I´ve loved the drawing style of Hans Jürgen Press since I was a child, so I recognized it immediately when I saw the album cover of this 10″. The clear, slightly broken lines, the big noses and the light-hearted humor are typical for this outstanding German artist. Probably because it was not directed towards children, the design is not as overcrowded with detail as his usual work. There is a well hidden small signature in the far upper right corner. Just as well hidden as the clues that Press was known for placing in his picture puzzles in The Adventures Of The Black Hand Gang.
The album is a showcase of the Philips label instrumental pop catalog, ca. 1955, in combination with a “bar” concept: added background noise, chatter, clapping, glasses clanking, interrupted by the Polychord organ of Conni Amberg. It´s like a radio play without the speakers – you hear only the background sounds.
My favorite track is a medley of Margie, Nola and Dardanella by Svend Asmussen and his orchestra. Danish jazz violinist Svend Asmussen died last year at the age of 100. In the 50s, Asmussen was influenced by the violinist Stuff Smith, but this medley sounds more like the guitar wizardry of Les Paul…
I like this version with the added clapping better than the original version. You can listen and compare it here.
Initially, I didn´t want to post the whole album, because I thought it was boring. Then, after listened to it for a while, I found it to be strangely soothing. I guess, I´m into elevator music now…
I bought these two very similar 45s, credited to a Harold M. Kirchstein, at a local second-hand record store. Both have white labels, are hand-decorated with Victorian die-cut Santa Clauses and wrapped in plain paper sleeves. The one with the small hole has the words Liebe Weihnachtsgrüsse, Harold M. Kirchstein and the speed 33 1/3 written in red marker. The other one with the large hole says Frohe Weihnachtsgrüsse, plus the name and the same 33 1/3 speed. The first thing you´ll find is the name. Harold M. Kirchstein (1906 -1993) was better known in the world of popular music as Henri René. I own a few of René´s 45s backing Eartha Kitt.
But it´s not Harold M. Kirchstein or Henri René that is heard on these records. These elaborate Christmas joke records were made by a smart and sophisticated person not so long ago. The small hole 45 even has Henri René written in the outer grooves, plus I – m – re – I. Further the small hole 45 cites the swingin´ Ach, verzeih’n sie meine Dame, Gottlieb Schulze mein Name, a song written by Harold M. Kirchstein and recorded in 1936 by Peter Igelhoff. The lyrics also mention Die Goldene Sieben, one of the top German swingin´ orchestra in the 1930s, co-founded by Kirchstein. Harold M. Kirchstein left Germany in 1937. The whole record musically hints at the German-American story of Henri René. A story that has not been told in full yet. Let´s hear:
Two minutes into his goofy Christmas collage you´ll hear a sample of the Singing Dogs version of Jingle Bells. Frohe Weihnachten und Prosit Neujahr! Merry Christmas and a happy New Year!
One last Berlin country & western record in this series. No information available online about the County Pickers. I´d put their privately pressed “Take One – Stereo EP” – a DIY production with hand-made sleeves – in the early 80s. But who knows. This seems to be the first public appearance of the group on the Internet.
The six members of the Country Pickers were: Charly – lead guitar, chorus, 12-string guitar; Eric – vocals, chorus; Evy – Vocal, chorus; Frank – drums; Norbert – guitar, vocals, chorus, organ, string orchestra; Peter – bass, vocals, chorus
I especially love the strangely endearing Springtime in September…
“Die faszinierende, moderne Welt der Bahn im Country-Western-Style. Mit dieser neuen Single präsentiert sich die Deutsche Bundesbahn als das, was sie ist: das moderne Dienstleistungsunternehmen mit Full-Service für Menschen und Güter.”
Vocals imitate the gravel-voice of Gunter Gabriel…
A bit of a mystery record here, starting with the group´s name. Aries Afosheenga on the sleeve, simply Afosheenga on the label, while Rock City, a Berlin rock music guide from 1985 lists them as Aries Afrosound.
And then, what is Afro-European Generation? Is it the title of the record or another name for the band? Further info from Rock City, shines some light on it: ” Steven was born in the star sign of Aries on the Ivory Coast, of Nigerian descent. His music (Afro-European Generation) reflects the life and team play of black and white people. Role models are Otis Redding, Sam Cooke and Frantz Fanon.”
Aries band members were: Steve (Voc, conga, g), Kola (voc,b,conga), Yomi (voc,perc,g), René (perc,g), Peter (dr), Conrado (flute, sax), Daniel (tenor-sax), Urban (p-synth). Recorded and mixed at STEVE`S MUSIC SHOP, West-Berlin. Distributed by STEVE`S MUSIKLADEN, Gitschiner Straße 96.
The sleeve´s line-up: Stephen Lawal (voc, g, dr, conga), Kola Adio (b, voc, conga, perc), Tina Warse (tenor sax), Daniel Hermelink (keyboard-piano), Parviz Ghiassian (alto-sax), Barry Anene (g, perc)
Despite its melancholy touch, Way Back To Africa is a laid-back West-African tune, straight out of gloomy 1980s West-Berlin…
The synth is used like percussion on Congaman:
Found this privately pressed 45 at my neighborhood flea market a while back. The seller said it was “kinda punk”. It´s a mish-mash of punk/new wave-influenced ROCK, specific to a lot of local bands in the late 70s and early 80s, when Berlin was punk capital.
Drummer Reinhard “Wurzel” Stey, who wrote both of these songs, came from an older generation of rock musicians. Since 1970, he had played in Panko Musik and later in Tontransport. Stey was also co-founded the first Berlin rock organization. According to rockinberlin.com, he died at an unknown date.
Grunewald forest is the largest green area in the city of Berlin. Still, the chorus of the song goes: ” The forest is much too small/ Concrete everywhere”
Found this one-sided promotional flexi disc for Triumph´s Blues – Disco Bras in Bruxelles last year. No information about the origin of the Graduates, but from the accent of DJ John Bright who introduces the group, I´d guess they´re from South Africa.
Two funky tunes advertizing for bras. Disco bras….
When I first listened to this EP, I immediately thought: This does not sound like a budget-group doing a half-assed promo song, but an established rock´n´roll band. I listened to it again and again. Finally it hit me: I know this voice! It sounds like Eddy Mitchell!
I found reference to the record in the book La belle histoire des groupes de rock français des années 60 by Jean Chalvidant and Hervé Mouvet published in 2001: In 1962, Eddy Mitchell broke up with Chausettes Noires and went solo in 1963. In 1964 he briefly got together with Les Fantômes and recorded these four beat tunes…