Simply called Privatpressung, this my be one of the most private of German private pressing. It was indeed so secret, that the producers didn´t even include any information regarding the artists, authors, song titles, nor where and when they were recorded. The back of the sleeve is blank, same as the label.
The front cover contains anything but the most telling: a photo of a topless girl holding three 45s, strangely all by the Tempo label, at the time of this release – in the late 60s/early 70s, I assume – still one of Germany´s biggest budget labels. And a disclaimer…
By buying this record I declare that I´m of legal age, that I will only use this record privately and will not make it accessible to anyone below the age of 21. I declare furthermore that I will not be offended by the record that I bought.
People probably bought this record in an adult store or by mailorder, so they knew what they were getting. Honestly, forty years after these songs were recorded, they still make me blush. If you do not know German, they may just sound like a bunch of folk songs sung by a male-female duo, but believe me, they´re very filthy.
So be warned! If you click here: Don´t be offended…
The packaging of this 45 is pretty typical for privately pressed records – white, wrap-around paper “sleeve” and plain label colour and graphics. Everything else about this EP is out of the ordinary. The release in the early 1970s, coincides with the legalisation of homosexuality in Germany in 1971 and that of pornography in 1972.
The” girls” of the Travestie-Cabaret “Die Herren Damen laden ein” ( The Gentlemen Ladies invite you!) perform two jazz-standards and two risqué songs. Or actually, two lyrically graphic and pretty bold songs about sex. The name of the label says it all: SEX-Record.
Still, this is all quite humorous and softened by the cute vocals of the anonymous cross-dressing “Gentlemen-Ladies”. No clue who actually performed this, nor when or where. However, the songwriters of Die erste Nummer were Bert LoskaGraf Porno Mit Seinem Herrenclub “Intime 8” in 1970.
Die erste Nummer ist die Allerschönste (The first time is the best) questions the unrealistic display and frequency of sex actions in the flood of sex films that followed the lift of the ban of pornography. A wonderful musical time capsule of Berlin’s gay nightlife in the early 70s…
More risqué schlager by the Cady label. I bought these 45s because of the cartoon sleeves, designed by an anonymous artist. Helga Mohr sounds a lot like Gisela Jonas. Besides, there´s not much to say about these records. Nobody seems to want them. Nobody collects them. Nobody ever thought that they should be reissued in the past 50 years. However, I bet some fools will soon offer them on Ebay for 20 Euros, just because I present them here. Naturally, nobody will buy them.
I remembered that I had this record somewhere, after I read that our “German Andy Warhol with sunglasses and white hair”, was also in this group. So yesterday, I went down to our basement and dug in some old boxes for an hour to finally find this record.
This 45 is even more risqué than the previous one by the Ok-Singers, if not downright dirty! You can clearly hear the famous baritone, singing a song about a mouse in a kitchen and the female chef showing the male chef the hole it came from…
Most 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…
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…
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.
I´m never looking for anything in particular, when I´m entering a record shop. Rather I like to be surprised by what I find. It´s really like digging for “something else”. That´s why I hate alphabetically organized shops. I´m never looking for anything in particular, so I have to then dig through all of the records in the shop. In the case of the Lisbon record shop where I bought this week´s selection, there were more than 10.000 45´s in the store. None of them sorted and I dug through all of them. I like it if shops are sorted by genre, because I do have a roughly sketched set of odd genres that I´m searching for: comedy records, advertisement records, political records, children´s records, records made by kids, records made by old people, records from exotic countries and adult records.
This one is not really an adult record but I did buy it because it had the “Interdit de moins 16 ans”-tag and obviously because of Coccinelle´s semi-nudity. I even listened to it in the record shop, but apart from the suggestive Avec mon petit faux-cul (With my little fake ass) there was nothing dirty about the music at all. A faux-cul was the late 19th century fashion of upholstering womans dresses to make their behinds look bigger and more beautiful. A play of words, faux-cul can also mean hypocrite.
I didn´t know anything about Coccinelle until I got home to my Lisbon hosts, Marcos and Joana. They really loved this record and took the time to read the liner notes on the back cover.
Joana then quickly searched the Internet and seconds later presented the surprise: Coccinelle (French for Ladybug) is France´s first and most famous transsexual! A national celebrity and a renown club singer, Coccinelle had a sex reassignment surgery in 1958 in Casablanca. She performed regularly at the famous nightclub Le Carrousel de Paris and appeared in some movies. Her first marriage in 1960 was the first transsexual union to be officially acknowledged by the French government , establishing transgendered persons’ legal right to marry. A transgender activist, she founded the organization “Devenir Femme” (To Become Woman), to give emotional and practical support for those seeking sexual reassignment surgery. She also helped set up the Center for Aid, Research, and Information for Transsexuality and Gender Identity. Coccinelle died in July 2006 following a stroke.
I don´t think I would have found all this, without digging randomly. Luckily, as compulsive and crazy as my record collecting habit may be, it can also educate.
By today´s standards the Schock-Kings are not the least bit shocking. “Lady Chatterley” is reducing the famous literary original to a tale of female desire. The flip “Adele” , is a little more raunchy, leaving it to the listener to fill in words like: “dicks”, “cunt”, “fucking” and “shit”(?). All of this accompanied by the most awul Oom-pah-music imaginable. As I´ve written before, risqué Oompah-music was very popular in Germany in the 1960´s. There were hundreds of groups playing and recording this thinly veiled, insinuating party-music.
The small Carina label from Frankfurt mostly produced German Schlager and “Stimmungsmusik” but also the long-running rock´n´roll group “Fats and his Cats”.
DIE SCHOCK-KINGS, Das war die Lady Chatterley, 1962
DIE SCHOCK-KINGS, Adele, 1962