FANNY AUDRET, Chanson d´Orphee, 1959

Back when I still lived in Hamburg I loved to shop in a little thrift store near my appartement called Hamburgs kleinstes Kaufhaus (Hamburg´s smallest department store). It was  very well-organized and also cheap, so many poor people from the neighborhood came to the store to buy household stuff like pots and  pans.  When I visited my old home the last time, I noticed that the original poor population has largely been driven out of the area. But the store still exists. It´s where I found this record in the early 90s.

I never knew much about it until recently, when I researched a bit. Nothing on Fanny Audret or the Carrousel label on the Internet but I found information about the songs.  Chanson d´Orphee is the title track to the film Orfeu Negro (Black Orpheus) made in Brazil by French director Marcel Camus in 1959. I had seen the movie and I even have the French soundtrack EP, but I still didn´t recognize the song. Probably because this version has a different tempo.

FANNY AUDRET, Chanson d´Orphee, 1959

Le Train Bleu was a luxury French night express train  which carried wealthy and famous passengers between Calais and the French Riviera  in the 1920s and 30s. It was dubbed “The Blue Train” because of its dark blue sleeping cars.  Luis Mariano recorded Un train bleu dans la nuit in 1959 as a tribute to the train. Caterina Valente also recorded a version the same year. According to French Wikipedia Un train bleu dans la nuit is a version of  “Blue Train in the Night” by legendary Bebop double-bassist Ray Brown with French lyrics by Pierre Delanoë. But for some reason  I couldn´t  find a Ray Brown song called “Blue Train In The Night”. Anyway, it is a beautiful song:

FANNY AUDRET, Un train bleu dans la nuit, 1959

As a side-note that would tie the two sides of this record together, here´s Ray Brown performing a bass solo of Black Orpheus in 2001:

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Musical Chairs

After caring so much about the works of other artists here, I figured it´s about time I  also showed  some of my own stuff.  Eine deutsche Version dieses Comics findest du hier.

This album is probably the earliest Star Club re-issue compilation. All the groups featured on it have played at the Star Club, but only a few are live recordings like Little Richard´s Good Golly Miss Molly.  It´s nothing compared to “Jerry Lee Lewis live at the Star Club” ,  still one of the best rock´n´roll live albums ever recorded. That album has been re-issued recently on 180 gr vinyl by Bear Family Records. Yeah, Bear Family is finally doing vinyl again! If  you´re a rock´n´roll fan and if you don´t already own it, get it now. It´s one of the albums that you can take to your grave.


TONI CAVANAUGH UND DIE LIVERPOOL TRIUMPHS, Rock´n Twist Slop Hully Gully, 1964

Actually this is almost too good to be posted here. It´s  a fantastic LP and I was surprised when I searched for it on the internet and found, that it has never been re-released (apart from Hummel-Twist that appeared on a bunch of comps such as the Beat on The Krauts Im Star Club Hamburg LP Vol.2 that Dionysus/Romulan re-released in the 90´s and on one of Bear Family´s  Tausend Nadelstiche CDs) at least to my knowledge. There´s no reason why this music should not be heard by as many people as possible. But please let me know if I´m wrong. If this ever saw a proper re-release,  I´ll delete it immediately. This album definitely deserves one. Posting music of this caliber (and format!) will be an exception here and I´ll return to my usual beloved garbage pickings next week: the music that doesn´t need to be heard by as many people as possible…

I bought the album 10 years ago in pretty excellent condition (so please take the time to look at my supersized scans) and initially I only wanted to post one track of it , Hully Gully, because Troy pointed out in one of his recent comments that the Hully Gully song seems to have been a trigger for violence when played in the Beatles Star Club era. Toni Cavanaugh´s version is pretty free and wild and has some lightning-fast guitar breaks but it´s not a very aggressive song. The wording “Halli Galli” however, directly derived from the Hully Gully dance craze is still used in Germany. We say: “Da is ganz schön Halli Galli!“, like, there´s some action  going on! Mostly it´s positive but it could also mean a quarrel. Toni Cavanaugh´s Hully Gully  is one of the wildest Hully Gully songs I know:

We´ll what about this outbreak of violence when Hully Gully was played? I don´t know these things, I was born in 1966. I did however grow up in  Hamburg right by the Alster, the beautiful lake that lies in the center of the city. My father and my mother went to the Star Club on one of their first dates. I´ve been living in Berlin for 13 years now and I love Berlin but Hamburg is my home town and will always stay close to my heart. I´ll always be a Hamburger.

