70 heimatliche klaenge Prae-Kraut Pandaemonium Vol.10
Heimatliche Klaenge - Native Sounds
Prae-Kraut Pandaemonium Vol.10
1 The Chatles - Children Of Stone
2 Eric & His Misfits - Walking The Dog
3 Buzz Benett - Chimney Sweeper
4 The Subjects - My Love Is True
5 Percy & The Gaolbirds - I Will Do
6 The Kings - Like Stone
7 The Wild Cats - Lovely Eyes
8 Inga - Dein Spiel Ist Endlich Aus
9 The Hi-Fi's - Uwe Aus Duisburg
10 The Strings - Don't Play
11 Fox & Company - Disappointment
12 Donkeys - All Your Lies
13 The Chatles - Dirty Limit
14 G-66 - Sunday Evening
15 The Sevens - Be My Loving Baby
16 The Scrappers - I Know It's True
17 The Roadrunners - Roadrunner
18 The Chains - Free Like A Bird
19 Good Morning - Hidden Track
After knocking at the gates of ruin with a double-LP last time, we're shouldering the shovels once again instead of wasting the profits on the Bahamas. And, yes, there still is some soil unplowed, the toture never stops...
Striking platinum after decades of gold digging is quite an unlikely affair, but just what happened when we occasionally stumbled over the unlabeled private pressing released by The Chatles in 65. Needless to say that the band called Berlin (West) their home. Just listen to the raging political statements concerning the city's most famous building (now defunct). Both sides are essential and in a moment of madness we decided to give you full charge instead of making you chew your fingernails waiting for Vol. 11 (which in embryonic format already tickles the amorphous brain of yours truely...).
Next is another 45 from 65, again no label but at least an address. Eric & His Misfits are one of the few hard-core punk bands from Stuttgart captured on vinyl. Our hometown had many (just remember Born To Raise Hell in the 60's, Abenteuer unter Wasser in the 70's and The Pinkees in the 80's), but they all seemingly were allergic to studios. Ha, studio! This one sounds like recorded in a trashcan. And don't call it a coverversion. Rufus Thomas would deny any paternity...
An EP on Balex records brings us Buzz Bennett from Basel, with a charming example of the naive art of Pop-Psych, Swiss style. It's a funny looking band and none of the 4 members has been christened Buzz or Benett. But 3 of the 4 tracks on their record are more than pleasing...
The Subjects were W. Brцhl, G. & J. Hawle, F. Haas and P. Frey and they're not identical with those Subjects you may know from Vol. 9. Their (once again) labelless 7" has an even weirder flipside called "German Measles", but you probably know this one from "Visions Of The Past 4"...
The Kings' one and only document of existence was on the Interphon label and it's not half as harmless as you may think. Just wait for the organ grinder drowning in an orgon tank. Willi Reich would have loved this one...
Percy & The Gaolbirds (not Goalbirds) from Enger had a lot of trouble with a name derived from the ancient spelling of jail. Germany's youngest beat band had an average age of 17 when they won the '66 Beat Festival in Recklinghausen, and were rewarded with a Columbia Records contract. "I Will Do" is one of the 4 tracks that saw the light of day on 2 singles. A fifth still in the can and we feel more than honoured by the permission of the band to include "Please Go" on Vol. 11...
You may remember The Wild Cats from Goslar. The A-side of their 7" was on Vol. 3. Here's the equally scruffy flip...
Inga. Yep, it's the girl who anagramed her name in the 70's to call her band Frumpy. But her debut from 66 is just good clean fun and light-years away from adult education soon to come with City Preachers, I.D. Company or Atlantis...
The Hi-Fis left London in 66 after 5 commercially disappointing singles for Piccadilly, Pye and A.L.P., Hamburg bound. They recorded 2 more unnoticed 45's for the famous Hamburg label of the stars, including the fantastic "Tread Softly For The Sleepers". In spite of zero chart action they had the opportunity to record an LP. On "Snakes And Hi-Fis"we've found this lovely tribute to a roadie called Uwe and we take the chance to dedicate this song to Uwe, the artist without whom we'd have 6 LP-covers less. While listening to the Hi-Fis you may wonder what's been so new about the New Wave. XTC had hits with that stuff a decade later...
Attention shoppers! This are The Strings from Hamburg of "Don't Go" fame, but here's their second single, called "Don't Play". Similar titles caused much confusion and often these two are mistaken for being one and the same song, but this cryptic snotter on Kerston is even better than their Acondor 7"...
If you still think that psych and garage sounds don't mix well, listen to this 69 single on Tresiton by Fox & Company with heavy guitar strangling and vocals from the tomb. Forget trying to find an original. Reliable sources confirm that the ridiculous amount of 25 copies has been pressed...
The Donkeys were on the shortlist for the last 4 years and grew up to be a personal fave meanwhile. Hard to understand why they didn't make it to vinyl earlier, but better late than never...
Beat Band G66 should be familiar to lucky owners of "Visions Of The Past 1". Here's the flip of their frantic single "I Feel Alright" on Vogue...
The return of Switzerlands finest, The Sevens. Not as merciless and bonecracking as their better known classics, but this strange kind of a Folk Punk is a show case for one of the great lost voices of the 60's...
As you know, we always try to smuggle one or two of these unconsciously funny little ditties on the playlist, that are so typical for German kids trying to walk in kinky boots twice their size. This dadaistic poem vaguely inspired by the English language was set to music by the totally obscure Scrappers. Don't confuse them with The Snappers, but that's about all we can tell on another hard to find private 45...
The Roadrunners left England after an EP called Pantomania, where they interpreted the wonderful traditional "The Leaving Of Liverpool" on the Cavern Label and went to - you guessed it - Hamburg. They soon became one of the reliable weekday attractions in the Star Club and recorded a split LP with Shorty & Them, only getting second best. Their true potential shows on two singles recorded live at the Star Club, but released before the famous label was installed. (They came out on another famous label. Take the short form of Onassis' first name and add the Spanish word for wave.) We voted for their eponymous song. It's wild, it's stomping and though it is a cover, it sounds like they've never heard Bo's original...
The Chains from Essen close the book of Toy-tones for this issue with another remarkably weird sounding 7" on ELP Disc. With a banshee choir and spine-twisting out of tune-fiddling it wouldn't sound misplaced on ESP-Disk. But as it is, here at Yahoo the compilers alone decide what you will hear on the dish.
71 heimatliche klaenge Prae-Kraut Pandaemonium Vol.11
Heimatliche Klaenge - Native Sounds
Prae-Kraut Pandaemonium Vol.11
1 The Venture 5 - What's Your Name
2 The Beat-Nicks - Feelin' Sad
3 The Mushroams - Dely
4 The Excelsiors - Don't Need No Other
5 The Image - Creation
6 The Gentlemen - You Never Try
7 League 66 - Tomorrow's Void
8 Earls - I'm So Glad
9 The Rags - Sunlight City
10 The Strangers - Hurt It
11 The Beat-Nicks - The Woman
12 The Major Shouts - I See Your Face All Days
13 The Boasters - How Do You Know
14 The All - I Don't Go Back
15 The Roadrunners - Little Ruby
16 The Vampires - Something You Got
17 Little Sparky & The Magpies - Hold On I'm Coming
18 St. James' - Helpful Man
19 Knut Kiesewetter - Just The Same As Me
Bonus - uncut version
20 The Venture 5 - What's Your Name
Welcome back to the wonderous world of Germanomania. Thanks for encouraging words, praise and criticism. And, no, we're not a bootleg label, we're a lick myboots-label.Amen.
