Soul Controllers - Dancehall Classics Vol. 3

.
Soul Controllers´ very own DJ Power steps outside the box and puts up another mix of all the hottest dancehall classics from yesteryears.

This mixtape features nearly 70 old school dancehall cuts mixed together by The Remix King/Reggae Blends award-winner. Featuring old school tunes by Buju, Beenie, Vegas, Barrington Levy, Spragga, Capleton, Supercat...

Track Listing:
1 - Power Intro
2 - When I See You Smile - Singin' Sweet
3 - Do You Remember - Ghost
4 - Live & Learn - Wayne Wonder & Louie Culture
5 - Love Excess - Wayne Wonder
6 - Big Tings A Gwan - Donavan Steele And
Daddy Screw
7 - Big Speech - Frisco Kid
8 - Wifey - Dugsy Ranks
9 - No Gal - Louie Culture
10 - No Sound - Unknown
11 - Nuff Man A Look You - Buju Banton
12 - Dickie - Buju Banton
13 - Number One - Beenie Man
14 - Jacket - Mr. Vegas
15 - Hands Up - Mr. Vegas
16 - Everyone Falls In Love - Tanto Metro &
Devonte
17 - Give Me - Interlude
18 - Who You Wanna Dis - Beenie Man
19 - The Best - Wanye Wonder
20 - Dolly House - Spragga Benz
21 - Searching Dem Searching - Wayne Wonder
22 - Hot Gal - Shaggy
23 - Galong Yah Gal - Baby Cham
24 - Bashment Party - Rayvon & Redd Foxx
25 - We Nuh Like - Spragga Benz
26 - Go Go Wine - Captain Barkey
27 - Do You Want To - Tony Curtis
28 - Your Making Me High - Toni Braxton & Cobra
29 - Stop Liv Ein The Past - Beenie Man
30 - Position - Terror Fabulous
31 - Probably You Never Heard - Roundhead
32 - Funny Guy Thing - Spragga Benz
33 - Bad Mind A Go Kill - Capleton
34 - Mega - Nitro Mix - Bounty Killa
35 - Fed Up - Bounty Killa
36 - Funny Guy - Professor Nuts
37 - You And Yuh Man - Frisco Kid
38 - Seek God - Gary Minnot
39 - Slam - Beenie Man
40 - Look A Gal - Spragga Benz
41 - No Argument - Bounty Killa
42 - Some Body - Capleton
43 - Hot This Year - Dirtsman
44 - Butterfly - Jigsy King
45 - Work - Barrington Levy
46 - Retreat - Cutty Ranks
47 - Healthy Body - Little Lenny
48 - Gun In A Baggy - Little Lenny
49 - Trailor Load Of Girls - Shabba Ranks
50 - Young Zgirl Wine - Shabba Ranks
51 - Things A Gwan - Ninja
52 - Feeling Lonely - Cobra & Beres
53 - Browning Buju Banton
54 - Black Woman - Buju Banton
55 - Chatty Chatty - Tony Rebel
56 - I Can't Wait – Sanchez
57 - Trying To Get You - Richie Stephens
58 - Nana's Medley - Nana Mclean
59 - Life Is What You Make It - Colonel Mighty
& Daddy Freddy
60 - Greetings - Half Pint
61 - Under Pressure - Supercat
62 - Vineyard Party - Supercat
63 - Gangster Anthem - Terror Fabulous
64 - Bogus Badge - Louie Culture
65 - Murderer Remix - Barrington Levy &
Beenie Man
66 - Outro
67 - Too Experience - Barrington Levy
68 - Have You Ever - Dennis Brown
69 - Hold On To What You Got - Dennis Brown

http://rapidshare.com/files/23699951/SouContr3.rar
(cover art included)

Hamburger Schule, Part 8: Die Regierung

.
“So drauf” was the third release by Die Regierung and, with its uniformity and variation, in conjunction with musical maturity, it surpasses any initial ambitious expectations. The clear-cut production enhances the unique, very tangible charisma of this record that can best be described as neo-folk and new German singer/songwriter rock.

“So drauf” hits the listener straight in the ear and heart: "Ich glaub, ich will Dich lieber loswerden!" ("I think I get better rid of you!"). Security in insecurity, clear-headedness in dreaminess, love is sorrow. P
This is personal, romantic realistic rock music with German lyrics and an idiom of its own. That is what some highbrow newspaper would probably write in its review.

We voted for this Regierung (which equates to “The Government” in English). A classic!

http://rapidshare.com/files/21971721/RegSoDrau.rar
(192 kbps, front cover included)

Liesl Karlstadt - Verrückte Märchen und komische Lieder

.
The legendary German singer, actress and cabaret artist Liesl Karlstadt was born as Elisabeth Wellano in Munich. She had an immense success with star comedian Karl Valentin (1882-1948), and they went down in history as a inseparable duo which looks for the likes of them.

Karl Valentin saw the comical talent of the young Liesl Karlstadt and engaged her as his partner. The two had great successes and although many of their famous comedies came from the creativity of Liesl Karlstadt, she nearly was noticed by the public.

However Karl Valentin's fame grew unlimited. But Liesl Karlstadt put herself into service for Karl Valentin and submitted to him. Many of her written comedies passed the laughter to him deliberately.

Her modesty came from her origin. She was one of nine siblings and grew up in simple circumstances. She earned her first money as a saleslady. At the age of 17 she went to the theater and to the cabaret. She had a good command of instruments and was soon employed in different small roles which banked on her musical talent.

The year 1911 was the most important one for Liesl Karlstadt. Karl Valentin met her at the "Frankfurter Hof" and they were engaged together for the Simplizissimus cabaret. The two were very curious and plumbed all possibilities of the motioned pictures. In 1912 they already appeared in a movie for the first time called "Karl Valentins Hochzeit".

In the following years followed many other movies, among others they appeared in the silent movies "Der entflohene Hauptdarsteller" (1921) and "Der Sonderling" (1929). Liesl Karlstadt decided in 1930 to take acting lessons; her first theater appearance was in the play "Sturm im Wasserglas".

Rudolf Bach described the comedian duo: "Liesl is tender, good-natured, superior, always the normal opposite part, so to speak the Sancho Panso to Valentin-Don Quicotte". The two played together for 25 years and produced about 400 comedies.

Liesl Karlstadt was able to continue her popularity after Karl Valentin's death. She played more often at the theater. Also her engagements for the film increased. Till her death she took part in movies like "Das doppelte Lottchen" (1950), "Nacht ohne Sünde" (1950), "Das letzte Rezept" (1951), "Fanfaren der Ehe" (1953), "Die Trapp-Familie" (1956), "Wir Wunderkinder" (1959) and "Oh, diese Bayern" (1960).
Liesl Karlstadt died in Garmisch-Partenkirchen because of a cerebral hemorrhage.