Toni Cavanaugh (Orlester Watson Cavanaugh) was born in Indianapolis in 1939 ( the year my mother was born). He landed in Germany in the late 50´s as a US paratrooper and was stationed near Mannheim but soon found himself entertaining the troops on various stages around Germany. After his military time he ended up in Hamburg in the blossoming rock´n´roll scene on the Reeperbahn. In 1960 he was drumming in Tony Sheridan´s group the Jets for a while, who were playing the Top Ten club regularly. He also played with Tony Sheridan in the Star-Combo, kinda the house-band at the Star Club from 1963 to 1964.

In 1962 he had his own group, the Bats. 1964 saw the release of this LP Rock´n Twist Slop Hully Gully with the Liverpool Triumphs.

Side 1 starts of with a rousing versions of

Long Tall Sally (wrongly titled My Babe on both the label and the sleeve) Mashed Potatoe

I´m Talking About You


and a fast saxophone-driven version of  What I´d Say.Hummel-Twist is Tony Cavanaugh´s most well-known song, likely because it was the only one sung in German on this LP. Hummel Hummel Mors Mors is a very old greeting of local Hamburgers. As legend has it, Hans Hummel was a poor worker, a water carrier in the 18th century, who was always teased by little kids, so he replied: “Klei di an´n mors!”(kiss my ass). The greeting is a call and response thing. When I was a kid and we were on a family trip, me and  my brother used to look for passing cars that were also from Hamburg. When we found one, we´d scream “Hummel Hummel” and sometimes they would scream back “Mors Mors” to our greatest delight.

The lyrics to Hummel-Twist go like this:

Hummel Hummel Mors Mors, ich bin ein Ausländer/Don´t you know , ich sprech´kein Deutsch/ My mother told me, don´t you go/ Hummel Hummel, ich weiß nicht, was das heisst/Hummel Hummel Mors Mors, yeah yeah, Mahlzeit!/…/ Hummel Hummel Humel Mors Mors, mein Mädel hat zu mir gesagt: Wenn du kommst nach Deutschland mein Kind, man sagt: Hummel Hummel Mors Mors, sagt jeder Hamburger/Ich bin ein Ausländer, ich möchte deutsch lernen, Hummel Hummel Mors Mors, JAAA!/…/Hummel Hummel mors Mors, ich bin ein Ausländer/Hummel Hummel Mors Mors, ich weiß nicht, was das heisst/ Hummel Hummel, Hummel Hummel, Hummel Hummel/ Hummel Hummel … Mors MorsIch weiß nicht, was das heisst…Aaah!…Is´egal!…Wie geht´s?


Side 1 ends with a version of  Money that sounds similar to a lot of  versions from Star-Club groups, BUT this has a great drum and saxophone sound! This sounds like it was recorded live and it was!

Side 2 starts with Jezebel,

then the aforementioned awesome Hully Gully, Slippin´and Slidin´ (again wrongly titled We are slopping. Yea, there are a lot of mistakes on this record…),

and a funny little number called Twiullyop, a mix of the words  twist, hully gully and slop. Otherwise a pretty straight beat stomper:

The album closes with a soulful rendition of  Tell Me, Baby.

In 1965 Toni Cavanaugh got a deal with Teldec and recorded four songs in German backed by  the “Beat Brothers”, among them Kingsize Taylor, Howie Casey and some members of the Blizzards from Stade, a small town near Hamburg.

Toni Cavanaugh continued to play with various groups in Germany  into the 70´s, but finally went back to the states, leaving the music business behind altogether. He died in a nursing home on November 5th,  2005.

Like other African-American expatriate  rock´n´rollers such as  Rocky Roberts in Italy and the great Harold Nicholas in France, Toni Cavanaugh left some very fine recordings in Europe. It´s time that they are paid a little more tribute to.


Auf der Reeperbahn nachts um halb eins

This is the most famous song about the Reeperbahn, the main road that leads through Hamburg´s red light district St. Pauli , where a lot of stripteasing was going on at the time of the release of this flexible postcard circa late 50´s.

One of the pictures shows the Grosse Freiheit, the street where the famous Star Club was located. I don´t think it was  opened yet at the time when this photo was taken but you can see a little star on the left side of the street advertising for the old Stern-Kino, the Star Cinema, that later became the Star Club.

