TITI, One Man Band (Ich hab´die Tröte und die Flöte), 1974

titi-one-man-bandBL-11310-ABL-11310-BTiti 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…

TITI, One Man Band (Ich hab´die Tröte und die Flöte), 1974

TITI, Wohin soll das führen, 1974

titititi-passanten


Ein neuer Schlager… , 1961

diolen-frontdiolen-backdiolen-seite-1diolen-seite-2A 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….

Ein neuer Schlager…

…die neue Krawatte aus Diolen mit vielen Vorzügen und einer großen Spezial-Werbung

 

 


LORETTA, Du allein

PD-2715-BPD-2715-A

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 Gangesand 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?

LORETTA, Du allein

LORETTA, Frage nicht nach meinen Tränen

party-logo

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)

Some more Party label images from ebay:eine-insel-für-zweiquando-quandoloretta-quando-quando

loretta-quando-quando

 

 

 

 

 

 

 

 

 


THE ROY BOSTON SHOW INTERNATIONAL

the-roy-boston-show-international-frontthe-roy-boston-show-international-back7-PAL-3529-ST7-PAL-3530-STRoy 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! …

Showtime! …

Showtime! …

Showtime! …”

 

THE ROY BOSTON SHOW INTERNATIONAL. Monkeytime

THE ROY BOSTON SHOW INTERNATIONAL, Peter Gun

the-roy-boston-bandthe-roy-boston-show-international

 

 

 

 


HENRI RENAUD ET SON ORCHESTRE, Blues pour G.

belles-frontbelles-backbluesbellesSome 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…

HENRI RENAUD ET SON ORCHESTRE, Blues pour G.

 

le-rock-des-compagnons


FRED GUTMANN UND STUDIO-BAND, Ich brauche dich dazu, 1960

prima-nr.4-4343 Tommy Kent (born Guntram Kühbeck in 1942 in Munich) recorded the original German cover version of I Need Your Love Tonight for Polydor. It was one of the last songs Elvis cut before he left the US for Germany to serve in the Army. Incidentally, Tommy Kent started his recording career in the flexi-disc business, first recording for Hit-Ton (a postcard record label) and Roxy, a sub-label of Vox-Imago, who also pressed flexis for the Prima label.

Unknown Fred Gutmann´s Prima version of Tommy Kent´s Ich brauche dich dazu, comes complete with reverb vocals and imitation of Tommy´s Bavarian accent. Gutmann recorded another rocker for the Prima label,  a fine cover of Billy Sanders´ Daisy du musst schlafen geh´n.

90 Pfennig – that´s what these one-sided Prima flexi-discs sold for. Supposedly a throw-away object for teenagers, 55 years later my copy still plays fine.

Plastic material can be quite durable. It´s possible. that this thin flexi might hold out another 55 years and still be around in 2070.

When nobody will remember what an MP3 was…

 

FRED GUTMANN UND STUDIO-BAND, Ich brauche dich dazu, 1960

prima-nr-4


Die Herren Damen laden ein!

Die-Herren-Damen-laden-einJB-7777-AJB-7777-BThe 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 Loska (alias of jazz-vibraphonist Heribert Thusek) and Stefan Laube, who also wrote similar risqué songs together for the LP Graf 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…

 

RITA JANEE, Die erste Nummer

MANUELA RIVA, Ich will dich

RICKY RENEE, Goody Goody

GLORIA DUVAL, When You´re Smiling

 

Herren-Damen


DIE DIXIE-KAVALIERE, Amalie geht mit ´nem Gummikavalier, 1962

amalie-frontIn-meiner-Burggummikavalierburg-am-strandeIt´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.

 

DIE DIXIE-KAVALIERE, Amalie geht mit ´nem Gummikavalier, 1962

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…

DIE DIXIE-KAVALIERE, In meiner Burg am Strande, 1962amalie


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