Archive for March, 2014


Modern electric blues guitar can be traced directly back to this Texas-born pioneer, who began amplifying his sumptuous lead lines for public consumption circa 1940 and thus initiated a revolution so total that its tremors are still being felt today.

Few major postwar blues guitarists come to mind that don’t owe T-Bone Walker an unpayable debt of gratitude. B.B. King has long cited him as a primary influence, marveling at Walker’s penchant for holding the body of his guitar outward while he played it. Gatemouth Brown, Pee Wee Crayton, Goree Carter, Pete Mayes, and a wealth of other prominent Texas-bred axemen came stylistically right out of Walker during the late ’40s and early ’50s. Walker’s nephew, guitarist R.S. Rankin, went so far as to bill himself as T-Bone Walker, Jr. for a 1962 single on Dot, “Midnight Bells Are Ringing” (with his uncle’s complete blessing, of course; the two had worked up a father-and-son-type act long before that).

“I Get So Weary” is one more LP of Walker’s elegant guitar and smooth vocals.    

Tracklist:

A1 Here In The Dark
A2 I Miss You Baby
A3 Life Is Too Short
A4 I Get So Weary
A5 You Just Wanted To Use Me
A6 When The Sun Goes Down
A7 Everytime Pony Tail
B1 Thorough With Women
B2 Street Walking Woman
B3 Party Girl
B4 High Society
B5 Lollie You
B6 Got No Use For You
B7 Wanderin’ Heart

T-Bone Walker – I Get So Weary (1961)
(192 kbps, front cover included)           

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Modern electric blues guitar can be traced directly back to this Texas-born pioneer, who began amplifying his sumptuous lead lines for public consumption circa 1940 and thus initiated a revolution so total that its tremors are still being felt today.

Few major postwar blues guitarists come to mind that don’t owe T-Bone Walker an unpayable debt of gratitude. B.B. King has long cited him as a primary influence, marveling at Walker’s penchant for holding the body of his guitar outward while he played it. Gatemouth Brown, Pee Wee Crayton, Goree Carter, Pete Mayes, and a wealth of other prominent Texas-bred axemen came stylistically right out of Walker during the late ’40s and early ’50s. Walker’s nephew, guitarist R.S. Rankin, went so far as to bill himself as T-Bone Walker, Jr. for a 1962 single on Dot, “Midnight Bells Are Ringing” (with his uncle’s complete blessing, of course; the two had worked up a father-and-son-type act long before that).

“I Get So Weary” is one more LP of Walker’s elegant guitar and smooth vocals.    

Tracklist:

A1 Here In The Dark
A2 I Miss You Baby
A3 Life Is Too Short
A4 I Get So Weary
A5 You Just Wanted To Use Me
A6 When The Sun Goes Down
A7 Everytime Pony Tail
B1 Thorough With Women
B2 Street Walking Woman
B3 Party Girl
B4 High Society
B5 Lollie You
B6 Got No Use For You
B7 Wanderin’ Heart

T-Bone Walker – I Get So Weary (1961)
(192 kbps, front cover included)           

Of all the solidarity initiatives in the 1970s and 1980s, those againt the building of nuclear energy plants were particularly significant.

One of the most famous examples in North Rhine-Westphalia was the campaign mounted by the farmer Maas from Hönnepel near Kalkar. Beginning in 1972 he had an ongoing court action against the building of the fast-breeder reactor in Kalkar, the cost of which amounted to 50.000 DM.

Many “Liedermacher” and folk groups responded to his call for help. Names such as Saitenwind, Bruno & Klaus, Fiedel Michel, Tom Kannmacher, Schmetterlinge, Frank Baier, and Walter Mossmann took part in the solidarity concerts – one demonstration on 24 September 1977 was attended by 50.000 people – as well as in the making of the benefit LP “Bauer Maas – Lieder gegen Atomenergie”.

The LP was distributed by the anti-nuclear campaign and enjoyed three pressings, from which virtually all the necessary money was rised. Considerd a “Lehrbeispiel für Solidarität und Demokratie”, the solidarity campaign enabled Maas to draw out the process until plans to build the nucelar plant were scrapped.

The album “Atomkraft? Nein danke!” seems to be a customer made compilation using tracks from the “Bauer Maas” album alongside other sources, some of the track informations may be wrong.

VA – Atomkraft? Nein danke!
(ca. 180 kbps, cover art included)

Of all the solidarity initiatives in the 1970s and 1980s, those againt the building of nuclear energy plants were particularly significant.