In medias res with The Venture 5. They are not the US-band you may know from "Highs In The Mid-60's 13". These 5 had one of those EPs on Tempo consisting of Top 30 Beatcover. Much harder to find is their single on Juke Box Rec. As the debut of The Royal Servants appeared on the same label, they might even be a Swabian band. It took a while until it clicked, but "What's Your Name" is another (most likely) cover. You wonder how they got hold of the original by The (UK) Valkyries and turned a harmless little Beat number into this screaming monster.
Bad news for all those greedy collectors who can't find sleep before they own all the Prae-Kraut stuff in original format. Both sides of The Beat-Nicks' record are sensational, but it never was released officially. All that's left is this acetate made at Reuterton, a studio in Euskirchen. Their leader/songwriter was one Rudi Kasten, and that's all we know about one of the most exciting exhumations of the decade.
Another incredible discovery are The Mushroams on the PE-label. These hardly are recordings from the Club Lila Eule as the cover states. Tonstudio Isermann, immortalized on the label, obviously was the scene of the crime. But as the Lila Eule (lilac owl) was Bremen's Cavern, The Mushroams probably smelled of fish a bit while roaming on their mush.
The Excelsiors would be highly collectable even if their sole 45 was crap (but then, it wouldn't be here!), because it's one of those damn-hard-to-come-by-I'll-pay-a-million-even-without-sleeve-records on the Dr. Scherer-label. (We're desperately searching for a copy of The Lightnings-7", for instance...). There were Scottish, Irish and English bands, making it bigger in Germany than back home.
The Image came from Wales after failing to crack the jackpot with 3 singles on Parlophone. Rumor has it, that a young Dave Edmunds swung the axe, but neither their live appearance at "Beat Club", nor the pictures on the sleeves of their 2 German-only singles for Hit-Ton seem to prove it. After a disappointing attempt to beat Dave Dee & Co. on their very own territory, "Creation" was an unexpected move in the right direction and a brilliant fuzzy Freakbeat classic. But the mods with their stinky scooters didn't want to hear about pollution and Greenpeace came more than a decade too late. Right place, wrong time, so much about making it bigger...
The Gentlemen are our obligatory (a nod is as good as a wink to a perforated cheese) contribution to save Swiss history from oblivion. Come on, boys. There must be someone who's able to do the job properly in a country where Beat is a common christian name.
League 66 and their only claim to fame on APM shoud be familiar (see Vol. 9). Here's the chilling, thrilling, torturing, elegiac flip. Dig the slowness...
The Earls released one of the rarest self-distributed 45's from Austria and though most of the Oetzis are called Toni or Peppi...see under Gentlemen, The.
The Rags aren't the North Rhine-Westphalian Rags you may know from Vol. 2 and Vol. 7. Their label is Studio Hannover and they recorded there after a 35 miles drive from Goslar. "Sunlight City" is another one of these listeners in a love it- and a hate it-fraction with stuff like this, but that' part of the fun and intended.
"Hurt It", The Strangers spell this cryptic punk ballad in sadistic imperative. Grammatically even more adventurous it gets when they start singing: "It has hurted you". Pure dadaistic genius, I'd say. A multitude of Strangers were active in our country and most every city had a band of that name. These here Strangers recorded a 7" for the often underrated Kerston-label and are different from those on Paletten, who again are different from those (pre-King-Beats) Strangers on Decca.
After the even better flip of The Beat-Nicks' acetate (see above), you'll find The Major Shouts with the cute B-side of "Gammlin' Girl", misspelled on our Vol. 9 as "Gamblin' Girl" (Remember what a Gammler was?).
The Boasters on International were advertised as "Der Sound aus Liverpool" and indeed they copy the zound of the zity good enough to tempt you to believe they might be baptized with Mersey water. But as there's no trace of any Boasters in any British discography, we'll incorporate them till the opposite is proven and give them double passports then.
A two nationalities are The All with Frank Jarnach and Charly Krueger from Germany and Simon Hind and guitarist Dave Watt from England. (Though the latter seemingly has missed the bus when they recorded their only single for Fontana). They were the last incarnation of Lee Curtis & The All Stars and toured Germany for about half a year in 67 after Lee took the Autobahn to quit the Reeperbahn.
Pure-bred Liverpudlians were The Roadrunners. In 63 and 64 long residencies at The Star Club led to various recordings only released in Germany. More about them on Vol. 10. "Little Ruby" is the first of 2 non-LP 45's recorded on location. John Peacock on piano sounds like under the spell of The Killer from Feriday, who caused spontaneous piano combustions at the Club in 64.
A similar fate the other way round made The Vampires leave Hamburg after 2 heroic, but remarkably unsuccessful tries to win the annual Battle of the Bands there in 64 and 65. They moved to Spain and released 6 7"s for the Sesion-label. Their whole output consisted of coverversions apart from this 66 EP, which has 4 originals. And, yes, we already used one of them on Vol. 6.
Like The Vampires, Little Sparky & The Magpies on Paletten were 4 young lads with a soft spot for the soulful side of R&B. While such tendencies were inspiration for elegant Mod bands like The Action in the UK, the results over here often sounded like cavemen on heavy migraine. Little Sparky's interpretation of Sam & Dave's Memphis Soul classic clear case of transforms it to a spooky dirge.
The oddly named St. James' (see Vol. 9) are back with the other side of their sole single on Star Ton. There's still no reasonable info about these Folk Rockers and they still overexpose their chirpy vocal qualities a bit too much.
Knut Kiesewetter was quite a big name and - due to lack of competition - often labeled Germany's best Jazz singer. (This led to much confusion in our young brains and for a while we thought insipid white Gospel is what Jazz is all about). In 67 he smartly decided to go with the flow and released an LP on the smartest of labels (the club of the stars). After a couple of illfated attempts to get in the groove, he succeeds with "Just The Same As Me". A most unlikely choice and note by note just the same arrangement as on the original UK-Freakbeatsters The Southern Sound.
72 heimatliche klaenge Prae-Kraut Pandaemonium Vol.12
Heimatliche Klaenge - Native Sounds
Prae-Kraut Pandaemonium Vol.12
1 The Skins - What To Do
2 The Gentlemen - Let Me In
3 The Silhouettes - Crying Over You
4 The Gamblers - Little Girl
5 The Sound Riders - Come On Back
6 The Scavengers - Animal Station
7 The Richard-Brothers - I Just Wanna Make Love To You
8 The Hideaways - Momma, Keep Your Big Mouth Shut
9 The Uniteds - Lucky End
10 The Poor Things - She's Mine
11 The Dentals - Route 66
12 The Black Points - Don't Forget
13 The Sevens - Run Me Down
14 The Mimes - Drive Me Mad
15 Johnny & The Copycats - The Pain Of Love
16 The Speeders - Time Will Never Change
17 The Evolution - Long John
Same procedure as every year...Another great leap backwards to the most exciting decade of a century that is history meanwhile. Funny how time slips away. Hey, you're listening to classical music right now! Admittedly Germany played 3rd division since Robert Johnson, Hank Williams, John Coltrane, Bo Diddley and Lennon/McCartney took over from Bach, Brahms, Haendel and Mozart. But the number of germaniacs active during the 60's was much larger than we naively expected when we started this project and now the undead ghost of Lord Ulli drove us back into the pow wow tent to evoke the 12th Pandaemonium and keep the spirit alive in the next millenium.
