More Turkish Pop with a latin twist from the early 60s by Sevket Uğurluer. Both songs have apparently never been commercially re-released. Gözleri Aşka Gülen, a schmaltzy tune originally written by Gundogdu Duran, is given a modern reworking by Ugurluer and Friends.
The song starts with English and then turns to Turkish lyrics in the second half.
Turkish Bossa Nova…
You is pure 60s US-Teen Pop…
I couldn´t find any period photos of Şevket Uğurluer and his band. Instead, I´ll post some images from one of the Akbaba (vulture) satire magazine that I bought in Istanbul this year. This issue is from June 1962. There is no signature, but I´m pretty sure that the cover was done by Necmi Riza. Riza did a lot of covers for Akbaba, that are easily recognizable by his boldly inked style.
The Lambiek Comiclopedia notes that Necmi Riza Ayça was born in Yugoslavia-Pristine in 1912 and died in 2000, while Turkish Vikipedia states he was born in 1914 and died in 2001.
In the early 1960s, Şevket Uğurluer was among the first Turkish musicians to mix traditional music with Jazz. Today Uğurluer is mostly known for his faithful renditions of US-Pop hits, most of whom have been re-released on CD.
Not this one. When recording the spiritual Josua Fit The Battle Of Jericho, Uğurluer didn´t seem to have taken the lyrics too seriously. But who cares about some slurred lines, when he and his gang play the song at such breakneck speed.
“Joshua the battle of Jerico… and the wölls came tumblin´down….”
The Pete Seeger penned protest-song If I Had A Hammer was a hit for Trini Lopez in 1963. Sevket Uğurluer´s version is wrongly credited to Trini Lopez on the label, but it´s pretty close to the hit.
Except that, here Animal from the Muppet Show is on drums….
For the first time, I´m not posting a rarity but a hit record. Abidik Gubidik Twist is the Turkish Twist hit record and was also featured in two movies. However, I guess outside of Turkey few people will have heard these songs. While Turkish Psych has fans worldwide, Turkish Twist is still only known to Turks. Abidik Gubidk Twist was re-released in 2011, though buried in a 5 CD-Box of Turkish movie songs. As far as I could see Göz Göz Değdi Bana has never been commercially re-released.
Abidik Gubidik Twist (“Nonsense Twist”) first appeared in the opening scene of the 1963 film Beni Osman Öldürdü. Following its success, the song again appeared in the opening sequence of Abidik Gubidik.
Öztürk Serengil was a comedian who starred in close to 300 movies. He died in 1999 at the age of 69. His daughter Seren Serengil is also a pop singer.
This record came out through Öztürk´s own short-lived Serengil record label. A great first release that features two Turkish Twist hits. Abidik Gubidik Twist even has a nice guitar solo.
Ajda Pekkan was only 18 when she sang Göz Göz Değdi Bana in her first film “Adanalı Tayfur”. Today Ajda Pekkan is the Turkish Superstar. Altogether she has starred in 47 films.
Öztürk Serengil doing some wild Twist moves in the opening squence of the film “Beni Osman Öldürdü”:
Gezakt of geslaagd has been re-issued more than twenty years ago. I´m still posting it here, because it´s one of my better recent finds. It was only one Euro and I found it in May at a flea market – of all places – in Istanbul! Buried in a bunch of other Dutch records, I did´nt know what it was at the time. The catalog of the Negram label that is printed on the back of the sleeve seemed promising, though. It features Dutch Beat groups like The Ronnies, Mokum Beat Five, The Motions, Tee-Set, Andy Tielmann and Roek Williams and the Fighting Cats.
Back home in Berlin I recognized Gezakt of geslaagd from a CD a Dutch friend gave me many years ago. The song was first re-released in 1994 on Biet Het Vol. 2 – Trip Trap Door De Tulpjes on Boem Records. In 2002 it was featured on Beatmeisjes – Dutch Girls and Girl Groups in the Sixties, compiled by Frank Dam and Marthy Coumans. Frank Dam also wrote a 224 page book on the same subject. Everybody who bought that book knows more about Els Molenaar than I do. Sadly, I don´t know Dutch and do not own the book.