One of the most famous examples in North Rhine-Westphalia was the campaign mounted by the farmer Maas from Hönnepel near Kalkar. Beginning in 1972 he had an ongoing court action against the building of the fast-breeder reactor in Kalkar, the cost of which amounted to 50.000 DM.

Many “Liedermacher” and folk groups responded to his call for help. Names such as Saitenwind, Bruno & Klaus, Fiedel Michel, Tom Kannmacher, Schmetterlinge, Frank Baier, and Walter Mossmann took part in the solidarity concerts – one demonstration on 24 September 1977 was attended by 50.000 people – as well as in the making of the benefit LP “Bauer Maas – Lieder gegen Atomenergie”.

The LP was distributed by the anti-nuclear campaign and enjoyed three pressings, from which virtually all the necessary money was rised. Considerd a “Lehrbeispiel für Solidarität und Demokratie”, the solidarity campaign enabled Maas to draw out the process until plans to build the nucelar plant were scrapped.

The album “Atomkraft? Nein danke!” seems to be a customer made compilation using tracks from the “Bauer Maas” album alongside other sources, some of the track informations may be wrong.

VA – Atomkraft? Nein danke!
(ca. 180 kbps, cover art included)

This album adds a previously unreleased “Intergalactic Motion” to the original five-piece program. Sun Ra’s orchestra was at its most radical during this period, alternating simple chants with very outside playing and dense ensembles.

While the sidemen include such notables as Marshall Allen and Danny Davis on altos, baritonist Pat Patrick, John Gilmore on tenor, bassist Ronnie Boykins and percussionist Clifford Jarvis, most of the other players in the 15-piece band (such as trumpeters Ahk Tal Ebah and Kwame Hadi) have slipped back into obscurity. This music is quite intriguing, although it requires an open mind and a sense of humor to fully appreciate.    

Tracklist:

1 Somewhere There 15:10
2 Outer Spaceways Incorporated 7:02
3 Intergalactic Motion 8:07
4 Saturn 6:08
5 Song Of The Sparer 4:22
6 Spontaneous Simplicity 7:56

Track 3 was previously unreleased, recorded in New York City 1968.

Sun Ra – Outer Spaceways Incorporated (1968)
(256 kbps, cover art included)          

This album adds a previously unreleased “Intergalactic Motion” to the original five-piece program. Sun Ra’s orchestra was at its most radical during this period, alternating simple chants with very outside playing and dense ensembles.

While the sidemen include such notables as Marshall Allen and Danny Davis on altos, baritonist Pat Patrick, John Gilmore on tenor, bassist Ronnie Boykins and percussionist Clifford Jarvis, most of the other players in the 15-piece band (such as trumpeters Ahk Tal Ebah and Kwame Hadi) have slipped back into obscurity. This music is quite intriguing, although it requires an open mind and a sense of humor to fully appreciate.    

Tracklist:

1 Somewhere There 15:10
2 Outer Spaceways Incorporated 7:02
3 Intergalactic Motion 8:07
4 Saturn 6:08
5 Song Of The Sparer 4:22
6 Spontaneous Simplicity 7:56

Track 3 was previously unreleased, recorded in New York City 1968.

Sun Ra – Outer Spaceways Incorporated (1968)
(256 kbps, cover art included)          

This was the break-through album for World Music and for Ofra Haza: when the Diva met the Diwan and the beat box bumped into 400-year-old Yemenite songs. Songs of joy, yearning and devotion all delivered with that voice of pure gold, taken away from us by her tragic early death.

Ofra Haza’s death on February 23, 2000, at the age of 41 deprived the world of a lovely woman, a great vocalist, and a fearless cultural advocate. Her 1984 album of boldly reimagined traditional Yemenite songs, brought her international fame, and decades later, it retains its ability to delight and inspire. The set list consists of secular tunes plus examples of a festive devotional style called diwan, which is common to all Oriental Jewish communities and can be sung in Hebrew, Aramaic, or Arabic. Each group has specific traditions, but the Yemeni variant is especially remarkable for its poetry, much of which was written by rabbis as far back as the 17th century. Most diwan consist of three separate sections: the a cappella nashid (prelude), the shira (singing), during which celebrants bang on copper trays, empty gasoline cans, or whatever else is handy, and a postlude called the hallel, or song of praise. The unusual percussion accompaniment came into use following the destruction of the Temple, when Jews were forbidden to play conventional musical instruments, and also as a result of periodic oppression by Muslim fundamentalists.