Here´s a collection of rare schellack recordings by Liesl Karlstadt:

http://rapidshare.com/files/21032318/LiesKarst.rar

(192 kbps, front cover included)

Silly & Gundermann - Unplugged

.
Gerhard Gundermann was a phenomenon in the German musical landscape; although he never became a professional musician, he managed to rise to be one of the most successful singer/songwriters of the '90s in Germany. Growing up in East Germany and heavily influenced by Bruce Springsteen, the media frequently called him the "Springsteen of the East."
Gundermann wrote lyrics full of poetic density reflecting on the '90s situation in East Germany and coated them in folk-rock songs which struck a chord with the generation who had grown up in the GDR but with the German reunification suddenly had to adopt to a completely different social system.
Working as a miner in his main profession after a failed career attempt as a military officer (he was fired because he refused to sing a praise song for the defense minister), Gundermann started his artistic activities at the end of the '70s as a member of Brigade Feuerstein, a group which performed political songs and cabaret and had been founded in 1978. He soon gained attention as one of the main lyricists of the group, but this also brought him the first trouble with the official system.
Although he was a full-fledged member of the SED, the East German communist party, and even an informant of the Stasi, the notorious secret service, the conflicts accumulated. In 1979, he was dropped as a Stasi informant due to severe differences with the official party line; five years later he was eventually expelled from the SED. During the decade of touring with Brigade Feuerstein, he constantly sharpened his ability to use powerful words in his lyrics. In 1987, he left Brigade Feuerstein and started solo performances accompanying himself on acoustic guitar. The result of this work was his first album, "Männer, Frauen und Maschinen", released in 1988. Despite strong lyrics, the album left a very uneven impression due to constant interference of censors and other bureaucrats of the GDR cultural nomenclature. Some songs of "Männer, Frauen und Maschinen" Gundermann performed with a band, which marked a significant change.
In the aftermath of the album release, he had entered a new chapter in his songwriting career by writing lyrics for the rock band Silly, who were one of the top bands in the GDR at the time and had just lost their previous lyricist. This job convinced Gundermann that his songs might be considerably enriched by performing them with a full-scale rock band. The members of Silly agreed to provide him with the required band backup.
The album "Einsame Spitze" (1992) was much more accessible than its predecessor and laid the foundation for his cult status in East Germany; this was of course also the case due to the newly achieved artistic freedom after the 1989 political changes which enabled Gundermann to put his ideas to life much more creatively. Gundermann then christened his project Gundermann und Seilschaft and recorded two more albums: "Der Siebte Samurai" (1993) and "Frühstück Für Immer" (1995) continued the success. The latter earned Gerhard Gundermann the "Preis der Deutschen Schallplattenkritik", the most important musical award in Germany and further consolidated his reputation as one of the most innovative German songwriters.
In 1994, he and his band performed as a support act for a Bob Dylan tour in Germany. "Engel Über Dem Revier" (1997) painted a much more melancholic picture; it reflects on the closing down of the mine Gundermann had been working in for two decades. But even then, officially unemployed, he refused to make music his profession, realizing that this might corrupt his potential as a songwriter when he has to write songs to sell them.

After the fall of the Berlin Wall, Gundermann ran unsuccessfully for a seat in the Volkskammer in the March 1990 elections, running for the leftist alliance "Aktionsbündnis Vereinigte Linke".
On June 21, 1998, Gerhard Gundermann suffered a stroke and was found dead at his house. His death followed that of his friend and collaborator Tamara Danz, also 43, in 1996.

Tamara Danz was the charismatic lead singer of Silly. In the '80s, Silly was one of the most influential rock bands in what was then the GDR. They developed a unique style of musical inventiveness in combination with lyrics which had the ability to express issues between the lines - an important feature for an artist to function in a dictatorship. Silly was founded at the end of the '70s by vocalist Tamara Danz, bassist Mathias Schramm, guitarist Thomas Fritzsching, keyboardists Ulrich Mann and Manfred Kusno, and drummer Michael Schafmeier. After having played before holiday audiences in a Romanian health resort (Tamara Danz's father was a diplomat in this country) in order to make some money, they decided to do their own thing. First released in 1980 in West Germany and then one year later in the GDR, the debut album "Tanzt Keiner Boogie?" was a hodgepodge of different approaches and styles. This was not so much the band's fault, but mostly due to weak production and inflicted limitations from all kinds of cultural bureaucrats. Silly were aware of their debut's weaknesses and worked hard to overcome them. The new keyboarder Rüdiger Barton replaced Ulrich Mann and Manfred Kusno and contributed fresh musical ideas. Furthermore, Silly were able to contract Werner Karma, one of the most talented lyricists in the GDR at that time, to write lyrics. Much time was spent in crafting new songs.
The result, the album "Mont Klamott" (1983), was significantly better than their first release and soon gained landmark status in the GDR. As a consequence, Silly quickly became one of the top acts in the GDR rock scene. They continued their success with two other strong albums, "Liebeswalzer" (1985, with new drummer Herbert Junck replacing Schafmeier) and "Bataillon d'Amour" (1986). This album trilogy saw Silly in peak form -- the band had achieved a unity between honest, inventive rock music and lyrics that were able to convey messages to an audience overwhelmingly critical to the state the GDR society was in at that time. Furthermore, the powerful voice of Tamara Danz, who was sometimes labeled "Tina Turner of the East," showed an astonishing range of expression which made her one of the best German rock singers of the era. Soon after the release of "Bataillon d'Amour", the band took a timeout to refresh their creative energies. During that time, a setback occurred when serious differences arose between the band and lyricist Werner Karma and their partnership finally ended. In 1988, they made the acquaintance of the singer/songwriter Gerhard Gundermann whose solo career was just taking off -- he agreed to contribute lyrics for the band. After the political changes in East Germany in 1989/1990 and the disbanding of the state-owned record label Amiga, where they had released all of their albums, Silly first went into a sort of hiatus and then encountered various difficulties in finding a new record label for releasing their new songs -- most of these companies wanted to convert the band into a smooth commercial rock act and the band steadily refused to accept this. When the former Amiga label was reinstated in 1992 in a new organizational form, Silly signed with them again and released their sixth album, "Hurensöhne", in 1993. Whereas this release still was a good effort and featured lively music, this one as well as their next album, "Paradies" (1996), could not quite achieve the outstanding quality of their '80s albums, but at least they reinforced Silly's status as one of the few surviving GDR bands and injected some fresh blood into the ailing German rock scene. Shortly after the release of "Paradies", Tamara Danz died from breast cancer on July 24th, 1996. Last year Silly continued performing concerts with the actress Anna Loos as lead singer.

"Unplugged" was a posthumous release of a recording of a 1994 acoustic concert by Gundermann & Seilschaft together with Silly.

http://rapidshare.com/files/22443276/Silly1.rar
http://rapidshare.com/files/22531649/Silly2.rar
(192 kbps, cover art included)

Jefferson Airplane - Live At Café A Go Go, New York, 1967

. .
The "Cafe Au Go Go" was a Greenwich Village night club located in the basement of 152 Bleecker Street, New York, NY.

In 1964, Comedian Lenny Bruce was arrested here on obscenity charges, along with owner, Howard Solomon. In 1964, Solomon also brought in a large group of singers and musicians from an off-Broadway show, and christened them the "(Cafe) Au Go Go Singers" to rival the "Bitter End Singers" across the street at the "Bitter End Cafe". Solomon managed the group until their break-up in late 1965. In the "Au Go Go Singers" were Kathy King (who later toured with Bobby Vinton), Jean Gurney, Michael Scott (who afterward played bass for the Highwaymen), Rick (Frederic) Geiger (who later performed in light opera), Roy Michaels (who soon after joined Cat Mother and the All Night Newsboys, and toured with Jimi Hendrix), and Stephen Stills and Richie Furay, both of whom would eventually form the Buffalo Springfield. Two other members, Nels Gustafson and Bob Harmelink, quit show business entirely after leaving the group.

It was also at the Cafe au Go Go that a new folk/rock group, The Company, was formed (Geiger, Michaels, Scott, Gurney, and Stills) from the remnants of the Au Go Go Singers. It was when the Rollins and Joffee Talent Agency sent The Company on a tour of Canada that Stephen Stills met Neil Young. Eventually, Stills, Young, Richie Furay (another Au Go Go Singers alumnus) and two others became the Buffalo Springfield.
The club was the first New York venue for the Grateful Dead. Richie Havens and the Blues Project were weekly regulars. Jimi Hendrix sat in with blues harp player James Cotton there in 1968. Van Morrison, Tim Hardin, Howlin' Wolf, Muddy Waters, John Lee Hooker, the Youngbloods, John Hammond, Jr., the Paul Butterfield Blues Band, Jefferson Airplane, Cream all played there. Blues legends Son House, Skip James, Bukka White, and Big Joe Williams performed at the club after being "rediscovered" in the '60s. Before many rock groups began performing there, the Au Go Go was an oasis for jazz (Bill Evans, Stan Getz), comedy, and folk music.
When the Cafe Au Go Go finally locked its doors for good, now-famous Stephen Stills was a featured performer in the gala closing.

