin. Sorgenhobel wasn´t a schwaben band and most their activities happend in berlin.
SORGENHOBEL is the trade-mark of a red wine from southern germany & it became the name of the group, because some liked it, not all.

They played until 1983 & quit of private reasons, some went to other places, some had changes in jobs or families. There was never a reunion.

Publishings: LP SORGENHOBEL / same / Eigenverlag 1981
                     2 MC´s: Brecht das Doppeljoch entzwei / Stechapfelverlag, 1981
                    Sorgenhobel – Lieder und Texte aus der Geschichte der Deutschen Arbeiterbewegung /
                    Stechapfelverlag (songbook to the cassettes)

 

This album was recorded in December 1981 by Franz de Byl and Jost Gebers.

Tracklist:
01. Septemberblumen
02. Gestapo Zelle 2
03. The Fields Of November – Green Leaf Fancy
04. Der Biedermann
05. Lied mom Manne-Friedrich
06. Kolo von Srem
07. Jungenlied
08. Die Gesellenwoche
09. Polkas
10. Streit und Kampf
11. Paddy On The Turnpike
12. Die Gedanken sind frei

Sorgenhobel – same (1981, vinyl rip)
(320 kbps, front cover incuded)

“Gestapo-Zelle 2

Der Wind schlägt nachts ans Fenster
und heulend schlägt’s Alarm
in Deutschland geh’n Gespenster um
hier drinnen ist es warm

Sie nennen es Gefängnis
der Leib ist auch gebannt
und doch ist da Verhängnis
ach dem Herz noch kaum bekannt

Mir scheint’s wie Klosterzelle
die hell getünchte Wand
hält fern mir jede Welle die
mich sonst so jäh berannt

Der Geist schweift frei ins Leben
die Fesseln scher’n ihn nicht
und Zeit und Raum sie heben sich
hinweg im blassen Licht

Und sind wir losgeschnitten
von unruhvoller Welt
so ist auch abgeschnitten
all das Beiwerk das nicht zählt

Es gilt nur letzte Wahrheit
dem überscharfen Blick
und ungetrübte Klarheit wird
ihr Stolz und Daseinsglück

Der Stunde Ernst wir fragen
hat es sich auch gelohnt
an dir ist nun zu sagen doch
es war die rechte Front

Das Sterben an der Kehle
hast du das Leben nie
und doch ist deine Seele satt
von dem was vorwärts trieb

Wenn wir auch sterben sollen
so wissen wir: die Saat
geht auf wenn Köpfe rollen
dann zwingt doch der Geist den Staat

Die letzten Argumente
sind Strang und Fallbeil nicht
und unsere heut’gen Richter sind
noch nicht das Weltgericht.”

(Schulze-Boysen / Weiß)

Thanks a lot to H. for sharing this music and informations with us!!!

Peter Rohland – Jiddische Lieder (1965)

Millions of Jews and others killed during the Holocaust are being remembered on todays Holocaust Memorial Day. It marks the anniversary of the liberation of the Auschwitz concentration camp by soldiers of the Soviet Army in 1945.

Peter Rohland (* 22. February 1933, † 5. April 1966) was a German singer, singer-songwriter and a folk music researcher. Together with Hein and Oss Kröher he initiated the “Burg Waldeck Festivals”.
Peter Rohland investigated, considerably affected by the work of Wolfgang Steinitz, the song property of the vagrants and the revolution of 1848, as well as jewish songs. He was the first chansonnier to sing jewish songs in West Germany after the Holocaust.

Tracks:

01. Un as der Rebbe Alimelech
02. Fohr ijch mir arois
03. Hot majne homntash
04. Wolt ijch sejn a rov
05. Mai komashma lon
06. Jich nehm dos peckel
07. Frateg far nacht
08. Baj dem shtetl
09. Bin ijch mir a schnajderl
10. Jomme, jomme, shpil mir a lidele
11. Un as der Rebbe singt
12. Hot der tate fun jaridl
13. Tzen Bridder
14. Amol is gewen a majsse
15. Tumbalalalaika
16. Unter a klajn bajmele
17. Du majdele, du shajns
18. Lo mir ale singen
19. Baj majn Rebben is gewen
20. Un as de jontefdige tejg
21. Shlof, majn sun
22. Unter de chirwes von Pojln
23. Shtil, die nacht ist ojsgeshternt
24. S’ brent, bridderlech, s’ brent