In Haza’s hands, these sinuous tunes are further spiced up by drum machines and synthesizers, pumping out the hypnotic dance beats that catapulted the album onto dancefloors throughout the world. It is important to remember that this recording long predated the flood of world/techno fusions that have since overwhelmed the marketplace. Transglobal Underground, Afro-Celt Sound System, and Scandinavian groups like Garmarna all owe Haza a debt of gratitude. But despite the historic electronic flourishes, it is the siren-like charm of the singer’s voice that creates the most indelible impression.             

Tracklist:

Im Nin’ Alu 5:16
Yachilvi Veyachali 3:24
A’Salk 4:42
Medley: 5:44
Tzur Menati
Se’i Yona
Sapri Tama
Galbi 4:14
Ode Le’Eli 3:29
Lefelach Harimon 5:06
Ayelet Chen 6:29

Ofra Haza – Yemenite Songs (1984)
(256 kbps, cover art included)  

This was the break-through album for World Music and for Ofra Haza: when the Diva met the Diwan and the beat box bumped into 400-year-old Yemenite songs. Songs of joy, yearning and devotion all delivered with that voice of pure gold, taken away from us by her tragic early death.

Ofra Haza’s death on February 23, 2000, at the age of 41 deprived the world of a lovely woman, a great vocalist, and a fearless cultural advocate. Her 1984 album of boldly reimagined traditional Yemenite songs, brought her international fame, and decades later, it retains its ability to delight and inspire. The set list consists of secular tunes plus examples of a festive devotional style called diwan, which is common to all Oriental Jewish communities and can be sung in Hebrew, Aramaic, or Arabic. Each group has specific traditions, but the Yemeni variant is especially remarkable for its poetry, much of which was written by rabbis as far back as the 17th century. Most diwan consist of three separate sections: the a cappella nashid (prelude), the shira (singing), during which celebrants bang on copper trays, empty gasoline cans, or whatever else is handy, and a postlude called the hallel, or song of praise. The unusual percussion accompaniment came into use following the destruction of the Temple, when Jews were forbidden to play conventional musical instruments, and also as a result of periodic oppression by Muslim fundamentalists.

In Haza’s hands, these sinuous tunes are further spiced up by drum machines and synthesizers, pumping out the hypnotic dance beats that catapulted the album onto dancefloors throughout the world. It is important to remember that this recording long predated the flood of world/techno fusions that have since overwhelmed the marketplace. Transglobal Underground, Afro-Celt Sound System, and Scandinavian groups like Garmarna all owe Haza a debt of gratitude. But despite the historic electronic flourishes, it is the siren-like charm of the singer’s voice that creates the most indelible impression.             

Tracklist:

Im Nin’ Alu 5:16
Yachilvi Veyachali 3:24
A’Salk 4:42
Medley: 5:44
Tzur Menati
Se’i Yona
Sapri Tama
Galbi 4:14
Ode Le’Eli 3:29
Lefelach Harimon 5:06
Ayelet Chen 6:29

Ofra Haza – Yemenite Songs (1984)
(256 kbps, cover art included)  

Like South Africa’s ANC, Namibia’s liberation organisation SWAPO has from time to time put together agit-prop bands or choirs, to bolster the morale of the troops or attract overseas media attention.

One generation of the SWAPO Singers came to Western attention in the mid-80s, when Jerry Dammers and Robert Wyatt respectively produced and collaborated on “Wind Of Change”, which also featured Onyeka.   

DIAL AFRICA wrote about this album:
“The 1980s were the time, when the countries of southern Africa were fighting for freedom. In Namibia SWAPO organised not only this struggle but also a lot of support in Europe. One document was this LP here which led to a very pop(ular) version of a song called “Wind of Change”.”

Tracklist:

A1 Afrika (Africa)

Vocals [Sung By] – Jackson Kaujewa

3:10
A2 Odi Wena Vorster (Warning Vorster Get Out Of Namibia)

Vocals [Sung By] – Dan-Hafeni Haipinge, Jackson Kaujewa

1:30
A3 Va Nambia Va Kwetu (Fellow Namibians)

Vocals [Sung By] – Albertina Heita, Dan-Hafeni Haipinge, Freida Kaurimuje, Jackson Kaujewa, Martha Elieser, Nick Nambahu, Sackey Schikwambi

1:55
A4 The Wind Of Change

Vocals [Sung By] – Jackson Kaujewa

2:30
A5 Shilongno Shetu (My Country)

Vocals [Sung By] – Jackson Kaujewa

3:40
A6 Twanana Swapo Yeti (We Are United In Swapo)

