Ein neuer Schlager… , 1961

diolen-frontdiolen-backdiolen-seite-1diolen-seite-2A 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….

Ein neuer Schlager…

…die neue Krawatte aus Diolen mit vielen Vorzügen und einer großen Spezial-Werbung

 

 


LORETTA, Du allein

PD-2715-BPD-2715-A

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 Gangesand 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?

LORETTA, Du allein

LORETTA, Frage nicht nach meinen Tränen

party-logo

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)

Some more Party label images from ebay:eine-insel-für-zweiquando-quandoloretta-quando-quando

loretta-quando-quando

 

 

 

 

 

 

 

 

 


THE ROY BOSTON SHOW INTERNATIONAL

the-roy-boston-show-international-frontthe-roy-boston-show-international-back7-PAL-3529-ST7-PAL-3530-STRoy 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! …

Showtime! …

Showtime! …

Showtime! …”

 

THE ROY BOSTON SHOW INTERNATIONAL. Monkeytime

THE ROY BOSTON SHOW INTERNATIONAL, Peter Gun

the-roy-boston-bandthe-roy-boston-show-international

 

 

 

 


HENRI RENAUD ET SON ORCHESTRE, Blues pour G.

belles-frontbelles-backbluesbellesSome more jazz for a change from french pianist Henri Renaud (1925-2002).  While Renaud made prestigious recordings with Clifford Brown, Milt Jackson, Oscar Pettiford and  Max Roach, he also recorded a bunch of good sides with his own group for the budget Panorama.

This one has never been re-issued…

HENRI RENAUD ET SON ORCHESTRE, Blues pour G.

 

le-rock-des-compagnons


DIE DIXIE-KAVALIERE, Amalie geht mit ´nem Gummikavalier, 1962

amalie-frontIn-meiner-Burggummikavalierburg-am-strandeIt´s summertime, so here are two summer related Dixieland songs. The Dixie-Kavaliers were  inspired by the success of the Old Merry Tale Jazzband who had a few hits mixing Dixieland and Schlager around the same time in the early 60s.

Amalie is an uptated Dixieland version of an old German Jazz-Schlager. Max Raabe recently authentically revived the 1927 original, a so-called “Badesaison-Schlager” (bathing season hit song). In the 1920s, swim rings and other sorts of inflatable water toys, were called Gummikavalier. The song was written by Siegwart Ehrlich (1981-1941), a German jew, who was also known by his pseudonyms Victorio and Sydney Ward. Ehrlich wrote many songs for revues and musicals. In 1933, he fled Germany to escape the Nazis. He died  in 1841 in Barcelona.

Trumpf ist die Mode der Seebadsaison,
man nimmt ins Wasser Tiere,
Hunde aus Gummi in jeder Façon,
Affen, Giraffen, Tapire.

Amalie fand das sehr apart,
doch hat sie ihre eig’ne Art.

Amalie geht mit ‘nem Gummikavalier,
mit ‘nem Gummikavalier ins Bad.
Amalie geht mit ‘nem Gummikavalier,
mit ‘nem Gummikavalier ins Bad.
Und sie pustet, und sie bläst ihn auf geschwinde,
an der Nordsee und im Wannsee, Travemünde.
Amalie geht mit ‘nem Gummikavalier,
mit ‘nem Gummikavalier ins Bad.

 

DIE DIXIE-KAVALIERE, Amalie geht mit ´nem Gummikavalier, 1962

Fittingly, In meiner Burg am Strande is also bathing-related. Originally written in1938 written by Ralf Maria Siegel, In meiner Burg was first  recorded by Oskar Joost Tanzorchester. The name of  Hamburg-based jazz musician and bandleader Günter Fulisch appears in the credits on both labels so I assume the Dixie-Kavaliere was one of his projects.

In my sand castle on the beach…

DIE DIXIE-KAVALIERE, In meiner Burg am Strande, 1962amalie


ALFIE MORGAN, Ich bin so faul, 1968

alfie-morgan-frontalfie-morgan-backalfie-morgan-labelalfie-morgan-morgenIch bin so faul (I´m so lazy) is a song that praises laziness. Surprisingly up-to-date, its Sirtaki rhythm and melody makes it sounds like a conservative parody of the Greek crisis. If anything, the Greek people had to work harder than any other European nations in recent years, while the obedient Germans, wo caused the crisis through massive wage cuts and overblown exports, eat up all the bullshit lies of the mainstream propaganda machine. Hopefully the brave Greek government will prevail. If not, the entire European leftist project is at stake. Capitalists are already shitting their pants, as is evident in their recent hysteria.

Ich bin so faul is not a parody. It expresses a genuine pleasure to be lazy. I love work, too. I work for a couple of hours every day. I might not earn much, but I´m happy, because I love what I do. But what´s wrong with being lazy, anyway? What we need today, is more laziness! With Capitalist rule unchallenged for decades and everybody brainwashed into believing there is no alternative, I can´t think of a more political statement. Work is  our collective obsession. In the last two years, two of my friends committed suicide because of burnout/depression, and ensuing unemployment. Both felt worthless without a job. To me those tragedies are still unacceptable and I directly blame the Capitalist ideology.

alfie-morgan-michel-polnareff

No information on Alfie Morgan, apart from the liner notes stating that he appeared in “various films in France, Austria and England” and that” his friends Omar Sharif and Michel Polnareff persuaded him to record his German début single”.