Peter Rohland – Jiddische Lieder
(192 kbps, cover art included)

Die City Preachers – Folklore (1965)

The “City Preachers” was regarded as German´s first folk-rock group. They were the leading german folk group in the sixties and some of their members became later very sucessful in Germany as solo musicians like Udo Lindenberg and Inga Rumpf. They played a mixture of folk and protest songs, spirituals, blues, flamenco and bouzouki. Jewish and Balkan songs, but also early German-language “Protest Songs” were part of their repertoire.

John O´Brian Docker, founder of the band, on the Preachers: “The group was formed in October 1965. At that time I met a number of young artists, amateurs, and molded it into a solid group.”

 

Some of the band members are still prominent in the music scene: For example John O´Brian Docker, Inga Rumpf, Sibylle Kynast, Dagmar Krause, Jean-Jacques Kravetz and Udo Lindenberg. More than 20 soloists participated in various formations of the band for a so-called ‘modular’ formation (everyone is a soloist and everyone plays with each).

In 1969 Inga Rumpft left the City Preachers to form the sucessful progressive rock band “Frumpy”. This was the end of the City Preachers.

 

Tracklist:

01. Sometimes I’ in the mood
02. Apopse kanis bam
03. Come back baby
04. Porque Madalena
05. Toll the bell easy
06. Schlaf nur ruhig ein
07. Black brown and white
08. Alegrias por Ana Mary
09. Pick a bale of cotton
10. Ik hebbe se nich
11. Railroad Bill
12. Anula
13. Walking in the city
14. Gregor
15. Wenn die Soldaten
16. De sun vet arunter gayn

City Preachers – Folklore (1966)
(192 kbps, front cover included)

Gisela May – Singt Erich Kästner (1968)

 

Gisela May (born May 31, 1924 in Wetzlar) is a distinguished German character actress of theatre and a singer, critically acclaimed for performing the songs written by Bertolt Brecht and Kurt Weill.

“Was aber die May und ihre außergewöhnliche Wandlungsfähigkeit ihren Reichtum an Nuancen und Schattierungen betrifft so wäre man wohl versucht .. von einem Ensemble zu sprechen selbst wenn es in diesem Falle (unser Glück!) nur aus einer Frau besteht – einer Frau die freilich mehr zu bieten hat als sieben andere.” (Lothar Kusche)

 

Emil Erich Kästner (23 February 1899 in Dresden – 29 July 1974 in Munich) was a German author, poet, screenwriter and satirist, known for his humorous, socially astute poetry and children’s literature.

 

Kästner was a pacifist and humanist, he wrote for children because of his belief in the regenerating powers of youth. He was opposed to the Nazi regime in Germany that began on 30 January 1933 and was one of the signatories to the “Urgent Call for Unity”. However, unlike many of his fellow authors critical of the dictatorship, Kästner did not emigrate. Kästner did travel to Meran and to Switzerland just after the Nazis assumed power, and he met with exiled fellow writers there. However, Kästner returned to Berlin, arguing that he could chronicle the times better from there. It is probable that Kästner also wanted to avoid abandoning his mother. The Gestapo interrogated Kästner several times, and the writer´s guild excluded him. The Nazis burnt Kästner´s books as “contrary to the German spirit” during the infamous book burnings of May 10, 1933, which was instigated by the then Nazi propaganda minister Joseph Goebbels. Kästner witnessed the event in person.

After the Second World War  Kästner remained a pacifist, speaking at the antimilitarist Ostermarsch demonstrations that protested the stationing of nuclear weapons in West Germany. He later also took a stand against the Vietnam War.

He was a critical chronist of his times – this 1968 recording by Gisela May with Henry Krtschil and his studio orchestra gives evidence of his socio-critical humour.