Vocals [Sung By] – Albertina Heita, Dan-Hafeni Haipinge, Freida Kaurimuje, Jackson Kaujewa, Martha Elieser, Nick Nambahu, Sackey Schikwambi

2:05
B1 Mwene Kala Pamwe Na Afrika (God Bless Africa)

Vocals [Sung By] – Albertina Heita, Dan-Hafeni Haipinge, Jackson Kaujewa, Martha Elieser

2:10
B2 Ti Mamasa Ta Gegaisera Mo=gao (I Want To See My Mother)

Vocals [Sung By] – Jackson Kaujewa

2:30
B3 Tunana Ko Ngutukiro (Lead Us To Freedom)

Vocals [Sung By] – Albertina Heita, Dan-Hafeni Haipinge, Freida Kaurimuje, Jackson Kaujewa, Martha Elieser, Nick Nambahu, Sackey Schikwambi

2:00
B4 We Are The Soldiers Of Swapo

Vocals [Sung By] – Albertina Heita, Martha Elieser

1:55
B5 Give Me Back Namibia

Vocals [Sung By] – Jackson Kaujewa

2:45
B6 Power To The People

Vocals [Sung By] – Dan-Hafeni Haipinge, Jackson Kaujewa

3:10
B7 Afrika (Africa)

Vocals [Sung By] – Jackson Kaujewa

3:10

The SWAPO Singers – One Namibia One Nation (SWAPO Freedom Songs)
(320 kbps, cover art included)

Like South Africa’s ANC, Namibia’s liberation organisation SWAPO has from time to time put together agit-prop bands or choirs, to bolster the morale of the troops or attract overseas media attention.

One generation of the SWAPO Singers came to Western attention in the mid-80s, when Jerry Dammers and Robert Wyatt respectively produced and collaborated on “Wind Of Change”, which also featured Onyeka.   

DIAL AFRICA wrote about this album:
“The 1980s were the time, when the countries of southern Africa were fighting for freedom. In Namibia SWAPO organised not only this struggle but also a lot of support in Europe. One document was this LP here which led to a very pop(ular) version of a song called “Wind of Change”.”

Tracklist:

A1 Afrika (Africa)

Vocals [Sung By] – Jackson Kaujewa

3:10
A2 Odi Wena Vorster (Warning Vorster Get Out Of Namibia)

Vocals [Sung By] – Dan-Hafeni Haipinge, Jackson Kaujewa

1:30
A3 Va Nambia Va Kwetu (Fellow Namibians)

Vocals [Sung By] – Albertina Heita, Dan-Hafeni Haipinge, Freida Kaurimuje, Jackson Kaujewa, Martha Elieser, Nick Nambahu, Sackey Schikwambi

1:55
A4 The Wind Of Change

Vocals [Sung By] – Jackson Kaujewa

2:30
A5 Shilongno Shetu (My Country)

Vocals [Sung By] – Jackson Kaujewa

3:40
A6 Twanana Swapo Yeti (We Are United In Swapo)

Vocals [Sung By] – Albertina Heita, Dan-Hafeni Haipinge, Freida Kaurimuje, Jackson Kaujewa, Martha Elieser, Nick Nambahu, Sackey Schikwambi

2:05
B1 Mwene Kala Pamwe Na Afrika (God Bless Africa)

Vocals [Sung By] – Albertina Heita, Dan-Hafeni Haipinge, Jackson Kaujewa, Martha Elieser

2:10
B2 Ti Mamasa Ta Gegaisera Mo=gao (I Want To See My Mother)

Vocals [Sung By] – Jackson Kaujewa

2:30
B3 Tunana Ko Ngutukiro (Lead Us To Freedom)

Vocals [Sung By] – Albertina Heita, Dan-Hafeni Haipinge, Freida Kaurimuje, Jackson Kaujewa, Martha Elieser, Nick Nambahu, Sackey Schikwambi

2:00
B4 We Are The Soldiers Of Swapo

Vocals [Sung By] – Albertina Heita, Martha Elieser

1:55
B5 Give Me Back Namibia

Vocals [Sung By] – Jackson Kaujewa

2:45
B6 Power To The People

Vocals [Sung By] – Dan-Hafeni Haipinge, Jackson Kaujewa

3:10
B7 Afrika (Africa)

Vocals [Sung By] – Jackson Kaujewa

3:10

The SWAPO Singers – One Namibia One Nation (SWAPO Freedom Songs)
(320 kbps, cover art included)