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To the uninitiated, he seems like little more than a footnote in the biography of Bob Dylan and the recordings of Johnny Cash, but during the early and mid-’60s, Peter La Farge occupied a special niche in contemporary folk music as the first politically aware Native American to attract serious attention.

He was dead before the age of 34, but La Farge managed to make a vital and unique contribution to the early-’60s folk revival.  

“`Ira Hayes´ And Other Ballads” is a perfect companion to all of the early 60s Greenwich Village folk you’re hearing these days, thanks to the film “Inside Llewyn Davis.”

Peter La Farge was an unusual character even by the standards of that scene, and this, his only Columbia album, features numerous folk classics as well as the first recording of his monumental composition “Ira Hayes,” later brilliantly covered by Johnny Cash.


Ira Hayes 3:42
Rodeo Hand 2:19
Easy Rider 4:12
Sod Shanty 2:14
John Henry 4:52
Head Hammer Man 3:08
I Gave My Love A Cherry 3:38
John Brown’s Body 4:18
True Love Is A Blessing 1:27
Alabama Bound 3:22
St. James Infirmary 4:50

Peter La Farge‎– “Ira Hayes” And Other Ballads (1962)
(320 kbps, cover art included)

This bootleg collects some early and rare Neil Young recordings.
The Wichita Falls tracks are solo acoustic (pre-Springfield). Very good sound qualities for the time. There are also two Buffalo Springfield outtakes. As well, there are two 45 single demos with Neil’s Canadian group the Squires.

Tracks 1-7; 10 and 11 were recorded live in Wichita Falls, Texas, 1-12-65

Tracks 8 and 9 are Buffalo Springfield studio outtakes.

Track 12, called “Sultan” and track 13 (“Aurora”) are from The Squires’ and Neil Young’s first single, produced by Bob Bradburn, a DJ at CKRC in Winnipeg in 1963.

(192 kbps, cover art included)
Looking forward to this years “Festival Musik & Politik”. So it is time for another volume of recordings done at the “Festival des politischen Liedes”.

The album “Rote Lieder – 9. Festival des politischen Liedes” was recorded in February, 1979 in East Berlin. It features artists like Amparo Ochoa, Macchina Maccheronica, Carlos Mejía Godoy, Schicht, Oktoberklub, Maria Farandour and many more.

VA – Rote Lieder – 9. Festival des politischen Liedes (1979)
(256 kbps, cover art included)

Next weekend we will have this years “Festival Musik und Politik”.

So this gives cause for sharing the recordings from the 13th festival of political songs, which happened in february, 1983.

This album is a collection of live recordings by artist like Dick Gaughan, Sands Family, Letta M`Bulu, Inti-Illimani, Mikis Theodorakis and many more. The festival ended with a manifestation against the “NATO-Doppelbeschluss”.

The “NATO Double-Track Decision” was a NATO strategie to offer the Warsaw Pact a mutual limitation of medium-range ballistic missiles and intermediate-range ballistic missiles combined with the threat that in case of disagreement NATO would deploy more middle-range nuclear weapons in Western Europe. This strategie was criticized by the strong peace movement of these years.

VA – 13. Festival des politischen Liedes (1983)
(256 kbps, cover art included)

Paul Leroy Robeson was born on April 9, 1898 in Princeton, New Jersey. He was the youngest son of five children born to Presbyterian minister Reverend William Drew Robeson (1845-1918) and former schoolteacher Maria Louisa Bustill Robeson (1853-1904). He was the grandson of slaves and the son of a minister who escaped slavery and became one of Rutgers University’s most famous and accomplished alumni.

In 1915, Robeson was awarded a four-year academic scholarship to Rutgers University. He was inducted into the Phi Beta Kappa Society and Rutgers’ Cap & Skull Honor Society. He was valedictorian of his graduating class in 1919. Rutgers awarded Robeson honorary Master of Arts degree in 1932 and an honorary Doctorate of Humane Letters on his 75th birthday in 1973.

In addition to his academic achievements, Robeson had an outstanding athletic career as the first Black football player at the University winning 15 varsity letters in baseball, football, basketball, and track and field. He was named to the All American Football Team twice in spite of open racism and violence expressed by his teammates. In 1995, he was inducted posthumously into the College Football Hall of Fame.

