DIE MELODIAN-BOYS, Blue Beat-Medley, 1964

sta-EP-2281-frontsta-EP-2281-backsta-EP-2281-ATo wrap up the little German blue beat excursion, here´s a budget EP on the Starlet label from Munich, containing 12 hits played on the accordion.

“Medley” sounds bad, as does “accordion”, and it sure is bad: It sounds nothing like ska. Fittingly, the record is also seriously warped and I couldn´t fix the sound.

At least, you´re not likely to hear this unsteady-sounding ersatz-rocksteady anywhere else either…

Like, it´s art!

DIE MELODIAN-BOYS, Blue Beat-Medley, 1964

sta-EP-2281-detail


BOTHO LUCAS, Uns´ re kleine feine Familie, 1965

I already posted this German version of Shame & Scandal back in 2009. Botho Lucas (1923-2012) had a long career recording and performing with his Botho-Lucas-Chor. In contrast to what the girl and the juke box on the record sleeve suggests, Lucas himself was in his early 40s when he recorded this German ska song. Still, his version seems much fresher than Harry and Ronny´s. It´s a little faster and has got a heavier beat.

I think it´s better.

BOTHO LUCAS, Uns´re kleine feine Familie, 1965

botho-detail-2

 


HARRY & RONNY, Die Schande unserer Familie, 1964

DVS-14420-frontDVS-14420-backDVS-14420-ADVS-14420-BShawn Elliott´s Shame & Scandal and Millie´s My Boy Lollipop were the biggest ska hits. Heidi Bachert recorded a German version of My Boy Lollipop in 1964. There are dozens of covers of Shame and Scandal In The Family in various languages and at least four different German versions. Gela & The Gentries even recorded a great Bavarian version: Die Schand und dös G’red.

But there were a number of German artists who also jumped on the blue beat train. Now, as I´ve written, this would make a nice “Ska in Germany” compilation. Unfortunately I don´t own any of these records, so meanwhile you may just follow these Youtube links. Gitte recorded Das ist der Bluebeat, Mike & Joe (alias Michael Holm and Joachim Heider) recorded Blue Beat Baby paired with the equally great ska flip Hallo du, hör mal zu. Ria Bartok did Zu schade dafür ( a cover of Tracey Dey´s Ska Doo Dee Yah) and Annamarie did the clearly off-beat Little Boy Butterfly. I  couldn´t find the song anywhere, but there is a version of Patsy Girl, recorded by Udo Arndt und die Safebreakers. I assume it´s a cover of Ross McManus & the Joe Loss Blue Beats 1964 smash. Ross McManus, the father of Elvis Costello.

The German lyrics to Harry and Ronny´s version of Die Schande unserer Familie were written by disc jockey Camillo Felgen, who also wrote the German lyrics to the Beatles´ She Loves You (Sie liebt dich) and I Want To Hold Your Hand (Komm gib mir deine Hand).

Now who were Harry and Ronny?

HARRY & RONNY, Die Schande unserer Familie, 1964


TONY UND DIE BLUE BEATS, Ich such´ ein schickes Baby, 1964

52404-front52404-A52404-BMore German ska! Tony, born Manfred Oberdörffer, got his stage name “Tony Tornado” when he was with the Tonics, the German budget beat band of the 60s. Also billed as the Ravers and the Spots, they mostly recorded cover songs for Polydor and its budget subsidiary Tip. In 1971 Tony hit with Mädchen mit roten Haaren, that reached #21 in the German charts.

Both of the songs by Tony and the Blue Beats do make an effort to translate the Jamaican blue beat sound into German pop music. Ironically, the original version of Ich such´ ein schickes Baby,  Do the Blue Beat (The Jamaican ska), was recorded by Dinah Lee,  half-way around the globe in New Zealand. This pairing of ska songs though, was more likely based on an obscure US-RCA release by Ray Rivera, that featured the same songs.

Naturally,  Tony´s jamaican ska versions are heavily doused in schlager.

Ska -Schlager!

TONY UNS DIE BLUE BEATS, Ich such´ ein schickes Baby, 1964

TONY UNS DIE BLUE BEATS, Wo ist Susi?, 1964

The sleeve is from popsike. The record was sold on Ebay for 79 Euros two years ago. I bought my sleeveless 45 in a local record store for 4 Euros.