(click on the picture to make it bigger)

This is not Hans Albers singing but an unknown artist. Too bad that the record is not in good shape…

Auf der Reeperbahn nachts um halb eins


DIE GOLD DOLLAR CREW, Alles klar (Der Gold Dollar Filter Shanty), 1979




Don`t download this. You don`t even need to listen to it.  I just add this because it ties in nicely with the Cigarettes & Alcohol-

theme. It`s garbage. Unless you`re into Dixieland Jazz or the Northern-German Shanty-singing style. And even then it might still be garbage.

This flexi-disc advertised for Gold Dollar cigarettes but you could also win a bottle of Morgan Rum in a rhyme-contest. Sung to the tune of My Bonnie, that even the Beatles covered on their first single. Still, don`t listen to it…

DIE GOLD DOLLAR CREW, Alles Klar (Der Gold Dollar Filter Shanty), 1979


THE OUTTASITES, You ain`t cool (but I love you!), 1998

Last week I´ve posted some odd German private pressings that I found in thrift-stores and that I  hardly knew anything about.    I have a lot more to say about the three odd German records that I post this week.

The Outtasites was my own band back when I was still living in Hamburg. I met Carsten at a Man or Astro-man? show in 1995.  Seeing that I had been dancing like crazy, he smiled, handed me his beer and said: ” You must be thirsty!”

A while later I met Carsten again on the street in St.Pauli. He had just moved to Hamburg from the South of Germany and gave me one of his fanzines that he was doing at the time.

We talked about Chaos Days, the big Punk meeting that was going to happen in Hannover. We both wanted to go. Another week later we all packed up in his roommate  Sebastian`s  car and went to Hannover.

The two days at Chaos Days are pretty much a blur. We swam in a sea of thousands of punks, gathering on the streets, drinking and shouting, hundreds of Punks throwing beer cans at each other, Total Chaos playing in a park for free,  lots of cops and then the riots started… We spent the whole night on the streets until the sun came up.

The next day, still hung-over and worn-out, we walked over to Hannover´s huge baroque garden and smoked grass.  Carsten and I discovered that we were both huge fans of  Surf music but also of bands like the Oblivians, Teen Generate and everything Crypt Records put out. While in the park we fantasised about starting a band. At the  time I was smoking a brand of cigars  called Nobel. I wanted us to be the Nobel 3. Carsten already played guitar. Sebastian had a bass guitar and I lied that I could play the drums.

Back in Hamburg the three of us actually got together in a rehearsal space of a friend. Carsten knew a couple of  Surf licks  and Sebastian and I enjoyed backing him. After we were finished I admitted that that had been the first time I ever played the drums. I was 29 years old, but I had always liked dancing. Somehow I had figured that if  rhythm was the most important thing, I could do it.

That group didn´t last long because Sebastian left to study in South-America. Carsten and I kept jammin´ together and looked for a bassist.

We tried out a couple of people but an accordion didn´t really fit  and we didn´t want to sound like Electric Frankenstein either. We were going for a sound that was much more primitive.

By coincidence I met Stefan at a Hardcore show and asked if he knew somebody who could play bass. He said: “Yeah, me”, and that sealed it. Stefan never really got into the garage sound. He was a Punker and he liked the more elevated emo/screamo stuff that (together with the crust and grind) saved the underground hardcore scene in the early 90`s. But he gave our sound a certain edge that the more retro-minded garage bands lacked. And I had a lot of common ground with him because I had spent the later half of the 80s in the Hardcore scene.

We called ourselves the Outtasites because by coincidence Carsten and Stefan both wore big-rimmed Ray Ban glasses. They looked like twins and sometimes people thought they were joking when they saw them together. Initially when we played I put on glasses too (without lenses) to match their look. Although  Stefan mostly complained,  we wore   matching outfits that I made  before every show. We wanted to be the hardest garage band in Hamburg. Which was not a very difficult task at the time, because most bands were occupied doing the pure 60s beat style. Carsten wrote most of the songs and lyrics and also sang. Live Ann-Kathrin would often join us for a couple of cover-songs by the Gories and the Trashwomen. I also sang on two of our songs.  Because I really enjoyed our music, I was always smiling when we played. When Tim Warren saw us playing our first show, he called us: “The Benny Goodmans of Punk Rock”.

We were wilder and sloppier than local bands like the Bazookas, Painted Air, the Looney Tunes, the Sinalco Bums and the Cave Girls. Until we played with the Moorat Fingers. But they were from Bremen. A hard town in the 90`s. I loved that band!