Hard hitting, no-nonsense R&B bands on German stages weren't half as rare as you might think, but in those days we had more unicorns than independent studios in this country. If you were lucky enough to find one, you couldn't afford more than two hours with an engineer specialized in recording marching bands and yodlers. Sure, The Boots and The Monks had groundbreaking LPs on major labels, but - let's face it - they didn't sell, while novelty trash like "Balla Balla" and "Gloryland" made the charts. The most noble mission of company producers was to domesticate the rebellious youngster. Well that was the rule, but if there hadn't been exceptions, there wouldn't be no Prae-Kraut...
The Skins for example. Loud, proud and primitive. In 1966 CBS recorded the "Beat Contest of the City of Frankfurt" and released one of the few real live-LPs (most others had fake applause). If you've ever heard how the Skins shreddered The Kinks' "INeed You" (in spite of the heavy riff a love song after all) you'll know what a Rock'n'Roll suicide is. No Prize, of course. They probably took hostages hostages. By the end of the year they had the LP "Beat Party Nr. 4" out on that label (Actually a split LP with The Black Points. See below). Among ultra-heavy covers of songs you know from The Troggs, The Pretties and The Small Faces (check "Too Much Monkey Business" 2 and 4), we've found "What To Do", which seems to be an original and The Skins' idea of a ballad.
Here comes yet another bunch of Gentlemen, most probably unconnected to all the others and not the Swiss band from Vol.11. They had two 45's on that famous red label and while three of the tracks don't move me (or anybody), this speedy version of The Sorrows' "Let Me In" kicks ass. Although the original never was a big seller, an astonishing number of versions were in the orbit and it wouldn't make much sense to add another one that tries to hit harder than Don Fardon and comrades: The Gentlemen avoid that pit with a rearrangement of an R&B classic that has POWER POP written all over.
The Silhouettes from Neuwied had their Pandaemonium debut some three years ago on Vol. 8 and we somehow simply forgot about the fabulous flip of "Tell Me Baby".(Storz) "Crying Over You" sounds like Hollies in the garage and is an instantly catchy, first class example of moody continental Euro Beat.
Gambler on Layola most likely came from Switzerland. "Little Girl" is a great little R&B stomper and, as far as we know, the group's sole 7". The band bravely resists the singer's dubious ambitions towards Memphis Soul and the axemen counters with a solo on his chainsaw. Lucky punch!
Like The Swinging Blue Jeans and Mike Rat & The Runaways,
The Sound Riders had one of those damn hard to find LPs in the Liverpool Beat-series entitled "Live from the Kaskade Beat Club Cologne". Where they actually came from no-one seems to know, but these recordings from'64 show a very accomplished outfit without the usual language troubles that were so typical for most domestic bands. Their track lists offered a rather schizoid mixture of styles from Down Home R&B via Merseybeat to Chubby Checker's Hucklebuck, all executed in flashing brilliance. While many of these early live-LPs are hardly more than funny, this one is pure fun start to finish. The Riders' lack of own songs seems to be the only problem and a possible reason for their traceless disappearance soon after. They concentrated on Rock'n'Roll standards and B-sides of the newcomers like "Send You Back T Walker" (the flip of the Animals debut) and - our choice - "Come On Back", the tune that garnished the back of The Hollies' "We're Through".
It sounds like 66, but the one and only 45 of The Scavengers from Hannover saw the light of day on the tiny Studio Ton label as late as !968. "Animal Station" is one of these clumsy epics withought the slightest hit potential and a fine example of true Prae-Kraut. Trying to square the circle with weird tempo changes and the stubborn ambition to sound different at any cost, that's what we call significant German virtues (that led to even more adventurous results a little later in bands like Amon Dььl or Faust). And why did they call it "Animal Station"? Is this the first sodomistic love song in Rock history? A shepherd waiting for his favourte lamb to arrive with the next train???
The Richard Brothers from Frankfurt were The Marz Brothers Elmar, Ehrhard and Rainer with one actual Richard Ungerath. Hard to say why they had to appear under pseudonym on the CBS LP "Beat Party in Stereo Vol. 2" (1966), as they had three singles on the same label using their real name, The King_Beats (see Vol. 3). This stunning version of Willie Dixon's Chicago classic is a milestone of German R&B. Many bands have covered "Love To You" since it showed up on The Stones debut LP, but none created such painful tension. They play the verses slower than Muddy Waters and the refrain fasterthan The Shadows of Knight. Brainfried but brilliant.
At first sight, The Hideaways seem to be an odd addition in the context. The sound quality is slightly below our most modest standards and the band reportedly never touched German soil. But - here come the good news - this German -only EP on the EVA label is a minor sensation in vinyl history. Unavailable in record shops, it was a supplement to a book called "Beat in Liverpool", edited by Buechergilde Gutenberg in 1965. The Hideaways, who share the EP with The Clayton Squares, were one of the few R&B bands (as opposed to Merseybeat) in Liverpool. Sure, that style isn't exactly what the city was famous for, but on the popularity scale they were on par with The Roadrunners and The Undertakers and had about as much gigs at The Cavern as The Beatles and more than The Big Three. They obviously had an aversion to travelling and didn't even make it to a studio. These '64 live recordings from the Liverpool Sink Club seem to be all that's left of one of the classic Liverpoodlian groups and I wonder how anyone could even consider to press records from tapes as primitive as this one. Hats off!! The sleeve notes tell us that the "documentary character of distorted noise in vibrating walls with extatic screams of female fans" was more important than "hifi-quality". Good one that one, but the obvious problem is a terrible tape hoss produced by a couple of stomping feet to close to a first generation reel-to-reel machine.File under archaelogic artefact.
After decades in the mine you hardly expect to run into a monsterous nugget that no-one has ever heard of before, but that's exactly what happened when we found yet another 7" on that somewhat ceremoniously named label Dr. Binder Dokumentaraufnahmen.The Uniteds (unconnected to The United 5 on Riwo and The United on MPS) easily make the Top 10 of the German Madness charts with "Lucky End". The free form mayhem these loonies produce with sticks and strings defies description, but if Moe Tucker had been around in Lou Reed's Pickwick-days, The Roughnecks might have had a similar sound.