Here´s a bootleg with a Jefferson Airplane recording form 1967 at the Au Go Go:
http://rapidshare.com/files/23074470/JefAirpAGoGo.rar
(192 kbps, front & back cover included)

Steven Lee Beeber - The Heebie-Jeebies at CBGBs. A Secret History Of Jewish Punk

.
From Al Jolson and Irving Berlin to the Brill Building and beyond, Jewish influence on American popular music is well documented. Less known is the role Jews played in the seventies New York punk-rock scene. Profiling performers Lou Reed, Jonathan Richman, Lenny Kaye, and the Ramones as well as key journalists, club owners, managers, and producers, Beeber discloses that prime movers in creating, supporting, and popularizing punk were Jews. Jewish identity is a touchy subject, however, and Richard Hell, aka Richard Meyers, refused interviews for the book because he disassociates himself from Judaism (Beeber insists he is still defined by it, anyway). Beeber draws a line from confrontational comic Lenny Bruce to Reed to the Beastie Boys and John Zorn. As perennial outsiders, especially as immigrants, urban Jews have traditionally straddled the sacred and the secular, adopting their new homeland's popular culture and adapting it with comedy, anger, and social commentary. An interview with Malcolm McLaren and an attempt to explain the Jewish punk fascination with Nazi imagery also prove fascinating.

Here´s a review by Eva Geertz:

"Every time I hear the first line on "Horses," "Jesus died for somebody's sins, but not mine," I smile, and the hair stands up on the back of my neck. I'm not even a Patti Smith fan. But from time to time I've wondered if Jews feel that line differently, perhaps more viscerally, than Christian listeners do. Steven Lee Beeber doesn't answer my question in his awesome "Heebie Jeebies at CBGB's: A Secret History of Jewish Punk," but he gets so many other things right, I don't care. This book is worth the cover price for the bar mitzvah photos alone--and for the actual text, we should all give thanks.

Over the years I’ve pondered this Jewish/punk connection, but I’ve never gotten very far. I knew, for instance, that the fact that Joey Ramone was Jewish was somehow culturally significant, but I couldn’t explain why. Fortunately, Beeber has done it for me with his exuberant exploration of this 70’s scene that has, until now, been sadly neglected.
There’s no genre of American music, with the possible exception of C&W, where Jews have not been major performers (as opposed to producers, engineers, studio musicians, lyricists, or composers). So to assume a Jewish-punk connection isn’t folly; it’s just a little unexpected. Nice Jewish Boys, like those twins I went to high school with, attended Ivy League colleges and med school. Their goal was to make lots of money and bring lots of nachas to their proud mamas and papas. By contrast, the early punks’ wanted to make music, scrub disco from the airwaves, and horrify the general public. This was not the nachas crowd. This was the Fuck Nachas crowd.
In a time-honored showbiz tradition, the Jewish punks took stage names. In a not-so-time-honored showbiz tradition they donned clothes fit for criminals or lunatics, and wrote songs that sounded criminal or lunatic (sometimes both); they were also often hilariously funny. The big shocker, of course, was that they did all this in public. I’m sure some of their mothers had apoplexy. But what can you do? A movement was born.
Beeber opens with Lenny Bruce. Bruce wasn’t a musician, of course, but he obviously inspired many punk rockers, and not just in their choice of recreational drugs. The attitude is essential. Almost quaintly, the chapter closes with a neat tidbit that was news to me: Lenny Bruce’s daughter, Kitty, had a band, The Great Must Ache, that played at CBGB’s in the late ‘70s. “Heebie Jeebies” is filled with small joys like this.
From Lenny Bruce, we move to “the Punk Zeyde,” Lou Reed. Anyone who doesn’t already know that Lou is Jewish hasn’t been paying attention, but Beeber discusses how Reed’s Jewishness affected his work. Reed got his start working in a Brill Building-like songwriting factory—a field dominated by Jews—and, of course, at Syracuse studied under the Jewish writer Delmore Schwartz. Both of these elements prove influential in obvious and less-obvious ways. Beeber offers insight to the Nico/Reed relationship, discussing anti-Semitism at Warhol’s Factory, and guiding us through the rest of the Velvet Underground’s lifespan and into Reed’s long solo career.
The musical spawn of Lou Reed—the crowd that moved from Max’s Kansas City to CBGB’s—form the heart of the book. Beeber covers Danny Fields (a player in the music industry who shepherded bands, notably the Ramones, to contracts by introducing them to Seymour Stein at Sire Records); Alan Vega and Martin Rev of Suicide; and Jonathan Richman, whose epiphany on a trip to Israel inspired him to start his band. The chapter on Lenny Kaye is particularly interesting. Kaye is smart, thoughtful, and comfortable talking with Beeber, unlike many of the people you would hope to read interviews with—like, for instance, Richard Hell—who refused to be involved in this book. Kaye describes himself as “a scholar of the Talmud of rock’n’roll,” a phrase that will ring true for those who find rock and roll music in whatever form to be life-saving or cathartic.
Kaye is also the first interviewee to acknowledge the connection between left-wing politics and punk. While it’s obvious that Lenny Bruce was a lefty, what exactly was it that made early punk left-wing? Well, it turns out that a lot of the nice Jewish kids who became punk rockers were the offspring of good old-fashioned Jewish pinkos of the ‘30s and ‘40s. Hilly Kristal, founder of CBGB’s, grew up on a famous Jewish communal farm, the Jersey Homestead. Lenny Kaye was part of SDS. Who knew?
Discussing Malcolm McLaren, who got the Sex Pistols going in London, and who I would never have guessed was Jewish, Beeber describes crucial differences between being Jewish in New York, being Jewish in London, and being Jewish in America in general. While the author doesn’t dwell on anti-Semitism, he also doesn’t shy away from the subject when it comes up.
To his credit, Beeber addresses head-on the difficult subject of Nazi imagery in punk, tying the genre’s underlying Jewishness to, that’s right, the Holocaust. Or, as he puts it, “No Holocaust, no punk.” Some bands used the swastika and other Nazi-associated icons for their shock value and to vent feelings of victimization. For example, he writes, “The Stooges' embrace of Nazi imagery was based on economic resentment and a simple desire to align themselves with the darkest, most frightening and shocking forces imaginable." Whereas other bands, like the Ramones (“Blitzkrieg Bop”) and the Dictators (“Master Race Rock”) mocked Nazi symbols, not to trivialize the atrocities committed under them, but to dispel through parody any lingering power the may have had.
The book ends with a discussion of the mainstreaming of punk and the current “downtown” music scene in New York, a slightly dissatisfying finale, as there seemed to be a hole that needed to be filled with more interviews, particularly with legends like Joey Ramone. At the same time, as the first in-depth exploration of the connection between Jews and punk, “Heebie Jeebies” does fill a hole, and provides an enjoyable, enlightening introduction to a cultural phenomenon that deserves even more critical analysis."

There is a interesting interview with Steven Lee Beeber in german language on http://www.jungle-world.com/seiten/2007/11/9560.php.

Steven Lee Beeber:
The Heebie-Jeebies at CBGB's: A Secret History of Jewish Punk (Hardcover)
Chicago Review Press, 2006

Hamburger Schule, Part 7: Ostzonensuppenwürfelmachenkrebs - Absolut nicht frei

.
Having formed in 1986, the band with that absurd sounding name – borrowed from the headline of a German tabloid ("East German Stock Cubes Give You Cancer") – released their “Für Zuhause” LP on L´AGE D´OR in 1990 which still is considered as one of the most important German releases of the 90’s.