In 1923, Robeson earned a law degree from the Columbia Law School. There, he met his wife Eslanda Cordoza Goode, the first black woman to head a pathology laboratory. Robeson took a job with a law firm after graduation, but left the firm and the practice of law when a white secretary refused to take dictation from him. He decided to use his artistic talents in theater and music to promote African and African-American history and culture.

What followed was a brilliant career as an actor and concert singer which spanned nearly four decades. Robeson made his concert debut in 1925 with a highly successful program of Black music. He went on to such stage successes in Show Boat, Porgy and Bess and Othello, which was hailed by some critics as the play’s greatest interpretation. He starred in 13 films between the 1920s and the early 1940s, but decided to stop making movies until there were better opportunities for blacks.

Paul Robeson used his deep baritone voice to promote black spirituals, to share the cultures with other countries, and to support the social movements of his time. He sang for peace and justice in 25 languages throughout the United States, Africa, Asia Europe, and the Soviet Union.

Robeson became known as a citizen of the world, as comfortable with the people of Moscow and Nairobi as with the people of Harlem. Wherever he traveled, Robeson championed the cause of the common person. Among his friends, he counted future African Leader Jomo Kenyatta, India’s Nehru, anarchist Emma Goldman and writers James Joyce and Ernest Hemingway.

During the McCarthy Era of the 1950s, every attempt was made to silence and discredit Paul Robeson because of his political views and dedication to civil rights. In 1958, he embarked on a successful three-year tour of Europe and Australia. Unfortunately, illness ended his professional career in 1961. He lived the remainder of his years as a private citizen in his sister’s home in Philadelphia. He died on January 23, 1976 at the age of 77.

For his steadfast commitment to his social conscience, Paul Robeson – activist, scholar, artist, athlete – was shunted from the center of America’s cultural stage to its wings. For a generation, his memory was obscured and his achievements forgotten, but the centennial of his 1989 birth has sparked new debate about his place in our history.


01 Ol’ Man River
02 My Old Kentucky
03 Lazy Bones
04 My Lindy Lu
05 Poor Old Joe
06 Old Folks At Home (Swanee River)
07 Just Keepin’ On
08 Little Pal
09 Water Boy
10 Shenandoah
11 Swing Low, Sweet Chariot
12 Joshua Fit The Battle Of Jericho
13 Wagon Wheels
14 Got The South In My Soul
15 St Louis Blues
16 Rockin’ Chair
17 River Stay ‘Way From My Door
18 Canoe Song
19 Congo Lullaby
20 Love Song
(192 kbps, cover art included)

After over 30 years this album hasn´t lost any of its appeal. It features some of the best Zimbabwean pop stars. Jit or Jiti music is represented by the fast mbira-like guitar sounds of The Four Brothers who became international world music stars. Thomas Mapfumo, the Lion of Zimbabwe, appears with an early 80s political anthem in the style that came to be known as Chimurenga. Sungura guitar melodies are featured with James Chimombe, the “King of Sungura.” Bands on the album such as Nyami Nyami Sounds and Super Sounds have members who went on to some of the most popular Zimbabwean bands such as Chazezesa Challengers. One thing I’ve found is that you simply can’t get through this record without getting on your feet and dancing around!

Robert Christgau wrote about this album: “For all the liner talk about electric dance music, what sets this apart is its roots in thumb piano. With that painfully mastered village instrument the melodic source, the guitar figures are the quickest in Africa–contrapuntal at their best, and always hooky. Vocals are likewise unassuming if not delicate, rhythms distinctly light. Takes a while to hear, will never hit you over the head, and you can dance to it. Call it folk-disco. A- “