Tracklist:

Side 1:
KOPERNIKANISCHE CHARAKTERE GESUCHT (1940)
MODERNES MÄRCHEN (1928)
ANSPRACHE EINER BARDAME (1928)
HÖHERE TÖCHTER IM GESPRÄCH (1930)
CHOR DER GIRLS (1929)
SACHLICHE ROMANZE (1929)
EINE MUTTER ZIEHT BILANZ (1929)
DAS LIED, GENANNT „ZUR SELBEN STUNDE” (1952)

Side 2 :
DAS LEBEN OHNE ZEITVERLUST (1946)
KLASSENZUSAMMENKUNFT (1928)
DIE DAME SCHREIBT DER DAME (1931)
DAS LIED VOM KLEINEN MANN (1931)
KENNST DU DAS LAND, WO DIE KANONEN BLÜHEN (1928)
FANTASIE VON ÜBERMORGEN (1929) (Musik: Paul Dessau)

Gisela May – Singt Erich Kästner (1968)
(256 kbps, cover art included)

Isabel Parra – Canciones de Chile (1966)

On September 11, 1973, President Salvador Allende’s democratically-elected Chilean government –  the communist “Unidad Popular” coalition – was overthrown in a bloody coup by General Augusto Pinochet’s army. Allende was the world’s first democratically-elected Marxist head of state.

Daughter of Violeta Parra, New Chilean song movement’s most significant figure, Isabel Parra always lived in a musical environment. At the age of 13, the artist made her debut record, with her mother playing guitar. In 1964, along with her brother Angel Parra, she founded Peña de los Parra, which became an important meeting place for people related to local culture. Upon the coup d’état orchestrated by General Augusto Pinochet in 1973, Isabel was forced to flee the imminent persecution of military rule, and therefore lived in exile for many years in France and Argentina. Ironically, in 1988, her contribution to Chilean culture and folklore was recognized with a Golden Laurel award. Daughter Tita Parra is also a singer, and now this rich musical tradition is being transferred to yet another generation of Parras, with grandson Antar Parra, representative of the fourth generation of musicians in the Parra family tree.
.
Isabel Parra – Canciones de Chile
(320 kbps, cover art included)

Kurt Weill – Die Dreigroschenoper with René Kollo, Ute Lemper, Milva, Mario Adorf, Helga Dernesch and the RIAS Berlin Sinfonietta

The son of a cantor, Kurt Weill was one of the 20th-century lyric stage’s great innovative geniuses. With Die Dreigroschenoper, he and collaborator Bertolt Brecht (and Brecht’s often unacknowledged partner Elisabeth Hauptmann) created a cultural landmark that is still the most resonant emblem of the heady days of the Weimar Republic.

Although Brecht has usually taken the limelight for his acerbic social satire of bourgeois complacency – adapting the 18th-century John Gay’s original Threepenny Opera, itself a parody of operatic conventions – Weill’s sly amalgam of jazz, cabaret, and art song idioms vividly colors the work as one unforgettable number follows the next. While Brückner-Rüggeberg’s 1958 recording has long held pride of place due to the authority of Lotte Lenya–Weill’s original Jenny and lifelong muse–this 1990 release is a strong competitor and perhaps an even better introduction to the work.

John Mauceri, a passionate advocate of Weill’s less well-known works for the Broadway stage, achieves a tight sense of ensemble from the composer’s iconoclastic scoring and gives the abrupt transitions of the piece a highly effective, jagged-edged quality. The spoken part of the text is drastically cut, and on the issue of which musical direction to pursue – operatic technique or cabaret campiness – this version sensibly recognizes the diversity of authentic Weill performing styles, making room in its cast for the classically trained Helga Dernesch and René Kollo as well as Ute Lemper’s cabaret smarts. The result is engrossing and gives the spotlight to Threepenny Opera’s subversive blend of irony and humor.

Kurt Weill – Die Dreigroschenoper – RIAS Berlin Sinfonietta
(192 kpbs, front cover included)

VA – No volveremos atrás (Chile, 1973)

This september it is fourty years ago that General Pinochet launched a bloody CIA-assisted coup against the democratically-elected socialist President Allende of Chile.

On September 11, 1973, General Augusto Pinochet and his right-wing supporters in the Chilean military and government staged a brutal coup d’etat that overthrew the democratically elected and socialist-leaning administration of Salvador Allende.
They did so with substantial assistance from the Nixon administration and the CIA, which had been supporting anti-socialist forces throughout Chile following the election of Allende in 1970 and his efforts to nationalize some key industries including the phone company, whose majority owner was the U.S.-based International Telephone and Telegraph (ITT).