On their first two releases, the formation around singer, songwriter and guitarist Carsten Hellberg sang in English, then they stopped singing altogether, and in the end in German. The usual process of finding the right language and its implementation as regards the lyrics likewise applied to the music of this band – affectionately also known as the SuWüs (short for "Suppenwürfel"). At the beginning it was something like offbeat, non-classifiable folk core rock (from A as in Amon Düül to Z as in Zappa, there seemed to be a bit of everything in it) which, despite the vast range of styles, depicted incredible homogeneity.

On their last triumphant release, “Leichte Teile, kleiner Rock” (1998), the SuWüs discover groove and continue to impress with their intellectual and also very private lyrics without coming across as smart-arses. It’s so easy: regaining speech. Organizing the vocals and instrumentation more compactly. Formulating more succinctly. Bringing on an indie prog rock smasher as if one were half nuts, and picking up anything from King Crimson to Built to Spill or whatever you happen to find along the way. History speaks.

Here´s their 1992 album, called "Absolut nicht frei" (L'Age D'Or):
http://rapidshare.com/files/22292219/OstzoSuWuer.rar
(192 kbps, front cover included)

Sir Lancelot - Calypso Of The West Indies And Ballads Of The Caribbean

.
Though he is little remembered today, Sir Lancelot (ca.1903-2001) had perhaps the most remarkable career of any calypso figure during the twentieth century. He was born in Trinidad, where he studied classical voice. In 1939 he left for New York, with the intent of studying medicine. In New York, Trinidadian bandleader Gerald Clark heard him singing songs and arias and recruited him to sing calypsos. He performed with Clark's band at the Village Vanguard and began recording calypsos, including a song about the FBI called "G-Man Hoover."

In 1941 Lancelot toured the West Coast of the U.S. with Trinidadian Lionel Belasco's band. While in Los Angeles, he was noticed by Hollywood movie producers. He starred as a calypso singer in "I Walked With a Zombie", in which his composition "Shame and Scandal in the Family" was used as an integral part of the film's plot. He sang Lion's famous "Ugly Woman" in the musical "Happy Go Lucky" and sang calypsos in several other movies, such as "The Ghost Ship" (a psychological thriller), "Brute Force" (a Burt Lancaster prison drama) and "Romance on the High Seas" (a Doris Day musical). He also composed the soundtrack to a cartoon titled "The Reluctant Bluebird".
Lancelot undertook many concert tours in Latin America on Pan Am Airways, which provided him with free passage in return for his advertising song "Pan American Way." He also toured Europe and, during the 1960s, performed for several months in Asia. In his later life, he focused on religious calypsos.

"Calypso Of The West Indies And Ballads" is a Caribbean music treasure: 14 songs from Trinidad, Puerto Rico, Barbados, Haiti, Cuba, and Martinique, sung in Sir Lancelot's pleasing, rich tenor voice, in high spirits and boundless joy, backed by everything from a simple guitar to a steel band. Recorded between 1946 and 1973, in surprisingly good sound (only 1946's "Ugly Woman" sounds compressed, transferred off of a 78-rpm disc). The 1958 tracks feature the Mac Niles Caribe Carnival Band, Steel Drummers, and Singers, and the repertory includes the originals "Jump in the Line" and "The Tongue Mopsey," classics like "Run Joe," "Matilda," and "Jamaica Farewell" (by themselves worth the cost of the CD). Amazingly, the 1973 vintage track, "Double Indemnity" (as charming and delightful as the movie of that name is dark and depressing), shows Lancelot's voice in astonishingly good shape, and hardly different at all from its 1946 incarnation.
http://rapidshare.com/files/21230402/SirLanceCalyp.rar

(192 kbps, cover not included)

Hamburger Schule, Part 6: Nagorny Karabach - Kleine Exkursion

.
"Nagorny Karabach" were the more dark part of the "Hamburger Schule". Martin Hermes, Ralf Lota Heydeck, Alexander Hoffmann, Stefan Schneider and Michael Trier played on this 1990/91 production so called "avantcorebeat".

They performed their great lyrics to a sound insprided by Suicide and other electro punk bands. And they did inspired cover versions of Kraftwerk´s "Radioaktivität" and "Als wär´s das letzte mal" by Deutsch-Amerikanische Freundschaft.

The cover of this What´s So Funny About-release used a part of a painting by Otto Dix.

Tracks:
01. Der Krieg ist aus
02. Abgehackt (Der Ekel)
03. Magic Mushrooms
04. Kleine Exkursion
05. Als wär´s das letzte mal
06. Sei schön
07. Sweet Childness
08. Ecce Homo
09. Die Scharmützel mausern sich zum Feldzug

http://rapidshare.com/files/22120263/NagoKara.rar
(192 kbps)

Hamburger Schule, Part 5: Blumfeld - Ich-Maschine

.
The "Hamburger Schule" ("School of Hamburg") was an underground music-movement that started at the late 1980s and was still active until around the mid 1990s.
It has similar traditions as Neue Deutsche Welle and mixed all that with punk, grunge and experimental pop music.

The "Hamburger Schule" is (and was) an important part of Germany's independent music culture and gave pop a new definition, as now it was "ok" (or "cool") to sing in German language. Hamburger Schule is also about intellectual lyrics with references to postmodern theories and social criticism.

Blumfeld is a german Indie-Pop Band and one of the most important bands of the "Hamburger Schule". They had their first success with the Album "Ich-Maschine". Blumfeld will do a farewell tour in the next weeks and then will be dissolved.

Blumfeld - Ich-Maschine
http://rapidshare.com/files/22002607/BlumfIchMasch.rar
(192 kbps, front cover included)

Hamburger Schule, Part 4: Die Sterne - Themenläden und alle Remixe

.
Die Sterne were founded in 1992. Aside from the bands Blumfeld and Tocotronic, Die Sterne are one of the most important representatives of the so-called "Hamburger Schule" (Hamburg school). Rock, Soul and Funk are some of the major influences on the music of Die Sterne.

The band was formed in 1992 when frontman Frank Spilker (guitar & vocals) asked his acquaintances Thomas Wenzel (bass, also bassist of "Die goldenen Zitronen" ("The Golden Lemons"), Frank Will (keyboard) and Christoph Leich (drums, also member of the famous German band "Kolossale Jugend") if they didn't want to join his band project Die Sterne ("The Stars") he kept running for a while as a solo project.
In the same year they released their first single "Fickt das System" ("Fuck the system", this sentence is usually not translated into German), followed by their first two albums "Wichtig" ("Important", 1993) and "In Echt" ("For real", 1994) on the German label L'Age D'Or. Both albums are known for their live-playability, translated quotes from other songs and commentaries about social structures. In 1996 their most popular album "Posen" ("Poses") containing the hit "Was hat dich bloß so ruiniert" ("What has ruined you so much") was released, followed by excessive touring, all of their concerts being sold out.

After the release of their next two albums "Von allen Gedanken schätze ich doch am meisten die Interessanten" ("Of all thoughts I admire the interesting ones most", 1997) and "Wo ist hier" ("Where is here", 1999) Frank Will decided to leave the band to concentrate on his job as horticultural architect. Because the keyboard is necessary for their music a new keyboarder, Richard von der Schulenburg was engaged. Their next two albums, who are generally slower and less loud than their previous ones, were published by Virgin Records, their titles are "Irres Licht" ("Lunatic light", 2002) and "Das Weltall ist zu weit (und der Rest ist schon verteilt)" ("The universe is too large (and the rest is already given out)", 2004).

Here´s an EP from 1997 with the wonderful "Themenläden" from the album "Posen", including the original version and some very interesting remixes by Bigga Bush from Rockers Hi-Fi, the german house dj and producer Hans Nieswandt and others.

Die Sterne - Themenläden und alle Remixe
http://rapidshare.com/files/21543827/SterTheme.rar
(192 kbps, front cover included)

Hamburger Schule, Part 3: Billiger als Turnschuhe (L´Age D´Or Compilation)

....
(Continuation from the preceding posting...)