The tiny Citycord label, located in Hamburg-Sasel, was founded by Manfred Dulau and Joe Moser in 1966. Moser also co-wrote  “Morgen ist ein neuer Tag”. The music to Ich bin so faul (Ya Du travail) was written by young Janco Nilovic, later a composer of library music, with lyrics by Ernst Bader. Bader, both a Christian and a Socialist, wrote countless songs for stars like Freddy Quinn, Udo Jürgens, Catarina Valente, Nana Mouskouri, Adamo and most of the German lyrics to the songs of Charles Aznavour. Despite of his wealth, he lived a very modest life, giving most of his money away. He donated to the radical-leftist APO-Press, financed the St. Pauli Museum, that is still in existence today, and guaranteed in his will, that the tenants of his condominiums had life-long habitation rights at a low rent. Photographer Günter Zint, was a friend of Ernst Bader for forty years. When Bader died in 1999, he held his obituary.

Anyway, I love the unabashed praise of the virtues of laziness in this song…

ALFIE MORGAN, Ich bin so faul, 1968

Der Tag ist heiß,/ heiß weht der Föhn/ Oh, ich bin so faul/ Ach, ist das schön/ Die Andern ackern und schaffen für sich,/ aber keiner ist froh und zufrieden wie ich./ Wenn sie sagen, ich mach´ alles völlig verkehrt,/ich finde, auch mein Leben ist was wert./ Oh, ich bewund´re den emsigen Boss,/ ganz bestimmt fällt dem Mann das Geld nicht in den Schoß,/aber ich schau´ auf blühende Felder hinaus/ und ich ruh´ mich aus./Der Tag ist heiß,/ heiß weht der Föhn/ Oh, ich bin so faul/ Ach, ist das schön./ Da schlendert froh mit verliebtem Gesang,/ schon mein Mädchen am Morgen die Strasse entlang/ und sie setzt sich zu mir dann mit fröhlichem Blick./ Und dann träumen wir beide vom großen Glück./ Für dauren Küsse, da brauch´ ich kein Geld./ Wir geniessen mit offenen Augen die Welt./ Wenn die ander´n sich plagen, dann träumen wir süß/ wie im Paradies./ Der Tag ist heiß,/ heißweht der Föhn/ Oh, ich bin so faul/ Ach, ist das schön

 

ALFIE MORGAN, Morgen ist ein neuer Tag, 1968

Morgen ist ein neuer Tag is a German cover version of Gene Stridel´s northern soul classic Tomorrow Is Another Day on the Atlantic label.

alfie-morgan

 


Die schlechteste Schallplatte der Welt (dazu noch ohne Rückseite!)

w-1008-f-frontw-1008-fphilips-blankStreit-Cartoon-1Streit-Cartoon-2Streit-Cartoon-3Streit-Cartoon-4“The worst record in the world (On top of that without a flip side!)”

Okay, that´s not true. If it was, you would probably have heard about it. It´s a pretty nice German novelty record with a cartoon sleeve. Perfect for Berlin Beatet Bestes. And, the flip and the back of the sleeve are indeed  blank.

The label, that says “Lachplatte” (Laughing Record) and the Art Nouveau-style of the lettering, suggest that the song is based on the idea of The original Okeh Laughing Record: a man and woman laughing uncontrollably about a musician playing out of tune. For whatever reason, this song has very little laughing, but a lot of out of tune playing.
I assume, that the Kleckerdorfer Symphonieorchester is  actually Rolf Schneebiegl´s brass band. Scheebiegel (1924-2004) was quite an interesting musician who played jazz after WWII with Freddie Brocksieper, Kurt Edelhagen and Hans Koller, before he started his own very successful brass band, the Original Schwarzwaldmusikanten. While it might not work as a re-make of the famous Laughing Record, fans of classical music might still find humor in this rendition of  Franz von Suppe´s “Dichter und Bauer”, as arranged by Rolf  Schneebiegl.

There´s some crafty voluntary out of tune playing to be heard…

DAS KLECKERSDORFER SYMPHONIEORCHESTER, Dichter und Bauer

The reason I bought this record, was the sleeve, designed by cartoonist Reinhard Streit. I found no information about him online at all.

However, I found four cartoons by Reinhard Streit in my collection, published in the small book “Ohne Worte” (Without Words) in 1956 by Verlag Kurt Desch. The company published a European, a French and a German cartoon anthology. This is from the German edition:

Reinhard-Streit-Patentamt

Patentamt (patent office)

Reinhard-Streit-Frieden

 

Reinhard-Streit-1-2

 

Reinhard-Streit-Strip

 

 


HERMANN SATTLER MIT SEINEM ORCHESTER, Blasmusik, 1965

wenn-du-lust-hast-frontBlasmusikWenn Du Lust hastEven more dirty schlager songs by the tiny Cady label. The illustration on the sleeve was drawn by the same anonymous artist that did the Helga Mohr sleeve.

HERMANN SATTLER MIT SEINEM ORCHESTER, Blasmusik, 1965

HERMANN SATTLER MIT SEINEM ORCHESTER, Wenn du Lust hast, komm zum Kegeln, 1965

kegeln


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