Following the coup – in which tens of thousands were arrested and imprisoned in Chile’s football stadiums, untold numbers were tortured, executed, or “disappeared,” and Allende shot himself inside the presidential palace following his farewell speech – the Chicago Boys who had been trained in Friedman’s brand of neoliberalism, previously rebuffed in the 1970 election, were now suddenly given the keys to the Chilean economy by the Pinochet regime.
This came on the heels of a proposal published on the day of the coup by the Chicago Boys to restructure Chile as a kind of laboratory of neoliberalism.

During the airforce bombardment of the Presidential palace, La Moneda, Allende addressed the nation one final time. These were Allende’s famous last words, delivered after personally engaging in a bitter hours-long firefight with Pinochet’s treasonous military forces, and just moments before taking his own life with a rifle given to him as a gift by Fidel Castro:

“Surely, this will be the last opportunity for me to address you. The Air Force has bombed the antennas of Radio Magallanes. My words do not have bitterness but disappointment. May there be a moral punishment for those who have betrayed their oath: soldiers of Chile, titular commanders in chief, Admiral Merino, who has designated himself Commander of the Navy, and Mr. Mendoza, the despicable general who only yesterday pledged his fidelity and loyalty to the Government, and who also has appointed himself Chief of the Carabineros [paramilitary police]. Given these facts, the only thing left for me is to say to workers: I am not going to resign!
Placed in a historic transition, I will pay for loyalty to the people with my life. And I say to them that I am certain that the seeds which we have planted in the good conscience of thousands and thousands of Chileans will not be shriveled forever. They have force and will be able to dominate us, but social processes can be arrested by neither crime nor force. History is ours, and people make history.
Workers of my country: I want to thank you for the loyalty that you always had, the confidence that you deposited in a man who was only an interpreter of great yearnings for justice, who gave his word that he would respect the Constitution and the law and did just that. At this definitive moment, the last moment when I can address you, I wish you to take advantage of the lesson: foreign capital, imperialism, together with the reaction, created the climate in which the Armed Forces broke their tradition, the tradition taught by General Schneider and reaffirmed by Commander Araya, victims of the same social sector who today are hoping, with foreign assistance, to re-conquer the power to continue defending their profits and their privileges.
I address you, above all, the modest woman of our land, the campesina who believed in us, the mother who knew our concern for children. I address professionals of Chile, patriotic professionals who continued working against the sedition that was supported by professional associations, classist associations that also defended the advantages of capitalist society.
I address the youth, those who sang and gave us their joy and their spirit of struggle. I address the man of Chile, the worker, the farmer, the intellectual, those who will be persecuted, because in our country fascism has been already present for many hours — in terrorist attacks, blowing up the bridges, cutting the railroad tracks, destroying the oil and gas pipelines, in the face of the silence of those who had the obligation to act.
They were committed. History will judge them.
Surely, Radio Magallanes will be silenced, and the calm metal instrument of my voice will no longer reach you. It does not matter. You will continue hearing it. I will always be next to you. At least my memory will be that of a man of dignity who was loyal to his country.
The people must defend themselves, but they must not sacrifice themselves. The people must not let themselves be destroyed or riddled with bullets, but they cannot be humiliated either.
Workers of my country, I have faith in Chile and its destiny. Other men will overcome this dark and bitter moment when treason seeks to prevail. Keep in mind that, sooner rather than later, the great avenues will once again be opened through which free man will pass to build a better society.
Long live Chile! Long live the people! Long live the workers!
These are my last words, and I am certain that my sacrifice will not be in vain, I am certain that, at the very least, there will be a moral lesson that will punish felony, cowardice, and treason.
Santiago de Chile,
11 September 1973″
 

Chile is – 40 years after the bloody overthrow of the socialist Allende government – focus of this year’s “Festival Musik & Politik” in February. Besides a lot of other interesting events with music, discussion and film there will be a concert “Victor Jara presente” with Quilapayun and others on February 24, 2013. More information via http://www.musikundpolitik.de/.