The Poor Things from Mainz soloidly ruined their reputation with two lousy singles on CBS and our hopes were tiny when we found out about their 67 album. And, yes, again the lion's share reminds of the spastic bullfrog's love call, but right in the middle of all that blue eyed soul-catastrophes you're confronted with "She's Mine", a majestic variation of the "Louie Louie"-riff with an organ solo that cuts like Ripper Jack. The Dentals from Tuebingen had this one 7" on the local HE-label and although their version of Bobby Troup's classic swinger "Route 66" is fine, the essential reason for inclusion are the much funny tongue tricks of these lingo acrobats. As if it wasn't enough that we here in Swabia invented the automobile...The Dentals convincingly demonstrate their revolutionary method of learning English on the loo and prove that it's possible: Arrive without travelling. Next stop Babylon.
The Black Points were active in and around frankfurt and shared the above mentioned Lp with The Skins. They specialized in uptempo R&B and Soul coverversions like all good mods should, with the odd original thrown in for good measure. One such is "Don't Forget", a daring hybrid of Rubber Soul-period Beatles and Caruso on bad acid. Sounds like Mike Tyson chewing some lobes...
Purists called it the desperate attempt to jump the psychedelic bandwagon, but "Run Me Down", a non-LP single on Layola and the swansong of The Sevens, much much rather sounds like the other side of that "Play With Fire" still was ringing in their ears when "Emotions" was their Stones and Pretties-addiction to us. A rare combination of cello and tambourine as lead instruments makes perfect sense when you imagine released some weeks after the first Velvet Undergrounde LP in 67. (Yes, Sir, that were quite confusing times with more new waves every two months than during the last decades)
From Switzerland to Austria: The Mimes (Vienna) had at least four singles between 66 and 69. "Drives Me Mad" on Accordia was the first and - due to their enthralling amateurish enthusiasm - finest of a band, that lost most of that charm as soon as they took lessons and learned how to play.
Johnny & The Copycats (not to be confused with The Koppycats a.k.a. Ian & The Zodiacs in disguise) had two singles on the German Cornet label. While the first one, "I'll Never Regret You", is best forgotten, "Pain Of Love" takes your mod soul strutting on rubber soles, if you like it horny, but not brassy. The record undoubtedly is a German production and wasn't released elsewhere, but a UK-only 45 on Norco Records ("I'm A Hog For You") might be a hint at another British crew stranded by the side of the Reeperbahn. This may as well be a totally different band, but why does Johnny sound so suspiciously similar to John Deen, an englishman who recorded in Germany with The Deacons and later The Trakk on Hit House, CBS and Europa...
The Speeders from the Greater Stuttgart area had 45's on Ariola, CBS and Intercord (check Vol.5). Unwilling (or unable) to opt for a stylistic identity, their recorded output ranges from raucous to ridiculous and thus their unexpected excursion to Paisley Psych-territory is a more than pleasant surprise. "Time Will Never Change" is an unreleased studio outtake from 67. If you want to know more about The Speeders and a whole lot of other long forgotten German 60's bands, don't miss the brilliant book "Shakin' All Over", which should be available by the time you read these lines.
All we know about The Evolution is that they're not the German Vampires, who adopted the same name when they decided to stay in Spain for the first half of the 70's and made someWuerstel con Kraut-records there. The 7" of this Evolution was released on Elite at the tail end of the 60's and is a curious mixture of R&B and prog sounds. Every time you expect the howling lead guitar, you get a duell of mouth harp versus organ and I can't help but wonder, what would have happened to The Nice if they had had a little more taste. Emerson, Lake and Little Walter?
73 heimatliche klaenge Prae-Kraut Pandaemonium Vol.13
Heimatliche Klaenge - Native Sounds
Prae-Kraut Pandaemonium Vol.13
1 The Rocking Jailmen - Over
2 The Candidates - I'll Cry Instead
3 The Mersey 5 - What It's All About
4 Rick Brown & The Hi-Lites - Rock And Roll Machine
5 The Lords - Five Or Six
6 The Countdowns - Vacation
7 The Black Stars - Lonely Girl
8 The Jay Five & Bill Ramsey - Got A New Direction
9 The Vienna Beatles - Sick And Tired
10 The Tramps - I Do
11 Les Sauterelles - She Belongs To Me
12 The Flamming Stars - Misses Miller
13 The Dynamites - Right Down
14 Vanguards - I Know A Girl
15 The Robots - Someone For Someday
16 The Seals - Around The World
17 The Vampires - It's Enough
18 The Hards - The Knight's Ballad
19 The Rhythm Checkers - I Can't Dance With You
Lucky 13! And no end in sight. Can't believe how far we've come. Remember Sisyphus? Alright, let's roll the stone uphill again...
The Rocking Jailmen released their one and only record, an EP, on the Eurex label, which indicates the probability of German-speaking Swiss origin. With their crew cuts and glitter suits they look like a Frankenstein version of Pat Boone, but the cryptic sounds of this chain gang are amazing an absolutely unusual for 64.
The Candidates and their fabulous 66 LP on Baccarola had the PKP-debut on Vol.9. In spit of a lot of serious researches on the German scene (i.e. M. Buck & H. Dietz and H.J. Klitsch with their books "Die deutschen Beat Bands" and "Shakin' All Over", who helped in more than one way) nothing was found out about this bunch of hipsters. Here they crucify one of the Fab Four's early attempts at Country Music on the altar of Punk.
The Mersey 5 originally came from Bristol, but spent their entire recording career (2 singles for Storz) in Germany 64-65. They looked like bulldogs with whiskers and nasty habits like stealing other band's equipment. Tough boozers who couldn't count. They were a quartet. But their records show that that's exactly "What's It All About" in Rock'n Roll.
In 1965 Ricky Brown & The Hi-Lites recorded an LP in Frankfurt for CBS called "LiverPool Beat" and on the cover they claimed to be from Southampton. Back then, we couldn't tell a Dutch accent from the Pearly King's mumbling (pretty much the same anyway) but the singer looked a lot like one of the Tielman Brothers and, yes, Ricky Brown is one of these Indonesian immigrants from Holland's former colonies, trying their luck in Germany. A whole armada of Indo-bands dominated the scene here in the early 60's and filled up leaving musicians with local hopefuls. Still based in Frankfurt, the Hi-Litesrecorded a couple of songs on a tour in Sweden in 65 and the two resulting singles for the SweDisc label are by far the best and rarest vinyl legacy. "Rock&Roll Machine" is their wildest moment and a clever adaption of Tee Tucker's minor R&B-hit.
The Lords existed 40 years (exactly! Lord Ulli died during the celebration of the stage anniversary). The history fills books and it's suffice to say they were our most underrated beatband, but can't blame no-one but themselves for the often disgusting choice of material that overshadows the fewer moments of sheer magic. Due to the commercial success, their records aren't hard to find, but this one is an exception. In 67 they recorded a flexi that was given away free as part of a Pepsi_Cola advertising campaign soon after Coca-Cola did the same with dave Dee and Co. The project got buried unceremoniously when the bigheads found out about the commercial impact of lines like "I'm sick of 5 or 6 drinks". Musically our noblemen owe a dime or two to Ben Tucker and his "Coming Home, Babe" that should be familiar in the Downliners Sect-version.
Switzerland's Countdowns are best known for the teen-angst Zeitgeist of their frantic garage monster "Sexmaniac". Their debut on Layola was this tough mod swinger. You'll find the flip of "Vacation" on Exploiting Plastic Vol.1.
