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)
Formed in 1976, the german oddball political cabaret and rock group “Schroeder Roadshow”, played music in the tradition of Floh De Cologne, Checkpoint Charlie and Ton Steine Scherben – but always a little bit more crazy and dada-inspired than the classic polit rock bands with their straight agit prop songs.The album “Deutschland, Deutschland” was recorded live December 25th-27th,1981and was released in 1982 on the Trikont label.
Credits:
Tracklist:
| Türkis, Türkis | 2:41 |
| Anarchie In Germoney | 4:50 |
| No Future Blues | 5:55 |
| … Aber Dalli | 0:22 |
| (Heute Ist Der) Tag Meiner Träume | 7:10 |
| Deutschland! Deutschland! | 1:24 |
| Speed | 0:34 |
| Speed | 3:24 |
| Ich Hab Wut | 4:00 |
| Die Bullen Schlagen Wieder Zu | 5:45 |
| Die Brüder Der Romantischen Verlierer | 4:55 |
| Allein Machen Sie Dich Ein | 6:30 |
Schroeder Roadshow – Deutschland, Deutschland (1982)
(256 kbps, cover art included)
In May 1941, Woody Guthrie began working for the Bonneville Power Administration (BPA), a job that required him to write songs to promote development (dams) on the Columbia River. He would later claim that he wrote a song per day during his month-long association with the BPA, making it one of the most productive periods of his life.
Several of his best-loved songs came from this period, including “Ramblin’ Round,” “Hard Travlin’,” and “Pastures of Plenty.” “Columbia River Collection” has two strong points to recommend it. First, it collects all of the available material that Guthrie wrote during this time in one place, giving the collection a thematic unity similar to “Dust Bowl Ballads”. Next, it includes 11 versions of the songs originally recorded in Portland, OR, in 1941, and never before released.
This latter quality is “Columbia River Collection”‘s strongest point, which makes it seem odd that the liner notes aren’t more helpful with sorting out which of the 17 tracks are from these early sessions. It is clear, however, that versions of “Roll on Columbia” and “Roll Columbia, Roll,” two favorites, are new. It’s also clear that Rounder borrowed the other six songs, including “Pastures of Plenty,” from Smithsonian Folkways. The important thing, though, is that the listener can now gain a better view of Guthrie’s artistic vision at this important juncture in his career. It also doesn’t hurt that “Columbia River Collection” is a strong group of songs that capture the Dust Bowl Balladeer in top form.
Woody Guthrie – Columbia River Collection
(ca. 192 kpbs, front cover included)
“Today!” is Mississippi John Hurt’s first and finest studio release since his “rediscovery” on his Avalon farm by folklorist Tom Hoskins in 1963. Eclipsed possibly only by his earlier “1928 Sessions”, this album shows a more mature Hurt picking his way through standards and originals after the Depression years and Hurt’s fall into obscurity before the folk revival of the 1960s. It shows, however, that all that the great bluesman has lost is years; his voice retains its characteristic Buddha-esque warmth and it is still difficult to believe that there is just one man playing on the seemingly effortless guitar work.
The music on the album comes from a variety of different influences, from the fun and poppy “Hot Time in Old Town Tonight” and “Coffee Blues,” to the bluesy standards “Candy Man” (Hurt’s most famous song) and “Spike Driver’s Blues” to the soulful spirituals “Louis Collins” and “Beulah Land.”
Hurt’s tranquil guitar work – mixing country, Scottish folk, and Delta blues – strings all of the songs along the same simple and elegant thread. Hurt himself never could explain his guitar playing, as he used to say, “I just make it sound like I think it ought to.” Regardless, that sound, along with a mellow and heartfelt voice, wizened here by decades, combine to make “Today!” an unforgettable whole. A truly essential album of the folk revival, unrivaled in its beauty and warmth.
Tracklist
| A1 | Pay Day | 4:18 |
| A2 | I’m Satisfied | 2:50 |
| A3 | Candy Man | 2:53 |
| A4 | Make Me A Pallet On The Floor | 4:29 |
| A5 | Talking Casey | 5:04 |
| A6 | Corinna, Corinna | 1:51 |
| B1 | Coffee Blues | 3:43 |
| B2 | Louis Collins | 4:04 |
| B3 | Hot Time In The Old Town Tonight | 3:03 |
| B4 | If You Don’t Want Me , Baby | 3:18 |
| B5 | Spike Driver’s Blues | 3:24 |
| B6 | Beulah Land | 3:43 |
Mississippi John Hurt– Today! (1966)
(192 kbps, cover art included)
Recorded at the start of Dinah Washington’s climb to fame, 1954’s “Dinah Jams” was taped live in front of a studio audience in Los Angeles. While Washington is in top form throughout, effortlessly working her powerful, blues-based voice on both ballads and swingers, the cast of star soloists almost steals the show. In addition to drummer Max Roach, trumpeter Clifford Brown, and other members of Brown and Roach’s band at the time – tenor saxophonist Harold Land, pianist Richie Powell, and bassist George Morrow – trumpeters Maynard Ferguson and Clark Terry, alto saxophonist Herb Geller, and pianist Junior Mance also contribute to the session.
