Rucki Zucki Stimmungskapelle, Vitamin A, Stromspere and Ixtoc-1 were part of the scene of the first Berlin DIY punk venue KZ 36 (36 – old zip code of Kreuzberg, KZ short for “Kulturzentrum”). In its short existence between 1980 and 1982, Karl Walterbach – a guy ten years older than most of the teenage punks of the collective – managed to release two KZ 36 albums that documented the bands from that scene. Volume II also features RZSK, Vitamin A, Stromsperre and Ixtoc-1. Walterbach later capitalized on the booming German amateur-punk movement through his label Aggressive Rockproduktionen. Tired of being exploited, the four bands took a radical anti-commercial stance and formed their own collective – VISA-Tonkooperative (Vitamin A, Ixtoc-1, Stromsperre and initially Actosin Pervers. When they broke up, Rucki Zucki Stimmungskapelle stepped in). In 1982, they put out this political DIY punk record.
The complete works of Stromsperre and Vitamin A have been re-released on vinyl in the early 2000s by the Berlin punks of Rotten Totten Records. Rucki Zucki Stimmungskapelle and Ixtoc-1 have not been re-released. After more than 30 years, I think it´s time to take a closer look.
Like many other punk bands, members of Stromsperrre and Vitamin A grew up in Berlin-Gropiusstadt, the high-rise ghetto made famous by Christiane F. It still makes my mind boggle, how politicized these ghetto-teenagers were. Nurtured by Social-Democrat politics, leftist teachers and the very visible 1970s radical movement of Berlin, these guys were decidedly brave and idealistic. In the 1980s, the conservative backlash changed German society. In general, working class kids were no longer encouraged to get higher education. Today, this type of politicized working-class teenager has vanished. In fact, teenagers today don´t seem to claim any identity of their own. When I became a Teddy Boy and later discovered Hardcore-Punk, I was 14 and 16. We were all just kids. Working class kids met with rich kids through youth-subcultures. Today´s kids mostly stay were they were put by their parents. I´m stressing the word “kids”, because you can hear it on the record. Beside all the serious politics there´s a lot of goofy kids stuff on this record.
Like this short a capella introduction by Rucki Zucki Stimmungskapelle:
Metamorphose should have been a hit. The saxophone gives it a post-punk feel, but it is also a political song full of bitter sarcasm:
“Soon we´ll be at the end/ Of the great experiment/ We´ll love the taste of gasoline/ We´ll need exhaust fume to breathe/ Onward, onward to the next step of metamorphosis”
Despite their silly and misleading name, Rucki Zucki Stimmungskapelle were the most musically and lyrically ambitious of the four bands. Their songs Clockwork (Uhrwerk) and Softanimals are also the only non-topical songs.
“People are scared/ Afraid to walk the streets/ I´m a colourful rocking horse/ And I´ll lend you my super-ego/ I wear a red striped shirt/ And I´m eating mom´s mail”
Softanimals is a direct translation of the German “Weichtiere”, so called Mollusca – spineless animals like snails, clams and octopuses. A funny song on a serious topic:
“Soft animlas have a hard life/…/ That´s why everbody wants to be hard and angular”
Another goofy bit by RZSK. You can hear that these guys are not some West-German small town transplants, but local Berlin teenagers.
The door is locked. Their buddy “Duffy” is sent to get a key….
Ixtoc-1 named themselves after a huge oil spill in the Gulf of Mexico on 3 June 1979, shortly before they were forming. Again, despite its clever political implications, Ixtoc-1 was not a good choice for a punk band name. Ölpest (Oil Spill) would have been better. Or Katastrophe. Or Blowout. The band also recorded the 12″ Gut ist was modern ist in 1982, that was more refined and progressive, while still largely remaining punk. Why Do Things Have To Change blog posted it in February and you can get it here. The early Ixtoc-1 is a great mix of political and goofy:
Staat (The State) is an anarchist song:
“Greed rules the world/ Anything and anybody is for sale/Corruption in politics/ People want to govern people/ That´s what they call democracy/ I hardly ever works/ The good thing about the state is/ Death!”
Von oben (From The Top) is another anarchist song:
“What´s you life worth?/ Do you have the right to exist?/From the top / They want to control you/ You´re not supposed to think”
Teenage Love is a song about masturbation.
Teenager indeed! Very young looking Ixtoc-1 vocalist Harald Gantzberg on the cover of a book about punk (Last Exit. Punk, Leben im toten Herz der Städte, Rowohlt 1982).
By coincidence, I found a profile and a photo of Ixtoc-1 in a Berlin rock music guide (Rock City Berlin – Das aktuelle Handbuch der Berliner Szene, 1985), that I bought some years ago in a local second-hand book store. By then, vocalist Harald Gantzberg had left the band. Incidentally, today Harald works as an editor in the comic book field! The line-up was Mathias Klötzke, bass: Lutz Werner, drums; Christian Werner, guitar. In 1984 the group was among the top-20 at the annual Senats-Rock-Wettbewerb, a government-funded battle of the bands. “Our music is a combination of entertainment and modesty. We´ve known each other since elementary school.”
Ixtoc-1 broke up in 1985.
Discogs says that the booklet that came with the LP has 18-pages, Sadly, mine is missing 6 pages. Stromsperre contributes a lot of small type anarchist writing. Their slogan is: “Musik als Waffe” – Music as a Weapon.