A1 Devera Ngwena Jazz Band Solo Na Mutsai
A2 Four Brothers, The Makorokoto
A3 Thomas Mapfumo and Blacks Unlimited* Ndamutswa Nengoma
A4 New Black Montana Magumede
A5 Super Sounds Isalwa Kuchelwa
A6 Monica Nyami Nyami Sound Shirley
B1 Patrick Mukwamba and The Four Brothers Zvinonaka Zvinodhura
B2 Devera Ngwena Jazz Band Zvoku Mayadhi
B3 Super Sounds Monica
B4 James Chimombe and OK Success Zvingashure
B5 Patrick Mukwamba and The Four Brothers Dai Ndiri Shiri
B6 Elijah Madzikatire and The Brave Sun Vana Tinogumbura

VA – Viva! Zimbabwe – Dance Music From Zimbabwe (1983)
(320 kbps, cover art included)

Dub poetry, a unique reggae subgenre characterized by political poetry delivered over an instrumental backdrop, has never really gained full acceptance in the reggae community. Although its urgent political messages and straightforward roots rhythms make it seem like a natural fit for fans of conscious reggae, dub poetry has too often come across as a dysfunctional marriage of convenience between words and music.

This CD brings together two LPs previously released in the early ’80s: “Word Sound ‘Ave Power” was an anthology of singles by such notable dub poets as Mutabaruka and Breeze (aka Sister Breeze), as well as more obscure artists like Glenville Bryan and Navvie Nabbie, while “Dub Poets Dub” was a companion dub version of that album.

The combined collection could be used as an argument for either side of the dub poetry debate. On the one hand, you have incisive commentary from Breeze, whose views on foreign aid can be summed up in one couplet: “They come, they work, they smile so pleased/ They leave and you discover a new disease.” And Mutabaruka is his usual sharp-eyed self on “Set de Prisoners Free” and “Out of Many One.” But then you have lines like “I’m a victim, a victim/ A victim of de stinkin’ system” from Malachi Smith, and the painfully pedestrian anti-drug pronouncements of Tomlin Ellis. These are not “poems” that deserve to be recited. They could possibly be redeemed by strong melodies, but without such support they sound like eighth-grade social studies essays. The dub versions all vary from good to excellent. This one is recommended, but so is the judicious use of the skip button.   

VA – Word Sound ‘ave Power – Dub Poets and Dub   
(192 kbps, cover art included)

This album was released in 1974 on the Songbird label by famous folk singer, songwriter and pair of twin brothers Heinrich and Oskar Kröher.

“Hein & Oss” call themselves “The People´s Singer” and were activ on stage for more than the last fifty years. Long before there was a new folk song movement, the vocal and guitar duo was popularizing democratic folk songs: work songs , songs of freedom of 1848-49, songs from the Hambach Festival , partisan songs, soldier songs against the drill, sailor songs and cowboy songs, songs from hiking , from drinking and of the unrest.

The 1848 Revolutions were a series of loosely coordinated protests and rebellions in the German Confederation which sought to challenge the status quo. The revolutions, which stressed pan-Germanism, emphasised popular discontent with the traditional, largely autocratic political structure of the thirty-nine independent states of the Confederation that inherited the German territory of the Holy Roman Empire. Furthermore, they demonstrated the popular desire for increased political and social freedom, democracy, and national unity within liberal principals of socioeconomic structure.

The revolution of 1848–49 marks a turning point in history. Throughout Germany the middle classes, workers, peasants, artisans, students, and the lower middle classes rose up against the ruling feudal nobility in order to create a unified, democratic state. The songs of freedom from the revolutionary years 1848 – 1949 are the expression of the struggle against feudalism, and they reflect the events of the time, the hopes and disappointments of the struggling democrats.


Trotz alledem
Vetter Michels Vaterland
Das Blutgericht
Die freie Republik
Das Reden nimmt kein End’
Ça ira
Mein Deutschland, strecke die Glieder
Fürstenjagd/ Heckerlied
Deutscher Nationnalreichtum
Das Lied von Robert Blum
Der gute Bürger
Badisches Wiegenlied
Achtzehnter März

Hein & Oss – Deutsche Lieder 1948/49 (1974)
(192 kbps, front cover included)

Originally posted 3 years ago:

Today we had the chance to experience the wonderful Stefanie Wüst with her Hanns Eisler interpretations at the “Festival Musik und Politik.” So let´s go on with the memories regarding the precursor of this festival…

The Festival of Political Songs was one of the largest music events in East Germany. It was founded by the group Oktoberklub and took place between 1970 and 1990 in East Berlin every February as an official event of the Free German Youth. The event was first organized by the Berlin division, but from 1975 was directed by the Central Committee of the Free German Youth.

