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! …
Some 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…
It´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.
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…
Ich 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.
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…
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
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.