 

 

 


CHARLY COTTON UND SEINE TWISTMAKERS, Bibbel-Babbel-Blue Beat, 1964

10900-B10900-ABear Family put out a “Surf in Germany” LP  in 1989, but so far there has never been a “Ska in Germany” compilation that features the early German attempts at the Blue Beat sound. This is one example.

Christian Bruhn (born 1934) is one of the most important songwriters and producers of German pop music. Drafi Deutscher´s hits like Teeny,  Shu Bi Du Bi Du The Slop, Cinderella Baby, Shake Hands and of course his smash Marmor, Stein und Eisen bricht, were written by Bruhn. I would even compare his collaborations with lyricists Günther Loose and Georg Buschor, to that of Jerry Leiber and Mike Stoller. They might not have been such huge fans of afroamerican culture as Leiber and Stoller, but they also genuinely wrote pop songs for teenagers. Bruhn had a very successful career with a long list of achievements and awards. Like Leiber and Stoller, he started his own label and music publishing and mainly stayed in the background. Now at 80, he is still working.

For a while though, he also tried his luck as a performer. Christian Bruhn, alias Charly Cotton and his Twistmakers, hit the top 50 with Der Liebestraum als Twist in 1962. Bibbel-Babbel-Blue Beat, the flip to Charly Cotton´s third release, seems to have gone nowhere and hasn´t been reissued in 50 years. It´s about time this wonderful nonsense is heard again!

“Bing-bang, bama-lama, milkshake, take-a-break, see-you-later, alligator, monkey-dog, do-the-frog, bing-bang, bama-lama, beatle-weatle, rolling-stone, Elvis Presley, Sigmund Freud, Charly Cotton!, Telephone!”

CHARLY COTTON UND SEINE TWISTMAKERS, Bibbel-Babbel-Blue Beat, 1964

 


MONSIEUR AFRIQUE, Black Dynamit, 1965

monsieur-afriquemonsieur-afrique-black-dynamitmonsieur-afrique-monsieur-afriqueWho is this mysterious Monsieur Afrique?. Was he  actually from Africa, or was he an “invention” of local Berlin comedian/musician Frank Zander? There is an early release of Zander´s beat group “Q” together with Monsieur Afrique. This would fit his type of humour. But then who is the man on the front sleeve?

In 1965 Ariola launched a series of 45s with jackets that all seem to have been designed by the same graphic artist. Most of them showed very similar black and white characters cut out on white backgrounds with a touch of red. Ariola sure had a bunch of cool groups back then!

Here´s some great lost Afro-German weirdness! “Black Dynamit” is an up-tempo off-beat Blue Beat/Ska hit! A hit that has miraculously never  been re-released in fifty years.

“AFRICA… IS WONDERFUL LAND!… ALL YOU PEOPLE… DANCE AND SWING AND CLUB THE HEART! OH, CAN YOU MAKE FUN… BLACK DYNAMIT!”

MONSIEUR AFRIQUE, Black Dynamit, 1965

MONSIEUR AFRIQUE, Monsieur Afrique, 1965

monsieur-afrique-front

 

 


JAZZ MEETING mit den Spree City Stompers, 1958

O-4167-frontO-4167-backO-4167-1O-4167-2Those damned purple Opera sleeves! Why did the design have to be so persitently unimaginative? It could not have hurt to put a little illustration or a photo on the sleeve. No! A cheap product had to look cheap. But Opera didn´t purely release cheap cover songs, they also put out quality records by established artists like Django Reinhardt, Duke Ellington, Ella Fitzgerald and Louis Armstrong and a new generation of German jazz groups like the Albert Mangelsdorff Septett,Helmut Brandt Combo and the Spree City Stompers.

Trombonist Hans-Wolf “Hawe” Schneider (1930 – 2011) formed the Spree City Stompers, who  became one of the most popular German trad jazz bands, in 1951. Two years later he also opened the legendary “Eierschale”, along with “Badewanne”, the best German Jazz clubs. Louis Armstrong, Ella Fitzgerald, Duke Ellington and Kid Ory appeared at “The Eggshell”. A website dedicated to the cellar pub is here.

