Archive for December, 2014

This is one of those concert albums that isn’t. The Chad Mitchell Trio departed Colpix for Kapp in 1961, leaving Colpix with just four outtakes by the group in the can from its 1960 debut album, “The Chad Mitchell Trio Arrives”. Cherry-picking two tracks (“I Do Adore Her” and “Sally Ann”) from that album and adding in the four unreleased songs, the label then dubbed in audience noise to make a faux live set. This still didn’t add up to an album, so six songs from a forgettable quartet known as the Gatemen were grafted on, again with fake crowd noise, and the end result is a disserve to all involved, especially those who actually purchased the record.

The CMT do shine on the Irving Burgie chestnut “I Do Adore Her,” but the exact same recording had already been on Arrives (minus the badly dubbed crowd effects), and although the version here of “Vaya con Dios” is also pretty good, it only proves that some performances can’t be ruined no matter what one does to them.

The Gatemen portion of the set is even worse, complete with subpar vocals, a piano player who seems to have wandered in from the nearest lounge bar, some misplaced electric guitar licks, and a drummer who appears to be auditioning for a surf band. –            

This album consists of selections from the Chad Mitchell Trio’s studio sessions for Colpix from 1960, twelve of which were released on the “Arrives” album (CP/SCP-411). From those sessions remained four rejected songs (“Herbie Spear,” “Devil Road,” “Rodger Young,” and “Vaya Con Dios”). With the trio signed to Kapp, Colpix did not have enough material to issue a second album, so they decided to build a “live” album around the four tunes, dubbing in poorly EQ’d audience applause, guitar tuning, and even coughing to simulate a live concert. In addition to the four unreleased tracks, Colpix added the released versions of “I Do Adore Her” and “Sally Ann” from the Arrives album to round out side one. As for the unreleased tracks, “Devil Road” is simply a reworked version of “Wayfaring Stranger” with new lyrics, while “Rodger Young” features a rare solo by original member Mike Pugh. “Vaya Con Dios” is actually a beautiful and tender rendition of the ballad made famous by Les Paul & Mary Ford. Side two of the album features an unknown folk quartet called the Gatemen singing songs that could have been sung by the Mitchell Trio (folk staples “Jesse James” and “Wabash Cannonball”). The problem is, these guys couldn’t sing. In addition, the group made the unfortunate decision to include a piano and a ponderous rock & roll wannabe drummer in the group. It results in some very painful listening. On top of these abysmal performances, Colpix adds the same phony applause used on the Mitchell tracks. No clue is given as to the Gatemen’s identity (it’s just as well). A photo on the cover shows six teenagers sitting in what looks like a run-down bohemian apartment room. ~ Cary Ginell, Rovi


A1 Chad Mitchell Trio, The                Herbie Spear 2:01
A2 Chad Mitchell Trio, The Devil Road 2:35
A3 Chad Mitchell Trio, The I Do Adore Her 3:07
A4 Chad Mitchell Trio, The Rodger Young 2:32
A5 Chad Mitchell Trio, The Sally Ann 2:24
A6 Chad Mitchell Trio, The Vaya Con Dios 2:43
B1 Gatemen, The Jesse James 2:34
B2 Gatemen, The Green Leaves Of Summer 2:39
B3 Gatemen, The The Klan 2:13
B4 Gatemen, The 500 Miles 2:53
B5 Gatemen, The What Have You Got To Show? 2:45
B6 Gatemen, The Wabash Cannonball 2:20

The Chad Mitchell Trio And The Gatemen ‎– In Concert – Everybody’s Listening (1964)
(256 kbps, cover art included)

Checkpoint Charlie were a German politico-prog-rock meets theatre outfit mostly active during the 1970’s and early 1980’s. Colleagues of “Floh De Cologne” and “Ton Steine Scherben”, but with a very different approach, Checkpoint Charlie were much more angst and proto-punk in a way. Their debut LP is well-known as one of the most challengingly angry records of Krautrock. After that they refined their style along similar lines to Oktober on their next 3 albums.    