The Black Stars from Bremerhaven evolved from the Nordwinds, who released a couple of lightweight pseudo Rock'n Roll 45's for Decca in the early 60's They changed to R&B and a new name by 64 and incorporated Englishman Dave Carry on guitar and vocals soon after. Their only domestic release was a 7" for Ariola, a german language version of "The Last Time" which -though pleasant- hardly reflected the powerful stage act of one of Germany's hardest working bands. On a mismanaged tour through Italy they stranded pennyless in Torino. Playing for bed and breakfast, they raised some dust and the attention of the local Equipe label. "lonely Girl" (67) is one of four resulting singles and probably the most representative for their tight mod R&B with soulfuledges.
Terrible novelty polka hits like "Die Zuckerpuppe von der bauchtanztruppe" were the trademark of Bill Ramsey, who was a decent, but unknown Jazz crooner in the states before he settled down in Germany to terrorise this suffering country with "Wumba Tumba Schokoladeneisverkдufer", the German version of "Purple People Eater" in 59. another act uncontent with their public image of upright elevator muzak slimers were The Jay Five from Wьrzburg, a band you might remember from Vol.9. When they joined forces to record an LP for Cornet, no-one expected miracles and the ambitious project vanished unnoticed in bargain bins and shredder machines. What a mistake! A fair share of admittedly tedious songs dominate the record, but there's a couple of winners as well and the upfront punk attack of the title track "Got A New Direction" will blow some pre-set minds.
A record from the Star Club Vienna? What do you expect.The Vienna Beatles, of course! this 7" on austrian Polydor is one of the rarest major label releases, although the one-take, live on location recording done by an unfit soundman with primitive equipment is underproduced like a Sonics demo. The singer's name is Errol Ribeiro and the juvenile delinquent with the axe is a very young Karl Ratzer, the gipsy king of Tras'n Roll and a future mastermind of the Slaves.
One of the scarcest records on the collectable Kerston label is this one by The Tramps, a German band no one seems to know anything about. They aren't identical with the Hamburg Tramps who recorded a dreadful single for Telefunken. Both sides of their sole 45 (the flip is a frantic version of "Jezebel") demonstrate irresistible amateurish enthusiasm rather than virtuosity and "I DO" owes more than a warm handshake to casey Jones' "It's Alright".
Les Sauterelles were le premier betband de la Suisse and their first LP (Columbia 1966) is one of the best and rarest continental albums of the mid-60's The trademark of the early Grasshoppers was a unique blend of Garage and Folk-Rock, perfectly demonstrated with this version of a famous Zimmermann-song. I'm the world's biggest Byrds-fan, but Tony Vescoli's interpretation of "She Belongs To Me" beats everything McGuinn and Clark ever dared to do to or with one of Dylan's opuses. Colliding geniuses...
The Flamming Stars often get mistaken for the Flaming Stars, a Dutch-Indonesian band that toured extensively in Germany, but seemingly never recorded. The Stars with the double-m and their EP on Royal Splendid show no sign of professional standards and on the picture cover they all look like rookies of the fire brigade in Bruchmьhlbach.Miesau. Their most Asian experience probably was an overspiced nasi goreng washed down with buckets of beer before they recorded "Misses Miller".
Meanwhile back in Switzerland... (we're over-representing this tiny colony a bit this time)...The Dynamites and had a try at more sophisticated material. fortunately they drove "Right Down" out of the curve in hysterical speed and gloriously crashed at the wall of over-ambition. Unfortunately they split soon after. Now lay back and relax a little, 'cause we'll dedicate the rest of B to the fine art of balladeering, teutonic style. But don'worry, we'll keep the punkfactor high and moody.
The Kerston 7" by a group called The Vanguards definitely has nothing to do with the more familiar Berlin band of the same name that recorded for Belaphon. These Vanguards probably came from Kassel and their cryptic statement "She's good each night, I love she well" is pure Neanderthal poetry and should be written in stone.
The fabulous Robots recorded for Polydor (see PKP 7) and Ursus (see PKP 9). On the back of "Soldier Beat" we've found this overlooked charmer that nicely corresondents with "Vacation" on side A. While the Countdowns quite obviously had a more than hedonistic time at foreign shores, the Robots complain about being used for a one-night stand during their holidays. It all depends on how you look at it.
Equally little is known about The Seals, except that they're most likely as Austrian as their label Amadeo. "Around The World" is the B-side of a harsh protest song called "Stop This War" (see PKP Vol.8).
The Vampires in question are not the band from Schweinfurt that left Franconia via Hamburg to settle down in Spain and changed name to Evolution. These Vampires came from Ludwigshafen and recorded a tasteless 45 for Kerston in 65 about an infamous serial killer of the 30's. Not a bad idea, but "der Harmann" really just is an annoying stupid ditty. The big surprise comes on the flip and "It's Enough" stylistically reminds me a lot of one of my favourite mid-80's bands, The Vietnam Veterans.
The Hards with their only single on Welt Records contribute the mellowest ballad to our little collection. A sleeper that'll grow and haunt you like some kind of "Lady Jane" the other way round. (Would reverse angle sound any better!?...)
Anyway, time for a wake up call and a kick in the ass to finish another tightly packed issue of our archaeological project. The Rhythm Checkers should be familiar from Vols. 6 and 7. "I Can't dance" originally was on the back of the Small Faces' "My Mind's Eye", but this crude punker literally pulverises Plonk and Stevie's slow burner and recreates a threatening beast. It comes from the second EP of this half-German, half-French combo on AGD-records operating from the Alsace.
Too kraut to be proud, but proud to be a germ Stay tuned.
74 heimatliche klaenge Prae-Kraut Pandaemonium Vol.14
Heimatliche Klaenge - Native Sounds
Prae-Kraut Pandaemonium Vol.14
1 The 4 Renders - Walkin' The Dog
2 The Mersey Kings - I'm A Hog For You
3 Andy Nevison & The Rhythm Masters - White Woman
4 The Sound Riders - Send You Back To Walker
5 The Dynamites - Nadine
6 The Jack Five - Berlin Swing
7 Lord Nelson & His Crew - Station Girl
8 The Bats - You'd Better Believe It, Baby
9 The Tony Hendrik Five - I Ain't Got You
10 The Savages - She's Very Young
11 The Ravers - We've Got Too Much
12 The Rocking Jailmen - Give Me A Chance
13 The Image - Heartaches Inbetween Heartaches
14 The All - I'm Addicted
15 Adam & Eve - Desert Song
16 The Mascots - In 40 Days
17 The Mambos - Hey-O-Mambo
18 The Jail-Birds - Baby's Gone
19 The King Bees - No More Lies
20 The Hounds - We've Got Love
Since Aristotle Krauts have organized their knowledge vertically in seperate and unrelated groups... sense, sex, sixpacks, sin, sax, wine, vibes and song (just to name a few).The main emphasis in a kraut’s endeavour to put things straight is the lifelong attempt to get objects in a horizontal position (especially women) and take one step after the logical other. He usually fails and causes a complete mess (as Einstein did), but insists in singing about the experience in foreign tongues.