According to Popsike someone bought this record for 110 Euros in 2011. It is Els Molenaar´s sole record. Gezagt of geslaagd (pass or fail) is a happy little anti-school song.
Two bad it only lasts two and a half minutes….
What sort of book is Els throwing in the dustbin? A German-Dutch textbook.
Some schoolgirl doodles by the graphic artist: T-Set… Motions… Lily Bart… Lily Bart from Edith Wharton´s The House of Mirth?
Els, where are you today?
Bereits im Juni schrieb ich für die Junle World einen kleinen Text über rare Platten und wie ich diese fand hier.
The old sheik of Istanbul, was written by German songwriting team Georg Buschor and Christian Bruhn. Probably just a quickly assembled flip for the A-side – a cover of Bob Azzam´s hit record Ya Mustafa – the record was released in 1960, the year of the first Turkish coup. The lyrics of Der alte Scheich deal with typical period far-east exoticism. A fictious sheik of Istanbul visits Europe to find out that Western habits are much stricter than Turkish habits. A little far fetched, even back then. Habits and laws have always been much stricter in Turkey. Today, the “new sheik of Istanbul” is even talking about reinstating the death penalty.
Gerd Fitz strarted his career in the early 50s in the trio Das Fitzett, together with his brother Walter and his sister-in-law Molly. From the mid-50s to the 60s he started a solo career, mainly recording for the budget Tempo. Like many other artists, Gerd Fitz lived too early in the post-war age. When Rock´n´Roll came around he was no longer teenage-material. He still recorded some rock, like a cover of Peter Kraus´Mach’ Dich Schön (Treat Me Nice).
In the 70s he started yet another career as an actor in supporting roles. The Fitz family has a long history in German show business. Niece Lisa Fitz is a stand-up comedian and his son Michael is also an actor. Aged 85, Gerd Fitz died in May 2015.
Not surprisingly, these songs have never been re-released in 56 years. If you can see past the naive racism, Der alte Scheich is a jolly little tune. I like it…
Wie war das mit dem Scheich? Wie war das mit dem Scheich? Die Sache mit dem alten Scheich erzähl ich euch sogleich. Der alte Scheich von Istanbul, der ging auf große Fahrt. Er setzte seinen Turban auf und kämmte seinen Bart. Doch bei der ersten Zollstation, da war es schon passiert. Er zog den Hut, der Schmuck fiel raus und wurde konfisziert. So streng sind hier die Bräuche. Das hasste nun davon, ohweiawei! Da lob ich mir die Bräuche, die Bräuche der Türkei. Wie war das mit dem Scheich? Wie war das mit dem Scheich?
Was mit dem Scheich noch weiter war, erzähl ich euch sogleich. Der alte Scheich von Istanbul kam in die Stadt Paris. Und sah drei schöne Mädchen geh´n , die waren zuckersüß. Er sagte: „Bald soll Hochzeit sein, ich nehm euch alle drei.“ Da schrien die Mädchen: „Unerhört! Wir geh´n zur Polizei!“ So streng sind hier die Bräuche. Das hasste nun davon, ohweiawei! Da lob ich mir die Bräuche, die Bräuche der Türkei. Wie war das mit dem Scheich? Wie war das mit dem Scheich?
Was mit dem Scheich noch weiter war, erzähl ich euch sogleich. Der alte Scheich von Istanbul traf eine Maid in Bonn. Die lief vor einem Wolkenbruch im Sommerkleid davon. Er bot ihr seinen Regenschirm und wollte höflich sein. Da rief das Mädchen:“Danke schön. Hier darf man sich nichts leih´n.“ So streng sind hier die Bräuche. Das hasste nun davon, ohweiawei! Da lob ich mir die Bräuche, die Bräuche der Türkei. Wie war das mit dem Scheich? Wie war das mit dem Scheich?
Wie war das mit dem Scheich?
Er flog auf seinem Teppich gleich, zurück ins Türkenreich.