We will present in the following month some albums remembering the struggle of the people in Chile and the brutal coup d’etat that overthrew the democratically elected and socialist-leaning government in Chile 40 years ago.

This LP, released by DICAP, is emblematic of the Chilean Unidad Popular and the way of making music in the service of popular political struggles. With most of the songs by Quilapayun, the idea of the work was to support the political campaign for the UP elections in March 1973.

Tracklist:

01 – Este es mi lugar [Quilapayún]
02 – Por siempre muy juntos [Quilapayún]
03 – No vamos hoy a bailar [Quilapayún]
04 – Conchalí [Bonnie-Baher y Quilapayún]
05 – Cueca negra [Quilapayún]
06 – Nuestro amor [Bonnie-Baher y Quilapayún]
07 – Onofre sí, Frei [Quilapayún]
08 – Al centro de la injusticia [Isabel Parra] (versión 1973
09 – El desabastecimiento [Víctor Jara]
10 – Frei, ayúdame [Quilapayún e Inti-illimani]
12 – Cueca roja [Quilapayún]

VA – No volveremos atras (Chile, 1973)
(160 kbps, front cover incuded)

VA – No volveremos atrás (Chile, 1973)

This september it is fourty years ago that General Pinochet launched a bloody CIA-assisted coup against the democratically-elected socialist President Allende of Chile.

On September 11, 1973, General Augusto Pinochet and his right-wing supporters in the Chilean military and government staged a brutal coup d’etat that overthrew the democratically elected and socialist-leaning administration of Salvador Allende.
They did so with substantial assistance from the Nixon administration and the CIA, which had been supporting anti-socialist forces throughout Chile following the election of Allende in 1970 and his efforts to nationalize some key industries including the phone company, whose majority owner was the U.S.-based International Telephone and Telegraph (ITT).

Following the coup – in which tens of thousands were arrested and imprisoned in Chile’s football stadiums, untold numbers were tortured, executed, or “disappeared,” and Allende shot himself inside the presidential palace following his farewell speech – the Chicago Boys who had been trained in Friedman’s brand of neoliberalism, previously rebuffed in the 1970 election, were now suddenly given the keys to the Chilean economy by the Pinochet regime.
This came on the heels of a proposal published on the day of the coup by the Chicago Boys to restructure Chile as a kind of laboratory of neoliberalism.

During the airforce bombardment of the Presidential palace, La Moneda, Allende addressed the nation one final time. These were Allende’s famous last words, delivered after personally engaging in a bitter hours-long firefight with Pinochet’s treasonous military forces, and just moments before taking his own life with a rifle given to him as a gift by Fidel Castro:

“Surely, this will be the last opportunity for me to address you. The Air Force has bombed the antennas of Radio Magallanes. My words do not have bitterness but disappointment. May there be a moral punishment for those who have betrayed their oath: soldiers of Chile, titular commanders in chief, Admiral Merino, who has designated himself Commander of the Navy, and Mr. Mendoza, the despicable general who only yesterday pledged his fidelity and loyalty to the Government, and who also has appointed himself Chief of the Carabineros [paramilitary police]. Given these facts, the only thing left for me is to say to workers: I am not going to resign!
Placed in a historic transition, I will pay for loyalty to the people with my life. And I say to them that I am certain that the seeds which we have planted in the good conscience of thousands and thousands of Chileans will not be shriveled forever. They have force and will be able to dominate us, but social processes can be arrested by neither crime nor force. History is ours, and people make history.
Workers of my country: I want to thank you for the loyalty that you always had, the confidence that you deposited in a man who was only an interpreter of great yearnings for justice, who gave his word that he would respect the Constitution and the law and did just that. At this definitive moment, the last moment when I can address you, I wish you to take advantage of the lesson: foreign capital, imperialism, together with the reaction, created the climate in which the Armed Forces broke their tradition, the tradition taught by General Schneider and reaffirmed by Commander Araya, victims of the same social sector who today are hoping, with foreign assistance, to re-conquer the power to continue defending their profits and their privileges.
I address you, above all, the modest woman of our land, the campesina who believed in us, the mother who knew our concern for children. I address professionals of Chile, patriotic professionals who continued working against the sedition that was supported by professional associations, classist associations that also defended the advantages of capitalist society.
I address the youth, those who sang and gave us their joy and their spirit of struggle. I address the man of Chile, the worker, the farmer, the intellectual, those who will be persecuted, because in our country fascism has been already present for many hours — in terrorist attacks, blowing up the bridges, cutting the railroad tracks, destroying the oil and gas pipelines, in the face of the silence of those who had the obligation to act.
They were committed. History will judge them.
Surely, Radio Magallanes will be silenced, and the calm metal instrument of my voice will no longer reach you. It does not matter. You will continue hearing it. I will always be next to you. At least my memory will be that of a man of dignity who was loyal to his country.
The people must defend themselves, but they must not sacrifice themselves. The people must not let themselves be destroyed or riddled with bullets, but they cannot be humiliated either.
Workers of my country, I have faith in Chile and its destiny. Other men will overcome this dark and bitter moment when treason seeks to prevail. Keep in mind that, sooner rather than later, the great avenues will once again be opened through which free man will pass to build a better society.
Long live Chile! Long live the people! Long live the workers!
These are my last words, and I am certain that my sacrifice will not be in vain, I am certain that, at the very least, there will be a moral lesson that will punish felony, cowardice, and treason.
Santiago de Chile,
11 September 1973″
 

