ANDY NEVISON AND HIS RHYTHM MASTERS, White Woman (Don´t Roll Your Big Blue Eyes), 1966

andy-nevison-frontandy-nevison-backwhite-womanmailman-bluesOn April 13 Werner Voran passed away. He was 58 years old. Werner was a musician, artist and record collector but also the main man behind a series of compilations called Prae-Kraut Pandemonium. These comps are the German equivalent to Crypt Records´very influential Back from the Grave Garage-Punk series. Back in the early 90s, when most German Beat Fans were still focused on mainstream “Oldies”, Werner and his collaborators  dug up the lost sounds of the German underground of the mid to late 60s, the pre-Krautrock era. The Prae-Kraut series basically put that sound back on the map! Or rather they created this sound and made it cool to listen to. It was their achievement to let a whole new generation of music fans discover the often crude sounds of German amateur Beat bands.

Of course the fact, that it was a bootleg series, contributed to the cool factor. But mostly it was the selection of songs – the way they put disparate songs together, that did not have any connection with each other, but made sense in the context of the compilation. It was Werner´s and his friends own punk attitude and their collector spirit that fueled the series. In terms of pure cool and consistency the Prae-Kraut comps remain unparalleled in the history of German re-issue series.

When releasing LPs became too expensive the series continued in digital format. Starting with Volume 16 in 2008. Prae-Kraut was released exclusively as RAR files trough Spurensicherung Blog. A fitting name:  the way they presented their obscure finds, was like a “securing of evidence”. I felt quite honored, when Werner used one of my scans from a German comic book called Lupo, that I had posted  in May 2008, for the virtual  “cover” of Volume 17.

The compilation can still be downloaded from Spurensicherung.

yeah-bum-yeah-yeahprae-kraut-pandemonium-17-front

I never met Werner personally but we emailed a bit and he occasionally commented on some of my posts. Last September, when I hastily announced a new set of blog ethics, Werners´reply was straight forward, determined but also very inspiring:

“Problem understood. I was often close to packin´ it in too. It´s hard too keep your self control, when you get called a “Bootlegger”, by people who don´t have a clue. When actually you are an archeologist who has been digging up untapped treasures, thereby virtually “creating” a fucking “MARKET” for stuff that nobody had cared for, for decades! But that was still in the days of vinyl. At least today I don´t loose money any more. But I’m too old to quit anyway. Thanks for the great time. Rest in unrest. Yours, Lolly P.”
Rest in unrest, Werner!
——————————————————————————————————————————————
On to the music…
Just last week I found this 45 by Andy Nevison in a local record store and I think it fits the occasion. It wasn´t as cheap as the finds I usually present here, but the record is in excellent condition and it was still nowhere as expensive as it would have been, if I had to bid on it on  on Ebay.
Andy Nevison appeared on Prae-Kraut Pandemonium numerous times: “Indiano” is on Vol.2 (1994),  (and on the CD-Version “Electric Loosers”), “White Woman” is on Vol.14 (2003) and “Shaking It Up” is on Vol. 17. (In 2004 Bear Family Records included “Indiano” and “What’s Your Name” on their Beat im Ruhrgebiet CD comp. Wrongly titled “Indiana” the song also appeared on the CD The British Sound Vol.11.)
Andy Nevison undoubtedly recorded the most authentic sounding Rhythm & Blues songs in Germany in the 60s. Here´s what Werner wrote about “White Woman” in the liner notes to Volume 14 in his inimitable style:

“We all know about The Monks, but they weren’t the only ex-GI’s on the German scene. Screamin’ Andy Nevison (whose throat might sound familiar to owners of our Vol.2) and his Westphalian band The Rhythm Masters had German and American members and their three 45’s were produced exclusively for the German market. “White Woman, don’t roll your big blue eyes at me” wouldn’t have been much of a hit in Alabama 66 anyway. Blessed with good looks not unlike a younger brother of Sam Cooke, Andy honours sister Rosa with more than just innate seat on the bus. Say it loud, I’m black and kraut. Dig it!”