“Grüß Gott mit hellem Klang” was their debut, released in 1970, later reissued in the 1980s and the 1990s with 300 copies each.
The front cover gives the name as “Checkpoint Charlie”, while the back cover says “Checkpoint Charly” and the labels have “Checkpointcharlie” (see included album art).


Geschichte von Herrn Müller I
Geschichte von Herrn Müller II
Das arme Waisenkind

Checkpoint Charlie – Grüß Gott mit hellem Klang (1970)
(ca. 192 kbps, cover art included)

“Ihre Kinder” can be placed at the roots of the so-called “Krautrock”. As the first rock band at all they produced in their mother-tongue German and published five main albums between 1969 and 1972.

The core of “Ihre Kinder” were the keyboarder and singer Sonny Hennig, the guitarist Ernst Schultz and the producer Jonas Porst. Their music combined influences from the American protest song (Bob Dylan), white blues music from England and – in a cautious way – the typical German electronic rock music of the early 70s to a progressive und unique mixture. Their most impressive songs are about political topics like nuclear armament (“Toter Soldat”) or social problems like drugs (“Weißer Schnee, Schwarze Nacht”). At their early time the phrase “progressive” was yet to be born. Lacking other definitions they were elected the best German “Blues band” by the readers of “Express” in 1970. Key albums were “Leere Hände” (1970) – also published in the UK as “Empty Hands” – “2375 004” (1970) – also known as “Jeanscover” – and “Werdohl” (1971), by which Ernst Schultz had substituted Jonas Porst as producer.

Sonny Henning published the solo album “Tränengas” in 1971, in which he discussed the political situation in Germany from a left-wing view, and in the same year Ernst Schultz recorded his opus “Paranoia Picknick”, which excelled with a blend of serious lyrics and sophisticated guitar work. The best of the latter was “Synthetischer Orient No. 1”.

After the break-up in 1972 every now and then band members came together to play at festivals and recorded some albums.


Fliessbandlied 3:14
Ein Lied für Dich 4:02
Für Dich und mich 3:19
Auf dem Schachbrett 4:41
Alptraum 3:38
In Ewigkeit Amen 4:21
Unny Wersaal und seine Band 4:06
Wer hat Angst vorm schwarzen Mann 4:05
Anfang ohne Ende 8:46

Ihre Kinder – Anfang ohne Ende (1972)
(192 kbps, cover art included)

Released later in the same year as their debut, this 1972 album was the band’s last. The punningly titled band (an English pronunciation of the French translation of Robert Wyatt’s previous band, “Soft Machine”) broke up just after it was issued.

This outing is a bit more experimental than its predecessor, favoring a range of sonic experiments, such as “Gloria Gloom.” This also marked the debut of one of Wyatt’s most gorgeous enduring songs, “God Song.”

The album title refers to Chairman Mao’s Little Red Book (1964). This reference is also carried over to the faux-Chinese style of the album cover, which is reminiscent of posters created during the Chinese Cultural Revolution.

Its quiet bearing actually points the way for his classic solo albums that followed a few years later (“Rock Bottom” and “Ruth Is Stranger Than Richard”). Produced by Robert Fripp, this album presents the more intellectual and introspective side of the era’s British progressive bands. It has aged very well over the decades and is an important chapter in Wyatt’s varied career and output.    


A1 Starting In The Middle Of The Day We Can Drink Our Politics Away
A2 Marchides
A3 Nan True’s Hole
A4 Righteous Rhumba
A5 Brandy As In Benge
B1 Gloria Gloom
B2 God Song
B3 Flora Fidgit
B4 Smoke Signal

Matching Mole – Little Red Record (1972)
(320 kbps, cover art included)

Hugh Masekela – Grrr (1966)

The South Afican-born trumpeter Hugh Masekela was playing world music before it had a name. On this album, recorded shortly after he moved to the United States and shortly before he became a worldwide star, he seamlessly fuses jazz ideas with the emotionally direct, rhythmically complex South African music known as Mbaqanga.