Chile is – 40 years after the bloody overthrow of the socialist Allende government – focus of this year’s “Festival Musik & Politik” in February. Besides a lot of other interesting events with music, discussion and film there will be a concert “Victor Jara presente” with Quilapayun and others on February 24, 2013. More information via http://www.musikundpolitik.de/.

We will present in the following month some albums remembering the struggle of the people in Chile and the brutal coup d’etat that overthrew the democratically elected and socialist-leaning government in Chile 40 years ago.

This LP, released by DICAP, is emblematic of the Chilean Unidad Popular and the way of making music in the service of popular political struggles. With most of the songs by Quilapayun, the idea of the work was to support the political campaign for the UP elections in March 1973.

Tracklist:

01 – Este es mi lugar [Quilapayún]
02 – Por siempre muy juntos [Quilapayún]
03 – No vamos hoy a bailar [Quilapayún]
04 – Conchalí [Bonnie-Baher y Quilapayún]
05 – Cueca negra [Quilapayún]
06 – Nuestro amor [Bonnie-Baher y Quilapayún]
07 – Onofre sí, Frei [Quilapayún]
08 – Al centro de la injusticia [Isabel Parra] (versión 1973
09 – El desabastecimiento [Víctor Jara]
10 – Frei, ayúdame [Quilapayún e Inti-illimani]
12 – Cueca roja [Quilapayún]

VA – No volveremos atras (Chile, 1973)
(160 kbps, front cover incuded)

Meditations – Reggae Crazy – Anthology 1971 – 1979

Even by Jamaican standards, the Meditations’ early career is convoluted, and both Ansel Cridland and Danny Clarke’s careers were already well underway before the pair linked up.

The Meditations were one of the earliest vocal trios to follow reggae’s trend towards a darker, “dreader” sound in the early ’70s; although their first album was released in 1977, they had recorded numerous singles up to that point, and some of the best of those songs are compiled on this album (along with some tracks recorded later). The piercing falsetto singing on “Must Be a First” is reminiscent of the Congos at their best (perhaps owing in part to the distinctive sound of Lee Perry’s Black Ark studio, where this song was recorded), and there’s an echo of the Mighty Diamonds in the sophisticated harmonies on “Get Left.” But “Woman Piabba” draws on calypso traditions to a degree unusual in reggae, while “Play I” employs a drum arrangement (courtesy of Sly Dunbar) that prefigures some of the innovations that would later be heard in U.K. reggae. The album’s title track, a tiresome one-chord vamp, is the only clunker on this album. Everything else is strictly killer

 “Reggae Crazy” collects 11 tracks form the albums “Wake Up”, “Guidance” and “Message From The Meditations” plus 2 tracks previously unreleased and 2 tracks available on single only.

The Meditations – Reggae Crazy – Anthology 1971 – 1979
(192 kbps, small front cover included)