ANDY NEVISON AND HIS RHYTHM MASTERS, White Woman (Don´t Roll Your Big Blue Eyes), 1966

Just because your skin is white, you think you´re mighty fine/ Yes, you told me that you love me, then you rolled your big blue eyes/ When I saw you last week, your skin was turning black/ Go find the guy that beat you up and ask him to take you back/ Don´t roll your big blue eyes at me… “

( I´d love to get the rest of the lyrics but I can´t understand what he´s saying. Any volunteers to translate these exceptional anti-racist 1960s beat lyrics?)


ANDY NEVISON AND HIS RHYTHM MASTERS, Mailman Blues, 1966

Andy Nevison was born to Jamaican parents and grew up in London. Like many young British musicians in the 1950s, he started to play music in a skiffle band. During his military service he was stationed in Gibraltar, Cyprus, Malta and Germany. Based in Delmenhorst, he often traveled 130 kilometers to Hamburg, to perform in various clubs, together with musicians like Tony Sheridan and Gerry & The Pacemakers.

In the early 70s he settled in Recklinghausen and became a fixture in the local music scene playing Blues, Jazz and Rock´n´Roll. In 2006 Andy Nevison and the Recklinghausen All-Stars recorded the CD “Wakado”. Shortly after local occasional journalist Ulle Bowski did an interview with Andy Nevison on his balcony.

On March 27 2012 Andy Nevison died in Recklinghausen. He was 74 years old.

(There is no Wikipedia text about Andy Nevison but Guido Röcken wrote a very nice biography and obituary in German on his website.)

———————————————————————————————————

Andy Nevison and his Rhythm-Masters, “Rhythm-Masters Swing” b/w “Shaking It Up”, 1964 (Tampicord  # 1 D 934)

Andy Nevison, “Humpty Dumty” b/w “Somebody”, 1965 ( Ariola # 18 576)

Andy Nevison and his Rhythm-Masters, “Indiano” b/w “What´s Your Name”, 1966 (EMI Columbia # C 23145)

Andy Nevison, “Pleite” b/w “Worried Blues” (R&B # ?), 1967


ANDY NEVISON & HIS RHYTHM MASTERS, Shaking It Up, 1964
Werner about “Shaking It Up”,  reissued on Prae-Kraut Pandemonium Volume 17:

ANDY NEVISON & HIS RHYTHM MASTERS: their 3 hard to find singles for major labels have already been well documented on Prae-Kraut. But that’s not all there is to the career of this black ex-GI in Germany. A big surprise – and a 7″ the man himself had forgotten about when asked these days – is “Shaking It Up” on the totally obscure Tampicord label from Hamm, Westfalia (’64). Certainly a band in progress, and not up to the monster standard of “Indiano”, but a good example of the early sound of the German red light districts on the wrong side of the tracks. On par with King Size Taylor and Bobby Patrick. For those of you who care: Andy Nevison had a 5th and last single (the only one without The Rhythm Masters) on the German label R+B in ’67. This was a novelty German version of Ray Charles’ “Busted” called “Pleite” b/w “Worried Blues”. Funny, but not much more…”

andy-nevison-2


BRIGITTE MIRA, Die alte Clofrau, 1963

clofrau-frontdie-alte-clofraumit-dem-triebwagen-nach-italienMost people will probably only shrug their shoulders when they hear these songs, but to me this record seems almost unreal. It´s like this record was made for Berlin Beatet Bestes and on so many levels!

1. It is an advertisement record,

2. It was privately pressed for a Berlin car dealer

3. It´s got a cartoon sleeve

4. The two  risqué songs are sung by local Berlin star Brigitte Mira, an actress who frequently worked with Fassbinder

5. The music is in sort of a Dixieland Jazz style

6.  Of course it´s also never been reissued.

What more can I ask for?

In a way these two risqué songs, backed by Heinrich Riethmüller, predate Brigitte Mira´s bold later work. For some unknown reason the Berlin car dealer Bunde had the idea to advertize for his business with some naughty songs. Some sleeves even had “Der kesse Gruss vom Autohaus Bunde” ( Naughty greetings from Autohaus Bunde) stamped on the front. You can see this stamp on a copy that some greedy person is trying to sell on Ebay for the ridiculous amount of 35 Euros.  Of course nobody will ever buy it. Listen to the songs and you´ll see why. Last week I paid less than 50 cents in a thrift store and I think that´s  much more appropriate. Most likely it was the name that got the seller to put a higher price tag on this record.