By the mid 1990s, three bands met with great commercial success: Blumfeld, Die Sterne, and Tocotronic. The "Hamburger Schule" became known as the epitome of German Indie pop music. When other German guitar bands, whose music and lyrics were of a different style, were able to profit from this success, however, a new nationwide Indie pop scene emerged. The Hamburger Schule began to be marginalised by a movement which it had helped to create.As time went by, the term eventually encompassed such a broad spectrum of musical content that it could hardly be associated with a particular musical genre anymore. As the social links and political cooperations broke, it has begun to lose any meaning it once had.

By the end of the 1990s, there emerged a new wave of German guitar music with intellectual aspirations. Examples for this new generation of artists, who clearly tie in with the Hamburger Schule tradition, are Spillsbury, Kettcar, Erdmöbel, Kajak, Justin Balk, Virginia Jetzt!, Astra Kid, Modus Noa, and Tomte. They display a new musical homogeneity of punk-influenced guitar pop.Several small labels have sprung up to support this new musical current. Arguably the most important one is the Hamburg based label "Grand Hotel van Cleef" which, like "L'age d'or" seeks to be an enabler for local bands. It was established in September 2002 by Tomte's Thees Uhlmann and Kettcar's Marcus Wiebusch and Reimer Bustorff.

Here´s the compilation "Billiger als Turnschuhe" from 1992, collecting tracks from the "L´ Age D´Or" label:

http://rapidshare.com/files/21858701/BilliAlsTurnsch.rar

(192 kbps, front cover included)

Tracklist:
01. Ostzonensuppenwürfelmachenkrebs - Blindfeind Blues
02. Hallelujah Ding Dong Happy Happy! - So nice
03. Kissin Cousins - Kommen, komm (samtiger)
04. Carnival of Souls - Paradise Lounge
05. HUAH! - Der Krieg-Song
06. Die Regierung - Corinna
07. Vincent's Price - Zu kurz
08. Der Schwarze Kanal - Shout
09. Die Sterne - Jetzt nicht
10. Mastino - Das gläsernde Interview
11. Kolossale Jugend - Von hier zur Wand
12. We Smile - Can't resist
13. Die-Gants - Leathern
14. Maische - This Is Your Birthday
15. M.B.F.A feat. Das neue Brot - Mimikry-Fleisch
16. Wendelin - Anesthesia (betäubt)

Hamburger Schule, Part 2: Mutter - Hauptsache Musik

.
(Continuation from the preceeding posting...)

In the late 1980s, a new musical scene was emerging in Hamburg compromising a number of bands that sung in German but that had no record deals (with the exception of "Die Antwort"). To remedy this situation and to give the new style a platform, the record label "L'age d'or" (French for "Golden Age") was established in October 1988 by Carol von Rautenkranz and Pascal Fuhlbrügge. They signed contracts with many bands and published numerous albums. A great deal of the albums were produced by Chris von Rautenkranz, Carol's brother, in the legendary Soundgarden recording studio in Hamburg. Another label that influenced the emerging genre was Alfred Hilsberg's "What's so funny about?" which published the first albums by Blumfeld, Die Erde, Cpt. Kirk and Mutter.

Soon, however, the Hamburger Schule was not restricted to Hamburg anymore. In particular, a local scene of Germanophone bands had developed in the small town of Bad Salzuflen in Eastern Westphalia, which was centered around the label Fast Weltweit. Founders were Frank Werner, Frank Spilker ("Die Sterne"), Michael Girke, Bernadette La Hengst ("Die Braut haut ins Auge"), and Jochen Distelmeyer (then "Bienenjäger", now "Blumfeld"). They got in contact with the Hamburg scene through Bernd Begemann who was a native of Bad Salzuflen but moved to Hamburg where he established his band "Die Antwort". This led to various gigs in Hamburg for bands from the "Fast Weltweit" label, eventually causing many other artists to move to Hamburg.Another first-generation Hamburger Schule band, "Die Regierung", was not from Hamburg, but rather from Essen.

(To be continued in the next posting...)

Here´s Mutter - Hauptsache Musik with favourites like "Ihr seid alle schön" ("You all are beautiful") and "Die Erde wird der schönste Platz im All" ("Earth will become the most beautiful place in the universe"):

http://rapidshare.com/files/21821500/MutHauMus.rar
(192 kbps, front cover included)

Hamburger Schule Part 1: Cpt. Kirk &. - stand rotes Madrid; Die Erde - Live. Berlin/Loft

.
The Hamburger Schule (German for "School of Hamburg") was a musical current in Germany during the end of the 1980s and early 1990s, encompassing elements from punk, grunge and experimental pop, and featuring intelligent and often political lyrics. It established new grounds for the use of German language in pop music.

As the name indicates, the movement was initially carried by Hamburg based bands like Cpt. Kirk &., Kolossale Jugend, Die Erde, Die Sterne, Ostzonensuppenwürfelmachenkrebs, Blumfeld, Tocotronic and Huah! Their music didn't necessarily sound similar, but was characterised by lyrics in German language (not a given in Germany) that gave voice to social criticism and were based on post-modern theory.

Consequently it was lauded by the leftist press (especially Spex magazine). The artists themselves didn't initially perceive these similarities to be particularly important and denied the existence of a homogeneous movement. However, social links and political cooperations suggest that it wasn't unreasonable to view it as that.

Furthermore the term Hamburger Schule is obviously a pun on the so called "Frankfurt School" ("Frankfurter Schule") which is a school of neo-Marxist social theory, social research, and philosophy, centered at the Institute for Social Research (Institut für Sozialforschung) of the University of Frankfurt am Main in Germany.

(To be continued in the following posting...)


Here are two great albums of the Hamburger Schule:

Cpt. Kirk &. - stand rotes Madrid
http://rapidshare.com/files/21442454/CpKirStaRoMa.rar
(192 kbps, front cover included)

Die Erde - Live.Berlin/Loft.
http://rapidshare.com/files/21524524/ErdLofBerl.rar
(192 kbps, front & back cover scans included)

Liederjan - Drei Gesellen

.
After the 2nd world war any German musical tradition was discredited. Tradition means that something considered valuable is passed on from one generation to the next. From this point of view it is obvious that the thread of continuity was broken in 1945. This does not mean that peoples’ memories were wiped blank. But the reputation and musical standard of “Volksmusik” wasn’t very high, little to interest young musicians. Simple melodies and rhythms, little artistic merit. No identifiable style. Any aspiring instrumentalists would be drawn into classical, jazz or or later into rock music. What was known as Volkslied had been taken up and re-shaped by composers and choirs long before the war. So even if it hadn't been for the nazis the geographical and historical situation had worked against a distinctive musical tradition.

Thus it’s not surprising that many members of the younger generation in the Sixties turned to music from English-speaking countries. They sought an alternative to bland pop lyrics and a new, honest way to share the music, an expression of their generation. There was an “imported” Folk revival but except from some singer-songwriters there weren’t any big names to promote the music.

There were of course efforts to reestablish some German-language singing. In West Germany the political Left used songs of the democratic movement of 1848.

Following the '68 student revolution in Western Germany, Germany saw the rise of the different folk song: Critical political songs, songs reflecting the sorrows and real life of the folk. These songs were partly traditional, partly newly written.

Protest songs of oppressed farmers and labourers were re-discovered. A lot of research was done in the Seventies. Some folk groups like Fiedel Michel and Liederjan were successful by adapting German songs and tunes in the international “folk” style.

Here is "Drei Gesellen" by Liederjan with traditional songs like "Herr und Knecht", "Die Weber", "Die Moorsoldaten", the jewish classic "Es brennt", "Ballade von der Unzulänglichkeit des Lebens" by Weill and Brecht and many others.

http://rapidshare.com/files/20077559/JanLIeder.rar
(192 kbps, front cover included)

Savoy Blues´n´Boogie

.
You take a little blues. You take a little boogie. You mix `em up for a delicious mixture we call Blues´n´Boogie. Here are future stars, like Jackie Wilson, LaVern Baker & Doc Pomus in their infancy. name acts, like Big Jay McNeely, Helen Humes and Tiny Bradshaw, at their peak. One listen to this stuff and you can´t sit still! - From the liner notes.