Along with extended jams like “Lover Come Back to Me,” “You Go to My Head,” and “I’ll Remember April” – all including a round of solos – there are shorter ballad numbers such as “There Is No Greater Love” and “No More,” the last of which features excellent muted, obbligato work by Brown.
And even though she’s in the midst of these stellar soloists, Washington expertly works her supple voice throughout to remain the star attraction, even matching the insane, high-note solo blasts trumpeter Ferguson expectedly delivers. A fine disc. Newcomers, though, should start with more accessible and more vocal-centered Washington titles like “The Swingin’ Miss D” or “The Fats Waller Songbook”, both of which feature top arrangements by Quincy Jones.
Dinah Washington – Dinah Jams (1954)
(320 kbps, cover art included)
The band’s debut album, “Os Mutantes”, is far and away their best — a wildly inventive trip that assimilates orchestral pop, whimsical psychedelia, musique concrète, found-sound environments — and that’s just the first song!
Elsewhere there are nods to Carnaval, albeit with distinct hippie sensibilities, incorporating fuzztone guitars and go-go basslines. Two tracks, “O Relogio” and “Le Premier Bonheur du Jour,” work through pastoral French pop, sounding closer to the Swingle Singers than Gilberto Gil.
Though not all of the experimentation succeeds — the languid Brazilian blues of “Baby” is rather cumbersome — and pop/rock listeners may have a hard time finding the hooks, Os Mutantes’ first album is an astonishing listen. It’s far more experimental than any of the albums produced by the era’s first-rate psychedelic bands of Britain or America.
Os Mutantes – Same (1968)
(320 kbps, front cover included)
Certainly eccentric, Lee “Scratch” Perry is reggae’s most influential producer, with a career that spans the entire history of the music.
He started at Coxsone Dodd’s Studio One label, first as a talent scout, then as producer. Moving on to other labels, he recorded hit after hit for Jamaican artists, assembling the original Wailers and producing their earliest — some say best — tracks.
Perry has also done extensive solo work, composing, arranging and singing his own records. With the help of a studio band, the Upsetters (named for one of his aliases), Perry has forged a dub reggae style that’s idiosyncratic and revolutionary — full of shifting, echoey rhythms and weird sound effects. His characteristic sound is unique — extended grooves layered like fog, with odd vocals and percussion shimmering in the dense mist.
This hard-to-find album collects 10 tracks of pure Scratch dub: Sometimes odd, sometimes wonderful and crucial.
Tracklist:
Dem No Know Dub
Conscious Man Dub
Such Is Dub
Corn Picker Dub
Rasta Dub
Freedom Dub
Megaton Dub
Dreamer Dub
School Girl Dub
Simon The Sorcerer
Lee Perry Presents Megaton Dub Vol. 1
(192 kbps)
VAI’s “The Collector’s The Threepenny Opera” is a reissue of a Mastersound disc that came out about a decade before this VAI issue appeared. It features the 1930 “original cast” recording of “Die Dreigroschenoper” with the Lewis Ruth Band, which, although temporarily eclipsed by the rise and fall of Nazi Germany, has been continuously in print in some form or another since it was reissued on LP by Telefunken in the early ’50s. Indeed, it appears that the Telefunken LP is the source for much of this material as telltale reverberation used on that reissue is clearly present here. In the CD era, this Lewis Ruth Band performance has appeared on discs issued by Symposium, Capriccio, Pearl, by Telefunken’s successor Teldec, in the giant 11-CD box of Lotte Lenya that Bear Family put out and yet more. Of the other performances included to fill out the disc, namely the 1931 Mahagonny “original cast” recording, Otto Klemperer’s Kleine Dreigroschenmusik made the same year, Bertolt Brecht’s two records of (ahem!) singing, and Lenya’s 1929 Bilbao-Song, all have appeared elsewhere except for one track, French cabaret singer Damia’s 1931 recording of “Moritat”. This is a notable exception, as Damia is a terrific singer, and it is instructive as to how, through minor changes, Kurt Weill’s “modernistic” music could be refashioned into a form capable of pleasing a more mainstream audience. Perhaps someday we will see a Damia collection that will include this along with some of her other recordings.