A couple of years ago, I posted a song celebrating the advantages of polyester. While the 4 Cravattos were praising Trevira, this 2-sided flexible record is promoting Diolen. Back then I wrote: ” Today trying to find synthetic clothes from the 1950s is much harder than finding flexible vinyl advertisement records from the same time.”
While that still is right, don´t get the wrong idea. These promotional flexis are still mostly worthless, because there is no market for them. Still, I bet some idiot will offer a copy on ebay soon – for 20 Euros. Of course nobody ever buys these flexi discs for 20 Euros. There´s only a handful collectors of flexis. I´m one of them and I never pay more than 1 Euro.
When will they ever learn,
that records like this one belong in the free-box….
PARTY! Now, that´s a cool name for a label. With a name like that you´d expect full colour picture sleeves, but unfortunately the ones I´ve seen have plain type-only designs. All Party releases seem to feature Loretta, so likely the label was a vehicle for her career. Local budget-stars Bob Gerry (Werner Hass), the Moonlights and the Columbinos also appear on Party releases. Günter Pätzold, who backs Loretta with his orchestra, began recording for Odeon in the late 1940s. He co-wrote Küß Mich Heiß (as Petzold) for the Heinz-Becker Barquintett for the Amiga label, incidentally, a group Fritz Wölffer played guitar in. Pätzold also recorded for the local cheapo flexi disc-label Okay.
Du allein was written by Pätzold, Loretta and a certain van Holsten, while Frage nicht nach meinen Traeumen was written for Loretta by Bruno Balz and Heino Gaze, two very successful German songwriters. Heino Gaze (1908-1967) wrote the music to around 600 German hit songs, like La-Le-Lu, Kalkutta liegt am Ganges, and Shake Hands, a hit for Drafi Deutscher. Bruno Balz (1902-1988) wrote the lyrics to more than a thousand hit songs, a lot of them together with Michael Jary. He especially wrote for Zarah Leander, but carried on until the mid-60s with such hits as Mäcki Boogie, Berlin bleibt doch Berlin! and Mama for child star Heintje. Bruno Balz was a very interesting character and I recommend to read his full story on Wikipedia.
Both songs have a pretty big production for a small label, that contrast with Loretta´s unique voice.
Now, who is this mysterious Loretta?
Party PD 2713, A-Side: Loretta (Günter Pätzold mit senem Tanzorchester und die Moonlights) – Quando… Quando… / B-Side: Bob Gerry und die Moonlights – Luana (Komm heute Nacht zu mir)
Party PD 2714, A-Side: Loretta – Eine Insel für zwei/ B-Side: Günter Pätzold – Paris (Guenter Pätzold mit seinem Tanzorchester und die Moonlights)
Party PD 2715, A-Side: Loretta – Frage nicht nach meinen Tränen/ B-Side: Lotetta- Du allein (Guenter Pätzold mit seinem Tanzorchester und die Moonlights)
Roy Boston is mostly know for his Schlager songs of the 70s, but apparently he already led his own “show band” in the 60s. This is part 2 of his “American Records” label (located in Düsseldorf!) releases , so I suppose there is a part 1 too, but I´ve never seen it.
Roy Boston seems to have had an appetite for travel and luxury even as a young man. He went on to become a building tycoon in the Souh of Spain. Today there is even a street named after him in Marbella, the Calle Roy Boston.
Liner notes from the back of the sleeve:
Here, with an excerpt from his show, the singer Roy Boston presents his band. It is a pleasure to hear and see this young band sing and play. Unfortunately, there is no gold metal for versatality. They harmonize in seven languages and in all kinds of styles from Bamba, Chacha, Calypso, Swing, Twist, Slop and Blues to Tango, Waltz, Polka and March. And further, from German songs of the Rhineland to the Spirituals and Folk songs of America. This great versatality is explained by Roy Boston´s enthusiasm for travel and study.
In television and recording studios, american clubs, in London´s exclusive Docklands Settlement Club, before Paul Getty, the richest man in the world, Princess Margaret, Lord Snowden and in the women´s clubs of Montreal, American Air Force clubs, on luxury liners, in the Orient and in Europe, he has learned what show business is and how it is done.
“American Records presents…:
Roy Boston… and his Band! …