Artists from 60 countries participated in the event over the years, and usually between 50 to 80 artists, from around 30 countries, performed, including prominent artists like Mikis Theodorakis, Miriam Makeba, Quilapayún, Inti-Illimani, Silvio Rodríguez, Mercedes Sosa, Canzoniere delle Lame, and Pete Seeger. The mascot of the festival was a red sparrow named Oki (derived from Oktoberklub).

After the collapse of East Germany, the festival lost its function and supporting infrastructure.

The 12th “Festival des politischen Liedes” happened between February 14 – 21, 1982 with Ad Hoc Singers (USA), Bots (Netherlands), Chris Cutler (Great Britain), Illapu (Chile), Sigi Maron (Austria), Quinteto Tiempo (Argentina), Orkest de Volharding (Netherlands), Duo Voga/Turnowski (Hungary), Arbeiterfolk, Kurt Demmler, Gerhard Gundermann, Pietsch/Körbel, Hannes-Zerbe-Blechband (GDR), Liederjan, Hannes Wader (BRD), Hanns-Eisler-Chor (West Berlin).

VA – 12. Festival des poltitischen Liedes 1982

Barbara Thalheim (born September 5, 1948 in Leipzig) is a German singer and songwriter.

The recipient of the 1994 German music critics’ awar (“Preis der deutschen Schallplattenkritik”), Barbara Thalheim is one of the most successful artists of post-reunification Germany. With her stunning vocals and artistic vision, Barbara Thalheim has continued to expand on the cabaret and musical theater traditions of her homeland. Thalheim’s life has been the source of a film, “Zum Sehen geboren”, by filmmaker Joachim Tschirner, released in 1989, and an autobiography, “Mugge: 25 Years on the Road”, published in 2000.

The daughter of a communist, anti-fascist, and former Dachau Concentration camp prisoner, she’s used her skills as a vocalist to overcome the political oppression of her youth. Her status as a performer has enabled her to support a varied assortment of artistic causes. During a three-year hiatus from music (1995-1998), she founded an art culture office and began an “arts in the square” program that presents concerts in disadvantaged areas of Berlin. Thalheim’s first experiences in Berlin’s cabaret scene came between 1968 and 1971, when she performed with the Oktoberklub. Hoping to learn more about German theater, she took a job as a messenger girl in 1971. Starting out as a background vocalist from 1970 to 1973, Thalheim stepped into the limelight as a soloist in 1974. She graduated in 1972 at the Berlin Hochschule für Musik “Hanns Eisler”. In 1980 she protested against the stage ban of GDR artists in Western Europe, imposed by the SED. She was then excluded from the SED and she was no longer allowed to perform for some years.

From 1979 until 1991, she balanced her musical career as a radio journalist for a number of stations in Germany and Switzerland. Moving, temporarily, to France, in 1993, Thalheim performed concerts with such artists as Marek Grechula, Hermann Van Veen, Hannes Wader, and George Moustaki, and began a collaboration with French accordion player Jean Pacalet. Since Thalheim’s return to the concert stage in late 1998, Pacalet has served as her musical director. Thalheim continued to work with the group she assembled for her 1998 album, “In Eigener Sache” – bassist Marcus Schloussen, percussionist Georen Harm, and guitarist Juergen Ehle. Since 1999, she’s also performed, occasionally, with five different accordion orchestras.


A1 Sehnsucht nach der Schönhauser
A2 Der Mann im Souterrain
A3 Ete
A4 Frau am Oktobermorgen
A5 Schlaflied für Emilia
A6 Die Kinder der Nacht

B1 Wanderer erwachen früh
B2 Ich leb hier
B3 Frau an der S-Bahn
B4 Der kleine Mann
B5 Angelika
B6 Kennt ihr ihn?
Barbara Thalheim – Die Kinder der Nacht (Amiga, 1985)
(320 kbps, cover art included, vinyl rip)