Certainly, the Lenya Bear Family box is excessive even for many of her most ardent fans. The Capriccio discs have the value of being more sonically honest, if noisier than these. The added reverb on VAI’s “The Collector’s The Threepenny Opera” is too much, and might be so for the average “collector.” Nonetheless, if one has never owned or heard these performances, wants to, and cannot stand 78 noise, then VAI’s “The Collector’s The Threepenny Opera” may prove an attractive option.
This album features historic recordings of selections from the Weill-Brecht classic “Threepenny Opera“, as well as selections from two of their other collaborations, “Mahagonny” and “Happy End”. Here´s an overview:
Brecht-Weill: DIE DREIGROSCHENOPER – selections
Lotte Lenya and the 1930 German cast, with the Lewis Ruth Band conducted by Theo Mackeben [rec. 1938]
Moritat (“Mack the Knife”) / Song of the Inadequacy of Life
Performed by Bertolt Brecht with Theo Mackeben’s Jazz Band [rec. 1930]
Kleine Dreigroschenmusik (Little Threepenny Music)
Berlin State Opera Orchestra conducted by Otto Klemperer [rec. 1930]
Complainte de Mackie (Moritat)
Mme. Damia with Orchestra conducted by Pierre Chagnon [rec. 1931]
Brecht-Weill: MAHAGONNY – selections
Lotte Lenya with The Three Admirals, Theo Mackeben’s Ultraphon Jazz Orchestra
Berlin Cast and the Orchestra of the Kurfürstendamm Theatre, Berlin, conducted by Hans Sommer [rec. 1930-1932]
Brecht-Weill: HAPPY END – Bilbao Song
Lotte Lenya with Theo Mackeben’s Orchestra [rec. 1930]
Tracklist in detail:
| 1. Die Dreigroschenoper: Overture – Lewis Ruth Band/Theo Mackeben |
| 2. Die Dreigroschenoper: Moritat (Mack, The Knife) – Kurt Gerron |
| 3. Die Dreigroschenoper: Ballad Of The Agreeable Life – Willy Trenk-Trebitsch |
| 4. Die Dreigroschenoper: Love Duet – Erika Helmke/Willy Trenk-Trebitsch |
| 5. Die Dreigroschenoper: Cannon Song – Kurt Gerron/Willy Trenk-Trebitsch |
| 6. Die Dreigroschenoper: Pirate Jenny – Lotte Lenya |
| 7. Die Dreigroschenoper: Act I Finale – Lotte Lenya/Erika Helmke/Erich Ponto |
| 8. Die Dreigroschenoper: Barbara Song – Lotte Lenya |
| 9. Die Dreigroschenoper: Jealousy Song – Lotte Lenya/Erika Helmke |
| 10. Die Dreigroschenoper: Farewell – Erika Helmke/Willy Trenk-Trebitsch |
| 11. Die Dreigroschenoper: Act II Finale – Willy Trenk-Trebitsch |
| 12. Die Dreigroschenoper: Procurer’s Ballad – Lotte Lenya/Willy Trenk-Trebitsch |
| 13. Die Dreigroschenoper: Song Of The Inadequacy Of Life – Erich Ponto |
| 14. Die Dreigroschenoper: Moritat (Reprise) – Lotte Lenya |
| 15. Die Dreigroschenoper: Final Chor – 1930 German Cast |
| 16. Die Dreigroschenoper: Moritat – Bertolt Brecht |
| 17. Die Dreigroschenoper: Song Of The Inadequacy Of Life – Bertolt Brecht |
| 18. Kleine Dreigroschenmusik (Little Threepenny Ste): Moritat – Berlin State Opr Orch/Otto Klemperer |
| 19. Kleine Dreigroschenmusik (Little Threepenny Ste): Ballade – Berlin State Opr Orch/Otto Klemperer |
| 20. Kleine Dreigroschenmusik (Little Threepenny Ste): Tango-Ballade – Berlin State Opr Orch/Otto Klemperer |
| 21. Kleine Dreigroschenmusik (Little Threepenny Ste): Cannon Song – Berlin State Opr Orch/Otto Klemperer |
| 22. Die Dreigroschenoper: Moritat – Mme. Damia |
| 23. Mahagonny: Alabama Song – Lotte Lenya/The Three Admirals |
| 24. Mahagonny: As You Make Your Bed – Lotte Lenya |
| 25. Mahagonny: Medley – Lotte Lenya/Berlin Cast Of The Kurfurstendamm Theatre, Berlin |
| 26. Happy End: Bilbao Song – Lotte Lenya |
VA – The Collector´s “Die Dreigroschenoper” / “The Threepenny Opera”
(256 kbps, cover art included)
King Tubby is to this day synonymous with dub. He was a man who had a passion for fiddling with sound equipment, and turned that passion into a new musical genre and a veritable art form. He may have started his career as a repairman, but before he was done, his name was one of the most respected around the world. He worked with virtually every artist in Jamaica, and his name on a remix was like gold, a seal of quality that was never questioned.