Savoy compiled these solid blues and boogie woogie sides, including tracks by Tiny Bradshaw, Gatemouth Moore, and others. While these tracks are available elsewhere, "Blues N' Boogie" is still a nice budget-priced introduction to some raw, postwar sounds. ~ Matt Collar, All Music Guide

http://rapidshare.com/files/18936361/Blu_Boo.rar
(192 kbsp)

Christof Schlingensief - Three Radio Plays (Rocky Dutschke `68, Freakstars 3000 & Lager ohne Grenzen)

.
Christoph Schlingensief (born October 24, 1960 in Oberhausen) is a German film director, theatre director, actor, author, artist, and talkshow host. He lives in Berlin.


In the beginning he organized culture-events in the cellar of his parents house. Artists like Helge Schneider or Theo Jörgensmann performned at this place.
He created controversial and provocative theatre pieces as well as motion pictures. One of his main works, the so-called "Germany-Trilogy" consisting of the movies "Hundert Jahre Adolf Hitler"("A Hundred Years Of Adolf Hitler"), "Das deutsche Kettensägenmassaker"("The German Chainsaw-Massacre) and "Terror 2000" which handle three markpoints in German history of the 20th century. While "Hundert Jahre Adolf Hitler" is about the last hours of Adolf Hitler, "Das deutsche Kettensägen-Massaker" heads the German reunion of 1989 and shows a few East-German people who cross the border to visit West-Germany and get slaughtered by a psychopathic family with non-running chainsaws. "Terror 2000" is about the 1970´s Red Army Faction terror in Germany.

In 1993 he debuted as a theatre director at the Berliner Volksbühne with “100 Years of the CDU – Games Without Frontiers”. This was followed by various projects outside the theatre, such as the Mission project for drug addicts and the homeless at Hamburg Central Station in 1997, “Passion Impossible – 7 Days Emergency Call for Germany” or, in 2000, the Big Brother game for asylum seekers in Vienna, “Please Love Austria”.

In 1997 he was arrested at documenta X during an art action because he used a sign with the inscription “Kill Helmut Kohl”. In 1998 he founded the party “Chance 2000” ("Opportunity 2000") and took part in the campaign for elections to the Bundestag.

Schlingensief is an extremely provocative artist and his major targets are the German and Austrian identity.

Christof Schlingensief produced a few radio plays, we present four of them in this posting:
"Lager ohne Grenzen" about the Kosovo war, "Freakstars 3000" about the normality of handicapped people and two versions of the mind-blowing radio play "Rocky Dutschke `68".

"Rocky Dutschke `68" was produced in 1997 by the WDR (German radio station) and won the "Prix Futura". It is a remake of a theatre play for the "Volksbühne" in Berlin.
This audio collage simulates a meeting of some student activists of the 1968 generation in a radio studio: Amonst others Wolf Biermann, Marget Kleinert (editor of the "Thoughts without pain"-broadcasting) and Heiner Müller are talking about hobbys, work and Rudi Dutschke. This fake broadcasting "assimilates" German history and present and reflects some phenomenons of our trivial media society. Full of provocation and cynicism it shows the thoughtless dealings with language, music and ideologic ideas.

"One of the best radio-shows I ever experienced," as R3000 wrote about this recording over at http://themoreyouthinkaboutit.blogspot.com/ - thanks a lot for bringing the work of Schlingensief back to my attention!

http://rapidshare.com/files/20736783/ChrisSchling.rar

Franz Josef Degenhardt - Stationen - Lieder von 1963 -1988

.
"Übrigens bin ich weder Plattenmillionär noch Revolutionär. Um Millionär zu sein, muß man andere als politische Lieder machen, um Revolutionär zu sein, muß man mehr machen als politische Lieder." - Franz Josef Degenhardt

Franz-Josef Degenhardt (born December 3, 1931 in Schwelm, Westphalia) is a German poet, satirist, novelist, and -- first and foremost -- folksinger/songwriter (Liedermacher) with decidedly left-wing politics. He is also a lawyer, bearing the academic title of Doctor of Law.

After studying law from 1952 to 1956 in Cologne and Freiburg, he passed the first German state bar examination in 1956 and the second in 1960. From 1961 he worked for the Institute for European Law of the University at Saarbrücken, where he obtained his doctorate in 1966. Degenhardt joined the Social Democratic Party of Germany in 1961, but was forced out in 1971 because of his support for the German Communist Party.

From the early 1960s onward, in addition to practicing law, Degenhardt was also performing and releasing recordings. He is perhaps most famous for his song (and the album of the same name) "Spiel nicht mit den Schmuddelkindern" ("Don't Play With the Grubby Children," 1965), but has released close to 50 albums, starting with "Zwischen Null Uhr Null und Mitternacht" ("Between 00:00 and Midnight," 1963), renamed "Rumpelstilzchen" ("Rumpelstiltskin"); his most recent albums "Krieg gegen den Krieg" ("War against the War") and "Dämmerung" ("twilight") came out in 2003 and 2006.

In 1968 Degenhardt was involved in trials of members of the German student movement, principally defending social democrats and communists. At the same time, he was -- in his capacity as a singer-songwriter -- one of the major voices of the 1968 student movement. On his 1977 album "Wildledermantelmann" he criticized many of his former comrades from that era for what he saw as their betrayal of socialist ideals and shift towards a social-liberal orientation. The album's title (roughly, "man with velour coat") mocks the style of clothing they had supposedly adopted.
Notably, the songs on Degenhardt's 1986 album "Junge Paare Auf Den Bänken" ("Young Couples on the Benches"), along with the song "Vorsicht Gorilla" ("Beware of Gorilla") on the 1985 album of the same name, are his translations into German of chansons by the French singer-songwriter Georges Brassens, spiritually perhaps one of his closest musical allies.

Degenhardt today lives in Quickborn, Kreis Pinneberg.

"Stationen - Lieder von 1963 - 1988" is a 2 CD collection that gives a good summery of Degenhardts work:

http://rapidshare.com/files/19729755/FraJoDe1.rar
http://rapidshare.com/files/19758361/FrJoDeg2.rar
(192 kbps, front cover included)

Here´s an excerpt of the lyrics of "Kommt an den Tisch unter Pflaumeribäumen", one of my favourites:

"Lachen wollen wir wieder wie damals,
bis morgens der Nachtvogel schreit,
wieder gute Geschichten erzählen von damals und von dieser Zeit.
Denn unsere Sache,
unsere Sache,
die steht nicht schlecht."

And that´s what Degenhardt tells about writing "Vatis Argumente (gegen Rudi Dutschke)" (1967, great lyrics, great music!), another favourite:
"Wir haben nach einer Besprechung zusammengesessen, der Rudi, der Gaston und ich, und haben uns einfach mal vorerzählt, was die Leute da so alles sagen. Dann habe ich es geschrieben und mit Rudi noch mal durchgesprochen, es war übrigens etwa drei, vier Wochen vor dem Attentat auf Rudi, und wir haben dabei viel Spaß gehabt, Rudi eigentlich den meisten. Der Schluß, der da jetzt heißt "Merkt Vati eigentlich nicht, daß er nicht mehr ernst genommen wird", den hatte ich vorher gar nicht. Als ich das Lied zum ersten Male sang, bekam ich danach viele Leserbriefe, die mir sagten, es wäre richtig, ich müßte es dem Dutschke mal geben."