The Spree City Stompers first recorded with Brunswick in 1955, then got picked up by the German Vogue label. They also cut a 10″ album “Jazz aus der Eierschale”, together with “Wild” Bill Davison for the budget Bertelsmann/Manhattan label. They toured Western Europe, Poland, Yugoslavia and Africa, appeared in films and on TV and hit the German charts twice in 1961 with “Warte, warte nur ein Weilchen”, a black humored song that dealt with the 1920´s serial killer Fritz Haarmann, and “Brigitte Bardot”. The band dissolved in 1968, when Hawe Schneider moved to the Black Forest region. He stayed active in the jazz scene, his last performance being with the Black Forest Jazz Band in 2007.

After their Brunswick recordings and before their Vogue deal, the Spree City Stompers recorded this EP for Opera in 1958. It has never been re-released in any format.

Hot Jazz from Berlin!

SPREE CITY STOMPERS, My Gal Sal, 1958

SPREE CITY STOMPERS, Old Stack O´Lee Blues, 1958

SPREE CITY STOMPERS, Ain´t Misbehavin´ , 1958

SPREE CITY STOMPERS, St. Louis Blues, 1958

meine-99-braeute-spree-city-stompers

The Spree City Stompers were: Hawe Schneider (tb), Peter Strohkorb (cl), Gerd Vohwinkel (tp), Björn Jensen (bj), Martin Piepkorn (p), Tilo Wendell (bs and sousaphon) and Udo Künitz (d).

Within a short time they appeared in seven Films: Der Himmel ist nie ausverkauft (1955),  Der Schräge Otto (1957),  Einmal eine große Dame sein (1957),  Liebe, Jazz und Übermut (1957), Meine 99 Bräute (1958),  … und noch frech dazu (1960) and Verrückt und zugenäht (1962)

In 1957, the Spree City Stompers also show up in the awesome kitsch-masterpiece Der schräge Otto (Fritz Schulz-Reichel, alias Crazy Otto), backing Nana Gualdi and Eddie Pauly and a bunch of Boogie Woogie dancers:

This footage of the Spree City Stompers in Berlin, was shot to promote their extensive tour of Africa in 1966. The silent Super 8 film was dubbed and uploaded by the son of the group´s drummer Lothar Scharf:

 

Hawe Scheider also wrote for Jazz magazines, such as the local “Schlagzeug” (drums). From February 1959:

Schlagzeug-berlin-februar-1959-wir-brauchen-den-beifall

 

 


LUBO D´ORIO UND SEINE ROCK´N´ROLL-BAND, Ausser Rand und Band, 1956

O-4140-frontO-4140-backO-4140-1O-4140-2Jazz musicians of the swing era, like Count Basie, Sy Oliver and Lionel Hampton all dabbled in rhythm & blues and early rock´n´roll, maintaining the close link of jazz and dance music into the 1950s. Largely to no avail, both jazz and rock´n´roll fans dismissed their efforts as commercial.

In 1956, the prolific Berlin swing-orchestra leader Lubo D´Orio (1904-1983) recorded two boogie and rock´n´roll EPs for the Opera record-club label. I posted the Boogie EP three years ago, but just a while back I also found his other Opera EP in a local charity shop.

This EP features five tracks from the film Rock Around The Clock starring Bill Haley and Freddy Bell and his Bellboys. While never re-released in any format, the tracks are fairly well known among German rock´n´roll collectors, but because they fall  in-between big band swing and rock´n´roll, have largely been neglected or even ridiculed as second-rate rock. They´re too rockin´ for the swing fans and too swingin´ for the rockers.

Apparently not much has changed in the evaluation of this budget record in the past 60 years, even down to the price: I paid one Euro.

Whatever…

I love it!

LUBO D´ORIO UND SEINE ROCK´N´ROLL-BAND, Rock Around The Clock (“Wenn der Jonny spielt”), 1956

LUBO D´ORIO UND SEINE ROCK´N´ROLL-BAND, Rock a beatin´ Boogie, 1956

LUBO D´ORIO UND SEINE ROCK´N´ROLL-BAND, Happy Baby, 1956

LUBO D´ORIO UND SEINE ROCK´N´ROLL-BAND, A-B-C Boogie – Mambo Rock, 1956

LUBO D´ORIO UND SEINE ROCK´N´ROLL-BAND, Teach you to Rock – Giddy-up a Ding-Dong, 1956

 


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