A member of dub’s royal family, Lloyd James (aka Prince Jammy, aka King Jammy) began his career as an apprentice mixer under the late great King Tubby.
Scientist was an employee of Tubby’s, fixing transformers and televisions, when one day, after an animated conversation about mixing records, Tubby challenged the Scientist to take a shot at remixing a record.
Guess “Dubwise Revolution” is a 1970s dub album, produced by Prince Jammy and mixed by Scientist nd King Tubby.
Tracklist:
Come Dub
Iniquity Dub
Just One Dub
Late Night Dub
Ants Nest
Holy Dub
Crisp Dub
Echo Chamber
Better Must Dub
Big Dub
Vanity Dub
Bell The Cat Dub
Rock A Dub
Play On Dub
King Tubbys, Prince Jammys, Scientist – Dubwise Revolution
(192 kbps, front cover included)
“Da stand auf einem Transparent `Wir sind das Volk´, und daneben hat einer geschrieben `Ich bin Volker´. Den Mann, der das geschrieben hat, den brauchen wir in der nächsten Zeit. Es geht um die Stärkung dieser
Kräfte.” – Heiner Müller
Vast swathes of the former East Germany have turned into a Teutonic Mezzogiorno – the term used to describe Italy’s impoverished south – and it has suffered from chronic unemployment almost since the day the Berlin Wall fell. Hundreds of factories and state-run collective farms were simply shut down after German reunification in 1990. The unemployed either went west or were given low-paid token employment under state-funded job-creation schemes which managed to hide a real jobless figure of around 60 per cent. One of the chief reasons cited for the economic failure that still blights much of Germany’s east was Helmut Kohl’s decision to bow to massive popular pressure and give the east Germans the Deutschmark at a one-to-one conversion rate. The move made east-German exports 400 per cent more expensive, destroying the region’s economic base at a stroke. The dilemma was exacerbated by the government’s Treuhand agency, which was given the job of privatising all of east Germany’s state-owned industry. The upshot was a mass sell-off of east-German business to the west, which in many cases simply meant mass closures. West Germany’s powerful trade unions, which took over in the east after the Wall fell, compounded the problem by insisting that their fellow workers in the east obtain equal pay.
Not all Germans were a fan of the (quick) reunification, many would have preferred a confederation, with maybe a 2-state solution or a “growing together” at a slower pace. Of course most of them felt happy that the rotten regime of the GDR got wiped away and the people in eastern Germany had more freedom now. However in this opinion a historic chance was missed to build a free and real democratic state with maybe a “3rd way” economic system.
Another problem was the rise of nationalism, which showed it’s ugly face in progrom-like attacks in the beginning of the 90’s.
This alienation would certainly be much less if we had more democratic participation here, a goal which many people in the east tried to reach 25 years ago – however the masses wanted quick wealth without realising that in a capitalist economy not all people are winners. This is also a reason where the nostalgy for GDR-times (“Ostalgie”) comes from, which many in the East still have.
Tracklist:
01. Hard Pop: Katjuscha
02. Feeling B: Artig
03. Die Skeptiker: Dada In Berlin
04. Die Anderen: Gelbe Worte
05. Die Art: Sie Sagte
06. AG Geige: Maximale Gier
07. Der Expander Des Fortschritts: Der Fremde Freund
08. Hard Pop: Schlaflied
09. Mixed Pickles: Lied An Eine Ergraute Lehrerin
10. Rosengarten: Bessere Zeiten
11. Zorn: Touristen
12. WK 13: Sonntag
13. DEKA Dance: It’s Time Goes By
14. Die Körper Der Einfalt: Sauba
15. Sandow: Born In The G.D.R.
16. Naiv: Sag Mir Wo Du Stehst
Die DT 64-Story, Vol. 7 – Pa-rock-tikum
(192 kbps, cover art included)
Zero G Sound 