Recently, it has become possible for Krauts to chemically alter their mental state, which turned out to be not such a brilliant idea... As you’ll easily recognize on this new documentation of case histories, the restructuring of thinking led to serious cerebral affections and sporadic cases of auto-lobotomy. The quest for pure sanity that forms the basis of investigation on this album didn’t help much.The more you try to exorcize these demons, the more you evoke them. Here comes the cabbage...
The 4 Renders from Eimsbьttel existed from 61 to 66 and were heirs to the throne of the Hamburg R&B kings , held and kept by The Rattles. In 65 their gitarrero Rugy Rugenstein entered the palace through the backdoor, when he replaced Hajo Kreuzfeldt there. After winning the 63 band battle at the Star Club, they released a 7” for that label, but the rest of their recorded output is limited to less than a handful of tracks on mid-60’s compilations. This rendition of Rufus Thomas’ “Walkin’ The Dog” is an unreleased studio outtake from the 65 session that also brought us “Let’s Get Together” on the “Star Club Scene 65”-LP.
The Mersey Kings reportedly came from the Bavarian heartland around Munich. “I’m A Hog” is the A-side of their sole 45 on the immensely collectable Scherer label. On this stripped version of a Coasters classic they fumbled with the lyrics a bit and came up with the immortal line “I’m a hog, baby, can’t get enough of your loo”. Eat your hearts out, Leiber and Stoller!
We all know about The Monks, but they weren’t the only ex-GI’s on the German scene. Screamin’ Andy Nevison (whose throat might sound familiar to owners of our Vol.2) and his Westphalian band The Rhythm Masters had German and American members and their three 45’s were produced exclusively for the German market. “White Woman, don’t roll your big blue eyes at me” wouldn’t have been much of a hit in Alabama 66 anyway. Blessed with good looks not unlike a younger brother of Sam Cooke, Andy honours sister Rosa with more than just innate seat on the bus. Say it loud, I’m black and kraut. Dig it!
We’ve already met The Sound Riders on Vol.12, where we had to admit that we don’t know much about the guys behind this great 64 live LP from the Kaskade Klub in Cologne. They snatched the song from the flip of the first Animals single, who pilfered it from an obscure 7” by Timmy Shaw, who himself plundered the John Lee Hooker songbook and crossed it with a Jimmy Reed riff. Some weeks before the Animals did it, the Searchers had recorded the song under its original title “Gonna Send You Back to Georgia”.
Basel The Dynamites are famous for their well documented singles on Columbia and Philips. Hard to find as they are, the rarest of their vinyl is the debut EP on the tiny Sesam label from 64. It shows a group in development with one foot still on the Shadows-platform and the other already on the R&B-train. While most everybody else still tried to lay down a decent version of “Roll Over Beethoven”, The Dynamites covered the brandnew “Nadine”, Chuck Berry’s comeback after a long vacation at the Springfield, Missouri state penitentiary.
The Jack Five must have been big Berry fans as well, they even mention him and Maybellene in their hymn to Berlin on Paletten Records. Although they pretend to be on holiday, they probably came from the divided city and were payed by the tourist office during an unsuccessful attempt to establish the name Swinging Berlin (as opposed to Swinging London).
Lord Nelson was Berlin’s rocker of the first hour Didi Zill, wh fronted the ABC Boys and The Batmen. Both bands’ finest moments can be revisited on Vol.9. In 68 Didi joined the navy and promotion by self-selection made him an immediate admiral. “Station Girl” is the stand out-track from his LP on Metronome and it’s obviously all about the same Berlin phenomenon that Nina Hagen described ten years later in “Am Bahnhof Zoo Im Damenklo”.
The Bats, another of the early Hamburg bands, came together in 61. They went through the usual Star Club routine, but recorded mainly for Polydor after a quarrel with the Club’s owner WeiЯleder. While most of their records don’t show the group’s true potential, their 7” on WAM, “Got A Girl”, was a German garage classic (see Vol.2). Unlike other 2nd division veterans, they stayed active and still gigged in the 90’s. In 81 they issued an LP of unreleased late 60’s/early 70’s recordings on their own Summer label. It’s a somewhat uneven affair, but contains 60’s pearls like “You Better Believe It”.
The Tony Hendrik Five from Cologne were one of the lesser known German bands that captured a major contract, but (or because of that) never managed to develop a distinctive style and image of their own. After the fantastic “I’ve Said My Say” (see Vol.8) they released a whole lot of quite unnecessary 45’s. Their 67 Columbia LP “Nightflight” is a strange mishmash of influences, but surprisingly offers a fab version of Billy Boy Arnold’s “I Ain’t Got You”. It probably came to their attention via The Yardbirds, but it’s a remarkably different arrangement and a great hip shaker in double speed.
Despite the name, The Savages were a rather tame pop combo from Frankfurt and three of their Aronda singles caused downward thumbs at Prae-Kraut Headquarters, although “Why Don’t You Stay” made it to the short list. Recently we’ve found the 67 debut and this little flower-power-folk-rock-jingle-jangle called “She’s Very Young” broke the ice.
The Ravers was one of about 50 aliases, the prolific Tonics were hiding behind, when recording for about nearly as much budget labels. After 5 LP’s for Tip, the last one in 69, called “Bad, Bad World” didn’t sound much like the Tonics anymore. Subtitled “Ravers Going Underground”, this obviously was a product of the Hamburg cheapo mafia, a bunch of Rattles, German Bonds and Wonderland musicians, who used to make some extra bread with exploitation classics like Hell Preachers Inc. or Bokaj Retsiem. “We’ve Got Too Much” is a typical Herbert Hildebrandt production (Ex-Rattle and somekind of a German Kim Fowley). No one could rip off a Kinks-riff like the Kinks, but The Ravers came close, although brother Ray would have frowned a bit upon using terms like chicken fucker.
The Rocking Jailmen’s nasty girlie-put-down “Over” was one of last volume’s highlights and caused hectic action among collectors. “Give Me A Chance” is another cork screw through your brain from the same Eurex-EP. Sneaking in rather than blowing the door down this time, but the Jailmen manage to do the trick witha sinister ballad just as well.
The Image and their ecological mod anthem “Creation” from Vol.11 was another record that soon showed up on everybody’s want list. On the flip of this Hit-Ton 7” they add a little Stax soul to the mixture and on “Heartaches” they sound every bit as good as the undisputed kings of mod soul, The Action. The Image from Wales spent the best part of 66 in Germany, where they recorded two singles that didn’t get a UK-release after three 45’s on Parlophone already had flopped there.
Half German, half British, The All were the remains of Lee Curtis & The All Stars and kept on touring Germany when Lee retired in 66. After a fine, but unsuccessful 7” (see Vol.11), their last signs of life were a couple of live recordings made in Harburg in 1967, which were released by Fontana on the scarce “Live In Concert”-LP, together with other Star Club veterans.”I’m Addicted” is another neat evidence for a flourishing, but hardly documented mod scene in our country and it’s a shame, that The All didn’t get the chance to record it in a studio.