From late 96 to early 98 we played with a lot of local bands mostly in St.Pauli but also made it to Bremen and Berlin. One memorable show was together with Dackelblut, a intelligent Deutschpunk band from Hamburg. Their merch-guy Riebe had invited us to support them at Köpi, the famed squat in Berlin. We travelled in the Dackelblut van and arrived at the site of the huge impressive ruin that is Köpi. We had not played at a place like that. Dackelblut was pretty much a German cult group and soon hundreds of punks filled up the place, the line going way outside of the area. We were scared. How would a bunch of uniformly dressed garage guys go over here? It didn´t help that the last band that had supported Dackelblut at Köpi, the much more prolific Blumfeld, had been booed off the stage by the punks.

When we went on the place was packed. Glue sniffing Polish punkers came in armed with plastic bags full of beer cans. After the second song they started a fight. We kept playing. The fight stopped. I always played standing up and put my drum set directly at the front of the stage. A older-looking very drunk Punker kept messing with me and tried to hit my cymbal with his hands. In between songs I calmly tried to reason with him. No reaction. After a while I had enough. I aimed closely and hit his hand real hard with one of my sticks. He was shocked for a second, but it stopped him. After a while the punks kind of warmed up to us and some were dancing. Now the drunk punker tried to sleep on my bass drum but that only  made me hit it harder. In the end we had won the punks over. I thought that if we had made it at Köpi we could play anywhere.

In October 1997 I met my girlfriend Julia and decided to move to Berlin. The band stayed together for another couple of month and we managed to record this 45 in January 1998 at Ronny´s Alien Studio. I don`t remember much of it.  I was drunk when it was time to sing my song “Faster”.  I slurred the line a little: “I can`t wait to the year 2000” when it must´ve been:  Faster, faster, faster -I can`t wait to live in the year 2000. The rest was all good and I tried to sing it as aggressively and over the top as possible:  I wanna ride a space shuttle. I want my life to be artificial. I wanna live on the moon. I want my life to be a space cartoon.

THE OUTTASITES, Faster, 1998

Oh, well, that`s how it was pressed into vinyl for eternity.

Carsten had the records pressed and  sent them out to some distributors and stores. That was it. I had a real good time in the Outtasites but after that I never played drums again.

Carsten and Stefan are both still living in Hamburg. Stefan`s last band was  Eniac.  Carsten last played in the Reborn Losers and we`re still friends.

Enjoy!

THE OUTTASITES, You ain`t cool, 1998

THE OUTTASITES, Alone, 1998

THE OUTTASITES, Blues Depression, 1998

At the same session we recorded another of our  songs, a Surf-Instrumental kinda like Man or Astro-man? only sloppier,  that was featured on the Motormania double-LP put out by Sounds Of Subterrania

THE OUTTASITES, Desaster, 1998

Our frequent live guest star was Ann-Kathrin. She had a nice  strong voice, great stage presence and impeccable taste in music. Of course she chose the Trashwomen cover.  Sadly the Outtasites did not last long enough to recorded anything properly together with Ann-Kathrin in a studio but I recently found these two takes from a rehearsal.

ANN-KATHRIN & THE OUTTASITES, Take 1

ANN-KATHRIN & THE OUTTASITES, Take 2


DIRTY DOGS, Lose Control, 1978

While in Erlangen I took an hour off and went to a second hand book and record store near the train station.

That´s were I found this 45 by the Dirty Dogs from my hometown Hamburg. I knew I had to buy this when I saw the band members cool biker outfits (click on the picture to make it bigger). Apparently the guys used to play in Beat bands in the Star Club era. Ten years later they must have remembered how much fun it used to be to just “rock out” when they were teenagers. But being better musicians and older and wiser they ruin it. On the back sleeve it says that they play Rock`n`Roll the way it used to be played in the 50s.

“Lose Control” starts off with screaming girls, barking dogs and a voice that shouts(at the dog): “Mando! Mando! Das is Kacke hier! Echt, du! Mann, das kann doch nicht sein… Lass das.” (Mando!Mando! That´s shit here! Really! Man, that can`t be… Stop it.) but then the piano sets in and they turn into “Sha Na Na” meets “AC/DC”. The B-side sounds like “Status Quo” with strings. A Rock`n`Roll parody . Punk had to happen.

Still fun to listen to…

DIRTY DOGS, Lose Control, 1978

DIRTY DOGS, Come Alive, 1978