Brigitte Mira (1910-2005) was most famous for the work she did with Rainer Werner Fassbinder. It was Fassbinder´s genius to cast people like Brigitte Mira for his art films. She had been  a popular German actress since the 1940s, but was mostly known for her comedies. Mira´s personal courage made her steer off the beaten path and towards serious, more challenging roles, like in Ali:Fear Eats The Soul (1974).

By the early 70s Fassbinder regularly worked for German television. “Wie ein Vogel auf dem Draht” was a TV-show directed by Fassbinder for Brigitte Mira. German television never got more campy than this:

Despite her adventurous career, in the eyes of  the majority of the German public,  Brigitte Mira remained „the archetypal funny old Berlinerin with a heart.” (The Guardian). But in the 70s Brigitte Mira basically had two careers, appearing in cutting-edge art films and also starring in funny popular films and on television (most prominently in the series Drei Damen vom Grill).

Finally: the music.

Die alte Clofrau translates to “The Old Toilet Lady”. In the song she tells the story of her life as a bathroom attendant. A blues song about how she flushes the toilet for the very last time…


BRIGITTE MIRA, Die alte Clofrau, 1963

Triebwagen is railcar, but Trieb also means sex drive. Mit dem Triebwagen nach Italien translates to “Travelling to Italy by railcar”.  The lyrics deal with the cliché that Italian men are sexually potent. So horny female German tourists travel to Italy in search of sexual adventures…


BRIGITTE MIRA, Mit dem Triebwagen nach Italien, 1963

The artwork of this record is not signed. I have a vague suspicion who could have done it but so far I can not put a name to it.

clofrau


DIE DREI FROHEN SÄNGER, Opelklublied, 1960

opelklublied-frontopelklublied-backopelklublied-labelThe reason I bought this record is the small illustration in the upper part of the sleeve. Yea, that miniature drawing you didn´t even notice when you just scrolled down…

I like the loose brush work of the anonymous artist. I think it´s pretty cool cartoon-style drawing, especially for a simple advertisement record. Unfortunately the designers didn´t know that the drawing would make the sleeve really stand out and scaled it waaaaay too much. Only to make room for an over-sized clef in the center. Such stupid design “decisions” are still the norm today in graphic design. An intricate two dimensional drawing that takes some effort and hand craft to produce, is reduced in favor of a boring one dimensional sign. A meaningless sign that takes up all the space, so that the delicate brush work of the artist is reduced to blurry lines. I´ll try to rectify that “mistake” after 53 years by showing a magnified version of the drawing for the first time:

piano

trumpetvocalsbassdrums

The record is celebrating the 30th anniversary of the Opel 72 Wagen Klub.

Whatever…

Since this is still a music blog:


DIE DREI FROHEN SÄNGER, Opelklublied, 1960


THE PEPPER BITERS BIG BAND, Bugs round Midnight

opera-4160-frontopera-4160-backopera--label-4160-1opera--label-4160-2

the-pepper-biters-big-band


THE PEPPER BITERS BIG BAND, Bugs


THE PEPPER BITERS BIG BAND, Round about Midnight

Last week I bought two Opera label 45s. Opera was a record club, essentially a sort of cheapo label.  They  still sell cheaply today and I would contribute this largely to the bland record sleeves, that do not tell much about the music on the records and lead sellers to believe the music must not be interesting. Opera did mostly published second grade versions of hit songs, but also took over some cool stuff from other labels catalogs, like Duke Ellington and the Deep River Boys. While the music on this record is not rhythm & blues or hot jazz it´s still a little more sophisticated than the stuff that I normally present here. It´s Modern Jazz in the Stan Getz style – some sort of big band junkie jazz. Either way it´s not meant  for dancing. It´s music for sitting. I´m nearing fifty but I feel that I´m still way too young for this type of jazz. I still have no time for slow music. Or for music that I need to sit down to to listen to.

But who is this band and where are they from? I couldn´t find any trace of The Pepper Biters Big Band on the Internet. Are these real names? Ben Brook (Piano), Joe Nathan (Trumpet), Shaw-Shaw Namuna (Drums), Mackie Daniels (Voice), Mike Mills (Saxo), Buddy Toybeen (Trombone), Coleridge Gray (Vibraphone), Larry Pongo (Bass) and the Hot Nine.