Adam & Eve were Erika Bartova from Prague and John Christian Dee, a sinister mister who is best remembered for his few, but great contributions to British R&B history as the writer of “Don’t Bring Me Down” for The Pretties and “Get Yourself Home” for The Fairies. Phil May once called him a P.J. Proby-copy, but P.J. was a choir boy compared to J.C. What exactly led to overnight emigration to Frankfurt in 66 isn’t exactly clear, but he did it again in 74 after being charged in London for “procurement of women for brothels”. From 66 to 68 he played Jack of all trades for the Bellaphon label. With Eve, he formed the poor man’s Sonny & Cher and had a couple of gruesome hits sung in German. Their only LP documents most of these, but surprisingly offers the great and absolutely untypical “Desert Song”. J.C. Dee was sentenced to six years in 75 for some near fatal stabs in the back of his girlfriend, broke out of the Dieburg jail soon after and vanished in France, where he probably still ducks and covers.
Less glamourous was the story of The Mascots from Aarau, Switzerland. They existed from 63 to 65 and had just one 45 on Eurex in 64. Though they put their names under “40 Days”, it’s actually Chuck Berry’s “30 Days”, obviously scrounged from the Ronnie Hawkins version, who gave the girl 10 more days to come back home and also got away with the royalties without Chuck suing him.
Though credited on their Etzel 7” as Mambo Band, these guys were better known as The Mambos all over the Lower Franconian hinterland. A rare case of early German frat rock, these kids looked like acolytes on a joyride, but could do a neat Sonics imitation, when fuelled with enough homebrew. Remember: There’s nothing dirty about sax, except you know how to blow right...
Lots of Jail-Birds flew over Germany, but few ever recorded. The band in question definetely is not the one from Mainz with the “Nobody” 45, but could be an earlier line-up of the Gelsenkirchen band, that released “Jenny, Jenny” on Hansa in 66. Recently not one, but two singles by The Jail-Birds showed up on the tiny Ruhrgebeat label Beat Records. “Baby’s Gone” is a fine example for the transformation phase in the early 60’s, when lots of groups tried to blend their 50’s rock n’roll roots with the then brandnew invasion sound.
Braunschweig (Brunswick) had a vivid scene, but - with the exception of The Black Devils (a.k.a. The Progressives) - very few records handed down to posterity. The King Bees were local heroes there, but also didn’t make it to a proper studio. All that survived is a reel-to-reel rehearsal room tape from 66 that shows the Bees pulling all stops on the driving beat of “No More Lies”. Some sonic drop outs and a little tape his are inevitable, but hardly lessens the pleasure.
Led by drummer Mike Parlor, The Hounds were one of many third division bands in London 64. With a sound more suitable to the Cavern than the Crawdaddy, they hardly found gigs and fled to the promised land of the losers. In 1965 they recorded two singles for Elite Special in Frankfurt and “All I Want Is You” can be revisited on Vol.5. “We’ve Got Love” was the fine debut, but both were pure beat records and sounded too wild for your parents and too tame for the in-crowd in the rebellious year, when the boys were seperated from the backdoor Men forever.
75 heimatliche klaenge Prae-Kraut Pandaemonium Vol.15
Heimatliche Klaenge - Native Sounds
Prae-Kraut Pandaemonium Vol.15
01 Dinosaur Dreams - The Joint
02 It’s Too Late - The Skins
03 I’m A Man - The Strangers
04 Stop The Light - The Skin
05 Time Road - The Lightnings
06 Mailman - Andy Nevison & his Rhythm Masters
07 Little Things - Lord Allan & Sir Richard
08 Hurt Me If You Will - Jonah & The Whales
09 From The Penitentiary - The Dukes
10 Shout, Shout - The Moody Section
11 Please, Please Love Me - The Monks
12 Devilґs Woman - Freedom
13 Crazy Time - The Lamberts
14 Under My Thumb - The Strangers
15 Dance - The Dynamites
16 Hear Me, Help Me - Berry Window & The Movements
17 I Want A Dog - The Beethovens
18 Jewels And Diamonds - The Jewels 4
19 Since She’s Been Gone - The Beat Cats
It took a little longer this time, but now we’re back in time for tea with another 50 minutes of the rarest German 60’s Rhythm&Beat records, and it’s one of our best volumes yet, I’d say.
Round 15 kickstarts with THE JOINT Richard Davies, who fusioned (or confusioned) Joint with Argosy in 1970 to give birth to Supertramp, was stuck in Munich in 68 and played clubs like Blow Up and, well yes, the Joint with the Joint. The reportedly Welsh band with German members never released a record, although they had some studio dates and- judging by their stunning appearance in ZDFґs TV-series »Akzente«- had a lot to offer, musically as well as optically. One of the musicians (if it wasnґt a pseudonym for Davies himself) was David Llywelyn, who often worked as the musicmaker for b-movies and TV-plays in Munichґs Bavaria studios. And while he threw together a lot of lesser interesting easy listenig-stuff, his work with Joint on »Dinosaur Dreams« (from the film »Griller«) was rather breathtaking freakbeat (Pity that no other tapes could be found. A Joint LP could be a killer.) In 69 The Joint folded and the limeys tramped back to Blighty. Not that super, if you ask me...
THE SKINS from Frankfurt and their 66 split-LP with The Black Points should be familiar since PKP 12 and they meanwhile showed up on other comps as well. They mostly did covers, but choice was brilliant and they executed that stuff in a primitive, slower, but heavier way, that made the originals of Kinks, Troggs, Pretties and - in this case - Small Faces sound tame. »It’s Too Late« is an underrated Marriott & Co. song that served as the flip to their 65 flop »I’ve Got Mine«.
After tracking down more than 20 German bands called THE STRANGERS, we thought we had it made. But here comes another bunch of aliens, from Herzogenrath, with a 66 private pressing, and both sides are irresistible. Sure, both are covers, but if you thought you’d already experienced every imaginable way of mistreating Muddy Diddley’s »I’m a Man«, listen to this trashcan production. Deranged from the very start and derailed after 2 minutes, The Strangers bury this classic in a free-form turmoil that sounds like a harbinger of those Krautrock oddities, that shook the nation years later. »Under My Thumb« is a sped up, remarkably non-copyist interpretation of the Glimmer Twins’ idea of a manicure.
THE SKIN (singular, not to be confused) probably were an Austrian group. Their 7ґґ on Alpenton Studio Trieben is a weird clash of cultures with galloping bongoes making the pace. Nothing known about these guys, but »Stop The Light« is one of the strangest sounding DIY-products of the decade in question.
The 66 Tonstudio Scherer single by Heidelberg’s LIGHTNINGS has been on top of everyone’s wantlist for years. In the late 90’s it showed up once on a record fair, but was stolen before it could be sold to the highest bidder. (Before you ask: no, we haven’t been there.) The following years hearsay, gossip, rumour had it, that this is a killer garage punk 45 in the 1st. degree. Which it’s not. Expectations high like that, it even was an anti-climax on first hearing. But it still is one of these unique overambitious »compositions« of German wannabe philosophers that we love so dearly.
«Mailman« (Columbia 7ґґ,66) is ANDY NEVISON’s 3rd contribution (see vols. 2 and 14), and possibly not his last. All 6 sides of his 3 singles are excellent down to earth R&B, done with that certain non-chalant charm and humour only true masters of the genre have to offer. He might have been a big star of black music in his homelands, but found life more appealing in the Ruhrgebiet, where he settled down when Uncle Sam didn’t need him any longer. He’s alive and well and still on the road (usually in Westphalia) with his Rhythm Masters. Staying power...Don’t miss him, when he comes to town.