Sorry for presenting the following reasoning by Degenhardt about politics and privacy only in german, I´m not able to translete them:
"Das ist so: Seit langem läuft eine Stimmung durchs Land: Weg vom Politischen, hin zum Privaten. Im modischen, pseudowissenschaftlichen Gelaber heißt das "Beachtung des objektiven Faktors Subjektivität". Dieser ideologisch verbrämte Rückzug ins Private kommt nicht von ungefähr. Das Absacken des Iniduums in ohnmächtige Anonymität und die Allgegenwart eines nervenzermürbenden Wettbewerbs bei übermächtigem Leistungsdruck schon in der Schule, Arbeitslosigkeit, Perspektivelosigkeit, was die Berufsaussichten angeht, usw. erzeugen leicht diese traurige oder fröhliche Resignation, wie wir sie aus einigen Liedern kennen, nämlich dann, wenn die rabiate Unterdrückungsmaschinerie als unvermeidbar empfunden wird. Wem aber Veränderung einer zunehmend unmenschlichen Gesellschaft in eine menschlichere aussichtslos erscheint, dem wird Politik uninteressant, unattraktiv, langweilige Dem bleibt nur das Arrangement mit sich selbst, der Rückzug ins Private, Nabelschau, Vertellkens, Witzchen, ländliche Idylle, Suff, Melancholie, schicke Boheme, Kneipenkultur, Volkstümelei, Kumpanei und Händchenhalten - im modischen Jargon "Zärtlichkeit und Solidarität" genannt; das sind dann Themen und Stimmungen, zu deren Transport das Lied als Medium sich leider auch vortrefflich eignet, und so finden die trotzig-fröhlichen und traurig-trotzigen Ritter vom St. Iniduum, anachronistisch und überlebt wie ihre Schutzheiligen, ihre Hörer.
Zurück zu den Nochnichtprivatiers: Daß ihre Situation keine private und schicksalhafte, daß sie eine gesellschaftlich produzierte und daher änderbare ist, das können auch Lieder und gerade Lieder mit ihrem typischen Stimmungsgehalt vermitteln. Solche Lieder zu schreiben ist nicht leicht. Vor allem deshalb nicht, weil sich da keiner mehr abspeisen läßt mit vagen Andeutungen. Diese Lieder sind auch nicht so leicht anzuhören, nicht so gefällig, nicht so attraktiv. Trotzdem müssen sie gemacht werden."

More infos on http://www.franz-josef-degenhardt.de/.

Le Hammond Inferno - Reggae Mash Up Mix & Je Coupe Le Son Mix

.
The Berlin based dj team "Le Hammond Inferno" presents two dancfloor shaking mixes:

"Je Coupe Le Son" comes straight from the beaches of Brasila with a bunch of new electro and punkfunk and other madness:

>>Je coupe le son by holger hammond.mp3

Tracklist:
css - lets make love and listen death from above (sub pop)
the rapture - get my self into it (mercury)
superthriller - superthriller motherfucker (mint music)
shakes - sister self doubt (hot hot hot)
katerine - 100%vip supermarkt rmx (bungalow)
scissor sister - don´t feel like dancing linus loves rmx (universal)
adam sky - ape-x (kitsune)
dibaba - don´t forget we´re saved in dadaland (gigolo)
christopher just - popper shinichi osawa disco edit (kitsune)
headman - moisture club mix (gomma)
joakim - i wish you were gone (versatiles)
dana & sirius mo - ich hab was bessres vor (bungalow)
sebastian - ross ross ross (ed banger)
para one - dudun dun rmx (institubes)
goose - black gloves (skint)
the presets - down down down digitalism rmx (limewire)
katerine - louxor bodyrocks holgerlhiboot (bungalow)
adler - wir machen paady (friends/unreleased)


The "Reggae Mash Up Mix" comes straight outta Kreuzberg-Jamaicaa and brings you reggae mashups in a bastard pop styliiiie:

>>Intergalactic Message to Rudi-Mix by dj supermarkt.mp3

Tracklist:

1. Intro / 2. Scissor Sisters / 3. Snnop Dogg / 4. Busta Rhymes - New York Shit / 5. Grandmaster Clash / 6. Drop it like its shot / 7. Chaka Kollektiv / 8. Marvin Guy Gay / 9. Jurassic Reggae / 10. commercial break / 11. Stick by me / 12. Sister Nancy says Bangbang / 13. Girls Town / 14. Intergalactic / 15. Mc Cay / 16. J-Star / 17. Don't stop till you reggae / 18. J-star - coming up / 19. RhythmnBooze - somebody else's guy / 20. RhythmnBooze - Message to ODB / 21. Creezy Hype Gnarls / 22. Spliff jingle / 23. Jamie Lidell Ska / 24. I like to move it

More infos on http://www.myspace.com/lehammondinferno.

Coupé Décalé, Uptempo Zouk & Uptempo Kompa Mix

.
Côte d'Ivoire's largest city, Abidjan, is perhaps the most influential city in recorded African music, with performers coming from across the continent to record their singles and albums. The city has several high-tech studios, more than any other city in Africa with only Johannesburg as a possible rival; prominent studios include Akwaba, JBZ, Nefertiti and Sequence. EMI International was the major label with the most invested in Abidjan and in African music in general until it shut down its African branch in 1995.

The "Coupé-Décalé" created by the late Stephane Doukoure during the militaro-political crisis in Cote d'Ivoire, reflects the aspirations of the Ivorian youth. Coupé-Décalé is a very melodious and percussive African style with deep bass. Coupé-Décalé is about happiness, expresses the day life of the Ivorian society, and also gave an insight into the political situation of the country. The prominent artists of Coupé-Décalé are Douk-Saga (Doukoure) with its Jet Set, DJ Brico, DJ Arsenal, Papa Ministre with his famous tune "Coupé-Décalé Chinois", and many other talented Ivorian artists.

Here´s a fine mix of Coupé Décalé, Uptempo Zouk and Uptempo Kompa by Imani:

http://www.mediafire.com/?dohyhqwijna

Tracklist is in the comment.

Bandulero Sound - Three Dancehall Mixtapes

.

Bandulero Sound started off with Riton, SlimKD, Marc Johnson and Joe Hondah, who often teamed up in their studio to produce beats and riddims, which were voiced by Berlin MCs with (mostly) French lyrics. At that time (1997) Bandulero started to get spezialised in the production of remixes.

As in the beginning of 2000 the Jamaican foundation legend Cornel Campbell aka Don Gorgon joined the four in their studio to record dub plates, it had become clear the idea of founding a sound system had to be made true! TwenFM, which was Germany’s only pirate station at that time and active in Berlin, had its HQ opposite of the studio. This is were the four encountered Fat Eric and Chris, who had a regular show there and as turned out later were looking for a serious sound system. The powers were united and the cast was perfect! The crew started to concentrate on the sound system and the production of dub plates and mix tapes.

With time Bandulero made a name for themselves as event organizers in Berlin establishing several party series. The crew performed in clubs and on festivals all over the country and Europe- wide. Meanwhile Bandulero is not only known in but even beyond the borders of Germany. Over the years the sound’s repertoire has expanded from classic styles like “dancehall and reggae” to “soca”, “reggaeton”, “zouk” and even “coupé décalé”. The sound is also renowned for its own remixes and mix tapes.

You can download their mixtape series “Forward to Victory!” (along with the original tape covers) in high quality mp3 (192kbit):

Download part I
Download part II
Download part III

Or download all three tapes together in one big file here!

More infos on http://bandulero.de/blog/index.php

Liquide Fire Sound - Open The Gate (2007 Soca Mix)

.
Liquid Fire Sound was founded in the beginning of 2005 by Mark (Selectah) and Miguel (MC) in Germanys "captial city" for Reggae & Dancehall Music Wuppertal.
Since then they have played in several locations in and around Wuppertal, like the U Club, Ada, Planet Bochum and more. In the year 2006 they played at the Summerjam, one of the biggest Reggae Festivals in Europe.

Furthermore Liquid Fire started a second project trying to establish and support the Soca music and to bring a new alternative vibe to the massive. They present the Soca Music and other different caribbean music styles every month at the second floor in the U-Club.