Who knows?

jazz - rythm and blues


ANDRÉS RAMIRO UND SEIN ORCHESTER

opera-4178-frontopera-4178-backopera--label-4178-1opera--label-4178-2A couple of years ago I thought  big band swing music was boring elevator background muzak. Since then I´ve developed a deep appreciation for the big band swing sound of the 30s and 40s.  But the reason why big band swing got such a bad rep is probably stuff like this. Back in the 50s big band swing had already gotten long out of fashion. Like all big band swing ever since, this record was appealing to more conservative listeners. Hip people either listened to real jazz or rock´n´roll. Today nobody needs some 1950s second grade medleys of Benny Goodman and Glenn Miller hits, when most people don´t even care for the originals?  Still musically this is top-notch big band swing! From Berlin – from one of Berlin´s true Jazzmen!

Andrés Ramiro really is Berlin band leader Wolf Gabbe,the man who was also behind the pseudonym Kid Orbis. Unfortunately his music has largely been forgotten. If you´ll search for Wolf Gabbe on Amazon/Itunes two songs will pop up that are currently for sale . Only two songs from a couple of decades that Gabbe worked and recorded in. I have posted some of his records here, here and here.

Benny-Goodman-Story


ANDRÉS RAMIRO UND SEIN ORCHESTER, After You´re Gone – Flyin´ Home – Shine


ANDRÉS RAMIRO UND SEIN ORCHESTER, Stompin´ At The Savoy – Sing, Sing, Sing – Don´t Be That Way

Glenn-Miller Story


ANDRÉS RAMIRO UND SEIN ORCHESTER, Moonlight-Serenade – At Last – Sun Valley Sleighride


ANDRÉS RAMIRO UND SEIN ORCHESTER, American Patrol – Little Brown Jug – Pa 6500 – In The Mood

Wolf Gabbe appeared in the 1954 film Der treue Husar, the faithful Hussar.


EMILE LAMBERT, La Chanson d´une Nuit

emile-lambert-frontemile-lambert-backemile-lambert-labelFashion comes and goes and after a while a lot of material ultimately looses its appeal. A company who makes money with an artist today, will drop him tomorrow, if he ceases to sell. No matter how popular he used to be, a company will not keep his material available. After he dies, his music will slowly be forgotten. Unless that is, it was recorded in a cult style.

A remarkable exception seems to be the family of Emile Lambert. Emile Lambert (1923-1986), real name Emile Kodeck,  was a comedian/singer from Wallonia, the predominantly French-speaking Southern region of Belgium. In the late 50s and early 60s Lambert recorded a slew of records, among them five 45s and the LP 140 Kilos De Bonne Humeur Avec Émile Lambert for the Olympia label, and some others for Fontana, Phillips and Pathé. None of these records have ever been reissued, but at least his son cared enough for his father´s work to create a very personal and touching video of his father on Youtube here.

The only song of Emile Lambert´s vast works, that has ever been legitimately reissued, is the rousing Le Houla-Bop. It  first appeared on a French CD in the 90s and then recently on the excellent, very recommendable compilation LP Rock Rock Rock – French Rock and Roll 1956-1959 by Born Bad Records. That song was only reissued, because it was a  satire of a cult style.

So if you have a deceased artist in your family or among your friends, don´t  rely on their former business partners to manage their legacy. Business is bound by  financial and legal necessities and doesn´t care for sentimental contemplation. Otherwise some record company would have let these tracks by Emile Lambert be heard in the past fifty years. Keeping the memory of an artist alive should be free from commercial restrictions. And if  friends and family won´t care first, nobody will.


EMILE LAMBERT, La Chanson d´une Nuit


EMILE LAMBERT, J´ai triché

la-chanson-d´une-nuittango-corazonemile-lambert-twist


EDDIE VARTAN ET SON ORCHESTRE, Your Ma Said You Cried In Your Sleep Tonight, 1962

twist-fronttwist-backtwist-face-1twist-face-2

Musician, singer-songwriter and conductor Eddie Vartan ( 1937-2001) is the brother of French pop star Sylvie Vartan, father of actor Michael Vartan and uncle of  David Hallyday. As a bandleader he was the mastermind behind his sister´s early success. He also composed many songs for her and a dozen titles for his friend and brother-in-law Johnny Hallyday. Eddie, Sylvie and Johnny were certainly at the top of the yé-yé game. They sold a ton of records and the teen magazines were full of their antics. In the early 60s you couln´t be cooler than these three.