Masekela as a young trumpeter from the mid-’60s. Rare, but clearly his best format and playing.  –               


01. U, Dwi (Masekela) (3:14)
02. Zuul and the Mexican (Masekela) (3:22)
03. Emavungweni (Xaba) (3:08)
04. Ntjilo-Ntjilo (Makeba) (4:12)
05. Sharpville (Masekela) (3:29)
06. Umaningi Bona (Nkabinde) (3:17)
07. Sipho (Mrwebi) (3:44)
08. Kwa-Blaney (Gwangwa) (2:12)
09. Mra (Christopher) (3:08)
10. Phatsha-Phatsha (Mabaso) (2:55)

Hugh Masekela – Grrr (1966)
(320 kbps, cover art included)

This CD is one to grab for several reasons. First of all, Newport shows are essential both to any serious Dylan collection, as well as to any music historian. This set compares the sublime acoustic folk ’64 show to the infamous ‘Electric’ ’65 show that forever changed the face of folk, rock, and folk-rock music. The entire CD is soundboard recordings, and this is the best sounding Newport recordings ever. The filler material is of fascinating historical importance as well. The two missing songs from the newly discovered Hollywood Bowl show (with Levon Helm and Robbie Robertson) are also included. Finally, the aesthetics are nice, the venue information is complete, and the period photos are vibrant.
–Craig Pinkerton,

In the span of exactly 365 days, from his July 26, 1964, appearance at the famed Newport Folk Festival to his return on July 25, 1965, Bob Dylan rocketed from folk luminary to lightning rod. After first abandoning the protest themes of his classic early anthems to focus on more poetic, personal subjects, Dylan next forsook the rigid traditions of roots music to go electric, drawing on the spirit of rock & roll to forge a revolutionary and controversial sound all his own. The must-have bootleg release “Folk Rogue 1964-1965” contains both Newport sets in their entirety, and the contrast is extraordinary: while the 1964 audience treats sublime, introspective songs like “It Ain’t Me, Babe” and “All I Really Want to Do” with reverence and awe, the 1965 crowd seems poised on the brink of anarchy, and regardless of whether the catalyst was the elemental ferocity of the music, the inadequate sound system, or the brevity of the three-song set, the tension is palpable, and it elevates Dylan and his band to remarkable heights. Adding a pair of songs from Dylan’s September 3, 1965, show at Los Angeles’ Hollywood Bowl for good measure, “Folk Rogue 1964-1965” remains the definitive single-disc presentation of this landmark material. Soundboard-quality fidelity and tasteful packaging complete an essential collection, although Dandelion’s two-disc “From Newport to the Ancient Empty Streets in LA” adds the Hollywood Bowl show in its entirety while subtracting “It Ain’t Me Babe” from the 1964 Newport appearance, so comparison shopping is recommended.  –


  1. It Ain’t Me Babe *
  2. All I Really Want To Do
  3. To Ramona
  4. Mr Tambourine Man
  5. Chimes Of Freedom
  6. Don’t Think Twice **
  7. All I Really Wanna Do *(afternoon workshop)
  8. Maggie’s Farm
  9. Like A Rolling Stone
  10. Phantom Engineer
  11. Tombstone Blues ***
  12. It Ain’t Me Babe ***
  13. We Want Bobby
  14. It’s All Over Now Baby Blue
  15. Mr Tambourine Man

Newport Folk Festival, RI July 25, 1965 Except:
* Newport Folk Festival, RI July 26, 1964
** Newcastle, UK City Hall May 6, 1965
*** Hollywood Bowl, LA, CA September 3, 1965

Bob Dylan – Folk Rogue 1964 – 1965
(192 kbps, cover art included)

Opinions (mine included) run hot and cold over this hard-to-find two volume set of Scratch dub. I don’t think it is as excellent and crucial as many of its supporters claim, nor do I think it’s as awful as its detractors insist. File it under odd and occasionally wonderful (but, ultimately not essential), especially if you like your Perry mix so loaded with echo it sounds as if it was recorded in a canyon. Extremely difficult to find.     –

More near nuclear versions, recorded at Black Ark Studio, Kingston, Jamaica. Maybe one should have no fear of atomic energy but this second round of word sound power plants deserve maximum respect. Upsetter at the apogee.