Here´s the "Liquid Fire Soca Crew" with their jump-up soca mix called "Open the Gate":

Download

Front Cover - Back Cover

More infos on http://www.liquidfiresound.com/.

Sting Like A Bee - Analog To Digital (80s Dancehall Mix)

.
After collecting reggae records and doing mixes for some years Sheah decided to found a Jamaica-inspired Sound in August 2003.
He was fascinated by the energy and the unique style delivered by Jamaican Soundsystems like Killamanjaro or Stone Love.
Coming from the hip hop scene originally he decided to focus mainly on Reggae and Dancehall music. It was on a trip to Jamaica in 2003 when the idea of a own Sound came true.
Feb joined "Sting Like A Bee" as a selecta only weeks later. It was around December 2003 when Nick, a long time schoolmate and friend of Sheah, also decided to become a full member of the sound. By that time he took on the MC job so Sheah could concentrate on selecting and operating.
In early 2004, as the record selection grew and first dubplates were recorded, "Sting like a bee" started playing on public occasions. Most of those early dances were held at Pforzheim’s Neuland, a reggae flavoured club owned by a member of the fellow sound Soul Jah Tribe.
Some dances outside Pforzheim started the ongoing process of establishing the sounds name nationwide. Until today the selection and dubplatebox of the sound is growing rapidly. Additionally "Sting like a bee" was very happy to welcome a fourth member in 2006. Selector Steve , who is very supportive with his selecting skills and his experience, decided to join the Crew.

Herre´s a nice "Sting Like A Bee"-mix from rub-a-dub to early dancehall.: 55 minutes classics from the 80s and some dubplate specials mixed by Steve.
Analog to Digital
Tracklist

Lee Perry (Producer) - Words Of My Mouth

.
Putting together a decent Lee Perry collection can be a fairly hit-and-miss business, as evidenced by the countless crummy, no-budget compilations currently cluttering the shelves at your local record shop...but Trojan's "Words" series has been pretty reliable so far, and this first release is by far the best.
Just scroll down and take a look at the track listing - undoubtedly these are some of the Upsetter's finest moments, and with rarities like the chugging "Kiss Me Neck" and Ricky & Bunny's spliffed-up "Too Bad Bull" alongside the more familiar classics, it's a good disc for both beginners and seasoned Arkologists. You really should own this disc...

All of these songs date from the earliest days of the Black Ark and capture a definite mood: spooky and upsetting. Highlights include The Gatherers' amazing "Words Of My Mouth", Perry's bad ass "Fists Of Fury", and the crazy "Kentucky Skank". The terrific "Cane River Rock" by The Upsetters is one of my favorite Perry productions - it takes you on a wild motorcycle ride through the streets of Kingston with "Tighten Up" playing on a transistor radio. Trojan has also released an even more upsetting sequel collection called "Chapter 2 Of Words" which picks up where this one leaves off. There is also a "Chapter 3", which isn't as crucial but still worth seeking out.

Tracklist:
01. Words Of My Mouth - The Gatherers
02. Words Of My Mouth (Version) - The Upsetters
03. Kuchy Skank - The Upsetters
04. Rejoice In Jah Jah Children - The Silvertones
05. Rejoicing Skank - The Upsetters
06. Bush Weed Corn Trash - Bunny & Ricky
07. Callying Butt - The Upsetters
08. Da Ba Day - The Upsetters
09. Kiss Me Neck - The Upsetters
10. Curly Locks - Junior Byles
11. Dreader Locks - Lee & Junior
12. Many A Call - The Unforgettables
13. Two Bad Bull - Bunny & Ricky
14. Two Bad Cow - The Upsetters
15. Fists Of Fury - Lee Perry
16. Herb Vendor - Horse Mouth
17. Cane River Rock - Lee Perry & The Upsetters
18. Riverside Rock - The Upsetters
19. Stay Dread - Lee Perry
20. Kentucky Skank - Lee Perry
21. Bathroom Skank - Lee Perry
22. Spiritual Whip - Jah Lloyd

http://rapidshare.com/files/19260891/LePerWordOfMou.rar
(192 kbps, front cover included)

Lee Perry - Larks From The Ark

.
With the creation of his own Black Ark studio in 1974, Lee Perry had resurrected his own career as an artist. His sound was already established - the heavy atmospherics, shimmering with reverb and languid guitar chops - now he again began to dress basically instrumental tracks with simple, curious interjections or extended rambles of nursery rhyme simplicitly. Perry moved into an eccentric world of his own design - impish, quirky, jauntily rhythmic and full of odd sounds.

This collection is drawn from Perry´s "Heart Of The Ark" and "Megaton Dub" series from the late 70s, and shows a producer - and artist - at the peak of his powers. The material isn´t the stuff of usual reggae compilations, and that is its strength. These are the delicacies of the connoisseur.

Sadly out of print, "Larks From The Ark" is a wonderful collection of Black Ark grooves. Deleted within a year of its release, this CD could be hard to find. Highlights include an alternate version of Keith Rowe's "Groovy Situation", Lord Creator's terrific "Such Is Life", and everything by the Jolly Brothers, especially "Brotherly Love".

Tracklist:
01. Conscious Man - Jolly Brothers
02. Nuh Fe Run Down - Lee Perry
03. Freedom - Lee Perry & Earl Sixteen
04. Brotherly Love - Jolly Brothers
05. Groovy Situation - Keith Rowe
06. Them Don't Know Love - Righteous Vibes
07. Rasta Far I - Leroy Sibbles
08. Forward With Love - Mystic Eyes
09. Such Is Life - Lord Creator
10. Elaine - Mystic Eyes
11. Don't Be Afraid - George Faith
12. Cool Down - Jolly Brothers
13. School Girl - Lee Perry & Mikey Dread
14. I've Never Had It So Good - Bunny Scott
15. Four And Twenty Dreadlock - Prodical
16. What's The Use - Bunny Scott
17. African Freedom - Brother Hood
18. Colour - Jolly Brothers

Producer : Lee Perry
Record date : 1976-79, at the Black Ark Studio, Jamaica

http://rapidshare.com/files/19207915/LePerLarkArk.rar
(192 kbps, front cover included)

Jumpin´ With The Big Swing Bands

.
This one is made for dancin´. Made for swingin´!
It´s a Savoy Jazz compilation with some of the most famous and swingin´-est bands of that era, containing some rare and jumpin´ recordings.

"Jumping With the Big Swing Bands" collects various swing-era tracks by such popular dance band leaders as Louis Prima, Jimmie Lunceford, and Harry James. Included here are such rare cuts as Lunceford's "Sit Back and Ree-Lax" and "Shut Out."

Tracklist:

1. Call The Police - Jimmie Lunceford & His Orchestra
2. Robin Hood - Louis Prima & His Orchestra
3. Junction - Harry James & His Orchestra
4. Lester Young Tush - Earle Warren & His Orchestra
5. Cement Mixer - Jimmie Lunceford & His Orchestra
6. Hodge Podge - Harry James & His Orchestra
7. Margie - Jimmie Lunceford & His Orchestra
8. Down The Road A Piece - Ray McKinley & His Orchestra
9. Water Faucet - Jimmie Lunceford & His Orchestra
10. Boog It - Harry James & His Orchestra
11. Them Who Has Gets - Jimmie Lunceford & His Orchestra

12. Sand Storm - Ray McKinley & His Orchestra
13. Circus In Rhythm - Earle Warren & His Orchestra/Lester Young
14. Sit Back And Ree-lax - Jimmie Lunceford & His Orchestra
15. Headin' For Hallelujah - Harry James & His Orchestra
16. Hangover Square - Ray McKinley & His Orchestra
17. Shut Out - Jimmie Lunceford & His Orchestra
18. Brooklyn Boogie - Louis Prima & His Orchestra
19. Jimmies, The - Jimmie Lunceford & His Orchestra

http://rapidshare.com/files/19089068/JumpiSwi.rar

(192 kbps, front cover included)