Surprisingly though, when I searched for “Eddie Vartan” on Amazon/Itunes/Spotify only one song popped up. Considering the celebrity status of Eddie Vartan and his family, it´s a real shame that his whole solo instrumental works of the 1960s, especially the early twists, have never been reissued in 50 years. If it wasn´t for a handful of people who put his music on Youtube, it could not be heard at all. The two instrumental twist songs from other EPs on the Twist label, the mid-tempo Salut les copines and the hectic S.L.C.Twist, are both similar in style to the tracks I present here. Then there is his version of Telstar in a weird Scopitone film that you´ve got to see to believe. Eddie himself even appears playing the guitar while following a female astronaut, surrounded by his band all dressed in lab coats like a bunch of Joe Meeks. All these songs would sure make a nice Eddie Vartan Twists compilation LP.

Eddie Vartan died in 2001  following a brain hemorrhage in Paris at the age of 64. Shortly after Sylvie Vartan recorded Réponds moi, a wonderful tribute to her brother. Again, it was a fan who made an effort to put the song together with some collected images of Sylvie, Eddie and Johnny.

At least seven EPs by Eddie Vartan were released by the small Twist label, that was distributed by Decca. A bunch of other artists also recorded for the Twist label, but not as many as Eddie Vartan. Of all the Twist label releases, this one has by far the most boring sleeve design. It´s probably because I´m a cartoonist that I feel that all-typo designs look dull.  The hand-made Twist logo is cool though. This EP was very cheap, but unfortunately when I got home I discovered that my copy was sun damaged and warped at the sides. Two of the tracks are completely unplayable.

Your Ma said You cried In Your Sleep Tonight was first recorded in by Kenny Dino and reached #24 in the Billboard charts in 1961. Kenny recorded a number of demos for Elvis, including the song Good Luck Charm, so it is no surprise that he is pretty much imitating Elvis on Your Ma said. Compared to Kenny Dino´s original version, Eddie Vartan´s instrumental version is pretty heavy…


EDDIE VARTAN ET SON ORCHESTRE, Your Ma said You cried In Your Sleep Tonight, 1962

One Track Mind was recorded by Bobby Lewis in 1961 on the Beltone label. Eddie Vartan´s instrumental version copies the Sheb Wooley-style sound of  a toy saxophone that is also in the Bobby Lewis original.


EDDIE VARTAN ET SON ORCHESTRE, Un p´tit je ne sais quoi (One Track Mind), 1962

twist


FRANCOIS LUBIANA, Crazy Girl, 1962

grafica-jean-eugen-1960-edc-395-2grafica-jean-eugen-1960François Lubiana (1940 – 2011), real name François Biro, was  mostly known as the husband of French pop star Jaqueline Boyer. A singer and composer in his own right, Lubiana recorded quite a few EPs for Pathé and Barcley. In the only video I found of him performing live, he can be seen singing the beautiful Les cloches sonnaient in March 1966. He starts into the song, and for some reason not entirely happy with his performance, abruptly stops, excuses himself and then casually continues. Cool. Sadly later that same year he suffered a severe cerebral hemorrhage that ended his career abruptly.

Two twist songs by Francois Lubiana strangely appeared on this Romanian EP. I don´t know if they were issued exclusively in Romania, but if  they did, I wonder why?  The nice mosaic-style sleeve illustration was done by Electrecord house-designer Jean Eugen. The two tracks, both written by  Jeff Davis, have not been been reissued in 50 years.

Dedicated to all the crazy girls…


FRANCOIS LUBIANA, Crazy Girl, 1962

I found another version of Moi Qui on the French Pathé EP on Youtube that sounds like it was re-recorded at a later date. This is a regular twist:


FRANCOIS LUBIANA, Moi Qui

grafica-jean-eugen-1960-detail


Follow

Get every new post delivered to your Inbox.

Join 458 other followers