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…
I usually only post records by artists that are either anonymous or pseudonymous or dead or no longer active. I will keep true to that guideline, but I´ll make an exception with this privately pressed 45 just because I like it. Also, the songs have never been re-released, so basically nobody heard them since 1981.
After I bought the record last week at a local Kreuzberg flea market, I checked the Internet and immediately the name of Peter Gentsch, guitarist and vocalist with Leib & Seele came up. Now in his late 60s, Peter is still active and living in Kreuzberg. The Saturns, the Dreamers, the Kids, Ballads, Reaction, Mercurys – his website lists a whole bunch of Berlin groups he´s played in since 1962! The guy is a walking monument of Berlin rock history.
So, here´s some late Krautrock from Leib & Seele – body and soul. Kreuzberglied deals with living close to the Berlin Wall, deep in the heart of Kreuzberg. It´s an authentic early 80s Kreuzberg anthem, even down to the Berlin accent.
Hope you don´t mind me posting this, Peter…
“Ick wohn in Berlin, gleich an der Mauer,/ im tiefsten Kreuzberg, noch was genauer,/ Inne Wiener Strasse, im 4. Stock./ Und massenhaft Leute und Spatzen sind im Block./ Und tausend Hunde,/ was sag´ick, dit sinn noch viel mehr./ Renn ick über de Strasse,/ kommt er hinter mir her./ Und ick krieg Schiss, vor Gebell und Gebiss. / Und hör noch sofort,/ dasser janz harmlos is´./
Und fahr´ ick mit der U-Bahn,/ Kontrolle kommt rein./ Denk ick: So´ne Scheisse,/ muss dass denn sein?/ Die Jungs steh´n vor mir,/ woll´n die Fahrscheine seh´n./ Ick sag´ mir bleib´ ruhig,/ hab´ ja sowieso kehn./
So wohn´ ick in Berlin,/ gleich an der Mauer./ Im tiefsten Kreuzberg,/noch was genauer./ Inne Wiener Strasse, im 4. Stock./ Und massenhaft Leute und Spatzen sind im Block.”
I wore one of those german Bundeswehr parkas in the late seventies too.
Only, I was just 12 years old…
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! …
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…
This is a Carnival record from Saarbrücken, the capitol of Saarland. One of the smallest of the sixteen federal states of Germany, it is is located in the South-West, bordering on France and Luxembourg. The Carnival club “M´r sin nit so” (We´re not like that) still exists today, but their lone, privately pressed 7″ from the 1970s has been long forgotten.
“Wenn ein schöner Tag zu Ende geht” starts off rather boring with only the choir singing, but picks up a bit of swinging energy after 50 seconds when it mixes “Glory! Glory! Hallelujah”, “When The Saints Go Marching In” and a bit of “Hair”. The combination of choir and orchestra and especially the lyrics make this very secular Carnival tune sound like some Christian music from the same period: “Be happy at the end of the day… there will be peace on earth if all people are free… let´s love, not hate…”
SAARBRÜCKER GILDERCHOR – TANZORCHESTER DER STADTKAPELLE SAARBRÜCKEN, Wenn ein schöner Tag zu Ende geht
SAARBRÜCKER GILDERCHOR – TANZORCHESTER DER STADTKAPELLE SAARBRÜCKEN, Das is Saarbrigge
Saarbrücken literally means Saar bridges. The photo on the record sleeve presents a view of the Saar river and a bunch of industial buildings in the 1970s:
The back of the sleeve shows the Carnival Committee, consisting of local dignitaries, during one of their meetings:
A cartoon of a Jester is signed: Bothofus. Both of us?
Logo of the Carnival club:
In 1966, a local radical leftist theatre group re-invented theatre for children. Despite criticism from the conservative mainstream, the socially conscious plays of Grips theatre became increasingly popular. Kids like me, who grew up in the early 70s, especially loved the bold and very catchy Grips songs, that were mostly written by Volker Ludwig and Birger Heymann.
In the mid-70s Grips also started to write plays for teenagers. Grips produced a number of actors who later became famous. Heinz Hoenig (leaning over the bench, wearing sneakers) played in Die schönste Zeit im Leben, three years later he starred in Das Boot as Maat (Petty Officer) Hinrich.
These are great songs that do not deserve to be forgotten. Unfortunately so far nobody has cared to re-issue them.
( Im November 2013 schrieb ich über diese Platte bereits in der Jungle World den Text Herz, was willst du mehr. )
This is an EP that I found last week in the 50 cents bins of a local second hand record store. Didn´t even listen to it in the store, but was expecting some boring Christian music from the subtitle “Worte Jesu im Chanson“. What a surprise, when I put the needle on the record! Of course, if I had read the liner notes more carefully, the name Peter Herbolzheimer would have rang a bell. No idea why such a highly acclaimed jazz musician contributed to a record that was meant to help “The advancement of the clerical professions”. In 1972, Herbolzheimer, together with Jerry van Rooyen and Dieter Reith, won the highest German medal of honour, the Bundesverdienstkreuz, for the opening score of the Olympic Games in Munich. Incidentally the three of them teamed up again for this record. Herbolzheimer died aged 74 in his hometown of Cologne on 27 March 2010
Despite the big names, these songs have never been re-released, obviously because they´re suffering from a severe case of Flandersitis.
But listen to the funk!