I usually only post records by artists that are either anonymous or pseudonymous or dead or no longer active.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…
A krautrocker´s chocolate bar? The Topset chocolate bar seems to have vanished from the market quickly, at least I can not remember it and I was 8 years old in 1974, a perfect customer for chocolate bars. I guess I was more into Kinderschokolade.
I posted another promotional 45 by Joy Unlimited in 2008.
“Was heisst´n das, groovy?”
“Topset ist groovy!”
Nice water color drawing here on the sleeve, but with a classic “mistake” by the artist. Whenever I have drawn guitars like this, the musicians complained: ” That´s wrong! Why do the guitars have no strings?”
Titi is Tweety in french. It is also a nick name – short for Thierry. But who is this mysterious Sombrero-wearing Titi? He sings with an obvious french accent and the picture sleeve shows him busking on the streets, but then both songs were recorded in a studio with some noise and applause mixed in later on One Man Band. Also, Titi claims to play horn, flute, guitar and bass in the song, unfortunately, the production does not make it sound like that. So don´t expect the raw noise of Hasil Atkins, John Schooley, Reverend Beat-Man, Dead Elvis, Bloodshot Bill or any other Squoodge Records One Man Bands….
These are nice songs though, that have not been re-released since 1974. The B-side Wohin soll das führen even has some surprisingly up-to date lyrics about gentrification and the radical demolition of old buildings and construction mania in inner cities like Berlin…
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…
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…