A1 Traveling In Dub
A2 Fisherman Dub
A3 Zion In Dub
A4 Groovy Dub
B1 Dub Crisis
B2 Green Bay Killing
B3 Big Neck Dub
B4 Living In Dub

Lee Perry – Megaton Dub Vol. 2
(192 kbps, cover art included)

Checkpoint Charlie was formed in 1967 and named after the infamous checkpoint between the Eastern and Western zones of Berlin. They were part of the same polit rock wave as Floh De Cologne and Ton Steine Scherben.

Sinze 1967, the musicians around Uwe von Trotha have satirized “squares, cold warriors, senile military officers, certain politicians and string-pullers with loins like Barbie´s Ken”.

The album “Checkpoint Charlie” aka “Die Durchsichtige” was released on the self organized label “Schneeball” (formerly “April Records”), founded by the band together with Embryo, Ton Steine Scherben and some other projects. The album was recorded at Sunrise Studios (Kirchberg, Swiss) and at Zuckerfabrik (Stuttgart), the tracks 3 and 4 are live recordings from the Zuckerfabrik.


Du sollst dein Leben nicht den Schweinen geben
Folter für John Travolta
Hitler in Dosen (Haben Rock)

Checkpoint Charlie – Same (Die Durchsichtige) (1979)
(256 kbps, cover art included)

Formed from the ashes of UK anarcho reggae outfit “Military Surplus”, “RDF”, as they were commonly abbreviated, started in 1987.

Their line-ups were erratic but were based around the one constant, lyricist and vocalist Chris Bowsher. Using beat poetry, with its imagery of modern decay and capitalism gone wrong, their chosen musical outlet was reggae and ska.

Bowsher was a veteran of the early punk explosion, and was particularly enamoured of bands such as the Clash and Ruts who attempted to bridge the gap between rock and black music. Alongside the Levellers, they became prime movers in the media-christened ‘crusty’ movement (i.e., their following comprised largely the dispossessed and homeless, bonded by a political consciousness that has its roots in hippiedom, beatnik romanticism and early 80s anarcho-punk).           

RDF’s music combines punk, dub, and ska, while Bowsher’s lyrics, spoken rather than sung, dealt mainly with political issues, such as the Tiananmen Square protests of 1989 in the song “Chinese Poem”. Bowsher also witnessed first hand the Hungerford massacre, describing his experience in the song “Hot on the Wire”.
RDF were a regular act on the UK free festival scene prior to the 1994 Criminal Justice Act, and were part of the crusties and anarcho punk movement until they called it day in the mid 1990s. The band reformed in 2006, and played various festivals around the UK during 2007.
At the height of their fame in the early 1990s, the band made at least two tours of Germany. One tour was as the support act to Rebel MC but they also supported Ziggy Marley at one point. RDF appeared at the huge Summerjam festival in July 1993.
They appeared at The Bearded Theory festival in Derby on Sunday 20 May 2012. The band commenced a short tour in October 2012 to promote their new album – Ammunition.

Radical Dance Faction – Borderline Cases
(320 kbps, cover art included)

Early May 1997, the legendary icons Mikis Theodorakis (Greece) and Zulfu Livaneli (Turkey) united again to start ea series of concerts in Europe with a final concert on the green-line of Nicosia/Cyprus.

The first concert in Berlin was totally sold out. It turned out to be the one and only concert of the tour as Mikis had to cancel the others right after the final standing ovations in Berlin due to serious health problems.

This is the recording of this evening. There is one new Theodorakis song on this album called “Kerem” with text by Nazim Hikmet. Its sung by both atists together as is the famous “Imaste Dio” (“The Two Of Us”).  It is also unique in its sense of togetherness, spirit, poetry and music. Hope you enjoy it!

Mikis Theodorakis & Zulfu Livaneli – Together!
(256 kbps, front cover included)