LORD ALLEN & SIR RICHARD : Mysterious, but noble. »Little Things« (not the Dave Berry hit) was a one-off 45 on Ariola in 65. It’s a marvellous example of Fab 4-inspired Merseybeat and not necessarily a German production. It sounds quite British in fact, but is a Geman-only release. They didn’t tour here, at least not under that name, and no-one seems to remember them, or something about how they managed to end up on a major label. We’ll work on that one...
The Jonah of JONAH & THE WHALES was not a musician, but Jonas Porst, son of the Photo Porst dynasty and the guy who had the money to pay for the equipment. He was the manager of the band from Nьrnberg and actually managed to get them a one-off deal with Deutsche Vogue, then one of the majors in Germany. » Itґs Great«, their 1966 debut, was a cover of a non-hit 7ґґ by the British Monotones and The Whalesґ version was a big improvement on the tame original. It even sold enough copies to convince the label to go for another try, but when the group split soon after, the second single was shelved and nearly forgotten. Both sides showed up in 67 on the megarare LP-compilation »Der deutsche Nachwuchs stellt sich vor« on Vogueґs subsidiary Pop Records alongside some corny Schlager-entertainers. Totally misplaced in this context, the fabulous »Hurt Me If You Will«, a version of the pre-Creation Mark Four`s song and the planned flip »The Day I Met You« went down unnoticed. Sonny Henning and Ernst Schulz, the masterminds of The Whales, reunited 69 in the infamous band Ihre Kinder, where they tried to make political statements in German tongue compatible with rock, but always forgot to roll. The results were often harder to take than »Balla Balla«, but thatґs another story.
THE DUKES came from the Sauerland, a region best known for dwarf schools and a funny former Bundesprдsident. They released 4 singles of very unconstant quality and their greatest moments were » Iґm An Unskilled Worker« and »The Dentist«, both documented elsewhere in PKP-history. ( You know the name, look up the number.) In 1967 they recorded a whole album of songs from mediocre to brilliant, but their Alcora label seemingly was too small to deal with LPs, and a bigger company couldnґt be found. The tapes gathered dust for decades, but most of the numbers sound good enough to think about a release of the whole thing. If that ever happens, »From The Penitentiary« is just a taster of bigger things to come.
Half as moody as expected, THE MOODY SECTION come as a big surprise with this 7’’ on Gisbert Witte Rec. »Shout Shout« isn’t much of a remarkable song, and if they could sing or play, this might be a quite boring affair. But fortunately they can’t, so they have to rip and smash and kick and slash that damn thing to bits n’ pieces in true garage trash spirit.
You’d hardly buy such records and read such cryptic notes, if you’d need an introduction to THE MONKS, the most famous non-hit wonder of the world. A German band of American roots, they were a synthesis of all seven arts and invented a couple of new ones by the side of the road. (Oh yeah, shooting with a banjo is some kind of art). Ahead of time so far that the world didn’t catch up yet...An unreleased Monks track would be a sensation, even if it was crap. But it’s not. It’s... wow !...It’s a one-sided acetate, recorded and pressed at Tonstudio Pfanz in Hamburg and seems to be the first recording after their 7’’ as The 5 Torquays. A fuzz monolith based on an unrecorded warm-up instrumental called »Paradox«, with some ad hoc vocals added. At the end they slip into another of their yet unrecorded songs, but »Please Love Me« has little or nothing to do with »Pretty Susanne« as released on the fabulous »5 Upstart Americans« CD. Inventing Heavy Metal AND Krautrock one rainy morning in 66, that’s hard to top. Does it make any sense to carry on after the holy grail has been found..?
Fortunately we have FREEDOM (not the british Procol Harum-renegades) , who recorded their 7ґґon the obscure Topmaster label late in 68. Already inspired by so called progressive music they hammered out one of the most primitive, and thank god, unskilled performances this side of The Godz.
THE LAMBERTS ain’t no pussyfooters, too. (Although their 7’’ on Rex made me think exactly that). Now an earlier no-label 45 showed up, and »Crazy Times« sounds like a great lost German garage jewel. Trouble is: looks like they’re from Austria. Who the care fucks anyway.
Here’s the other side of THE STRANGERS platter (see A3) and now we go marauding on Swiss territory again.
THE DYNAMITES from Basel and their 64 Sesam EP have already been praised on our last volume. The frantic fratrocker »Dance« is another cut from that extremely hard to find record.
BERRY WINDOW (real name: Urs Fenster) AND THE MOVEMENTS were another Basel-based combo with Swiss, German and British members. They recorded 2 LPs and 5 non-LP 45s for the German Intercord label. Their early output consisted of straight R&B/Soul covers and belongs to the best examples of that genre ever made outside of the USA. Unlike many other blue eyed disciples, Berry avoided oversouling and didn’t try to sound blacker than Wilson, James and Otis. Tuff enuff, and a band as tight as The MG’s. In 68 they decided to widen out the spectrum a bit, rented a sitar player, and produced some kind of psychedelic Soul. The resulting 7’’ »Hear Me, Help Me« was their last attempt to crack the charts.
THE BEETHOVENS (not Beathovens, as listed on the cover, sorry...) were one of 13 known teutonic bands using that Ludwig van-pun. We couldn’t find out yet which town they came from, but they’re not the Danish band of »Long Live Beethoven«- fame, and not Rolf Zuckowski’s boys, who recorded for Somerset. Their sole 45 came out in 66 on Kerston, and the real wild A-side showed up on »Diggin’ for Gold« before we had Vol.7 at the start. Back then, a deal was a deal, and we nearly forgot about the more than decent flip . »I Want A Dog« isn’t quite of the same calibre as »She’s My Love«, but a real fine R&B number nevertheless. Based on the chain gang-song »Take This Hammer«, The Beethovens show The Spencer Davis Group and a couple of other traditionalists where the hammer hangs.
THE JEWELS 4 were from Giessen and released this odd crossover of slow ballad and heavy riffing as a 45 on their own label in approximately 67. Lacking a fuzzbox, they used the sax as a piledriver. »Jewels & Diamonds« never rolls, but it really rocks now and then. Strange and fascinating. What caused so many schoolboys in this country to write square songs with nearly unplayable tempo changes, instead of strumming »Hang On Sloopy« and »Louie Louie« all day long? Collective genetic defect? Well, we’re glad about it anyway.
And here comes the next of these case histories: THE BEAT CATS’ whole estate is this acetate, and it reportedly is the last existing copy. (Which explains the somewhat crunchy sound quality). The group was from Berlin and recorded this fine 2-sider in 67. »Since She’s Been Gone« was written by beandleader Peter Weisbach and is a bit on the moody side of amateurism, but again the confusing stop-and-go-structure makes sure, that they’ll never end up playing pop music. Altough they try on the uptempo flip »Too Expensive«. Don’t worry, they fail gloriously, as you’ll hear on the next volume. Stay tuned.