Grosse Freiheit und mehr

Der sechste Teil der Plünderung des Archivs von Mein Walkman Ist Kaputt-Blog vom Mai 2006 ist eine Zusammenstellung von Postings, die nur Ausschnitte von einzelnen Platten enthielten: Grosse Freiheit- Die Moschusfunktion 12" ZICKZACK 1982 First up then is going to be Große Freiheit. The 'Moschusfunktion' 12" is a wonderfully quirky slab of German New Wave cabaret on vinyl. To give it some background, it was released in 1982 on Alfred Hilsberg's Zickzack (Zigzag) label based in Hamburg (ZZ115), second only to Ata Tak (Warning), no doubt, as the most influential German independent label running between 1979-82 (it spawned the likes of Abwärts, Einstürzende Neubauten, Andreas Dorau, Die Krupps, Wirtschaftswunder, Palais Schaumburg, Die Tödliche Doris & Xmal Deutschland!). Alfred Hilsberg is also the journalist that coined the name of the movement in a three-part series of articles titled 'Neue Deutsche Welle - Aus grauer Städte Mauern' ('from grey city walls (?)') in the October-December editions of Sounds, 1979. However, it has been brought to my attention that Burkhard "Der Zensor" Seiler may have got there first, with his advert for the first DAF record, on Ata Tak back in August, 1979. Thanks to Martinf, for pointing this out (for further discussion on this please visit his Brotbeutel blog). Punk-disco.com confusingly has Große Freiheit down as a Johann Bley and Hans-Jürgen Piel (Saal 2, Die Zimmermänner) project, even though their names are nowhere to be found on the sleeve. This is actually a Martin Grunwaldt creation, for which he calls an 'opus in vier akten & präsentiert von der gruppe'! The lead-off track 'Wenn ich vergnügt bin, muß ich singen' ('If I am diverted, I must sing' (I think)) was originally penned by Peter Igelhoff & Hans Fritz Beckmann for what must have been the most popular European vocal harmony group of the late 1920s, early '30s, The Comedian Harmonists. They were a German barbershop quartet whose recordings particularly amused the American music journalist Lester Bangs and record executive Joe Boyd, who apparently oversaw the first officially licensed compilation of the group for the US in 1999 through Hannibal. By the mid '30s, the Nazis thought very little of their crazy tuetonic renditions of American Jewish broadway tunes, and so, their career soon reached das ende. On this, rather different, lost NDW 12", Martin Grunwaldt offers up a demented turbo-synth interpretation that rids the tune of any of its original New Yawk influence. Oddly enough, listen out for the sitar in 'Expressomaschine', originally a Franz Josef Degenhardt song. I may well put up the other two tracks in the future. I'd certainly like to hear from anyone that has the highly obscure Martin Grunwaldt 'Rückblende' 10" released by Klang Der Fest (KDF3) on which he plays and sings Franz Josef Degenhardt songs. 01. Wenn Ich Vergnügt Bin 04. Expressomaschine + (…) Phonophobia were a studio-based trio from Bremen, led by visual artist Harald Falkenhagen. They recorded between 1979-83, never performed live, and pressed up 1200 copies of an ultra-minimal DIY 7" in 1980, before disappearing back into der Hinterlands. (…) the highlight of the original 7", 'Feed Me'. (…) + Exil-System special (…) Here's a taster of the Inspector-Clouseau-in-Berlin sound of the 'Vorwarts' 7". As for the rest, think a German Lou Reed and Jonathan Ritchman with only a beatbox and a couple of instruments found on a scrap heap. Killer. + P1/E - 49 Second Romance 7" Die klassische 49 Second Romance Version der Original 7" P1/E vs. Weltklang - 49 Second Dance Ein Remix von Thomas Voburka aus dem Jahr 2004. Der Track wurde auf der Exil System LP auf Vinyl On Demand bereits veröffentlicht P1/E vs. gruftreiter.org - 49 Shuffle Romance Ein weiterer Remix von Thomas Voburka. Eigentlich war der Track für die Second Offender LP vorgesehen, jedoch wurden dann nur die klassischen Tracks verwendet P1/E - 49 Second Romance (Michael Hirsch RMX) Ein weiterer unveröffentlichter Track. Michael Hirsch ließ es sich ebenfalls nicht nehmen im Jahr 2004 einen Remix zu produzieren. Ein zweiter Hirsch Remix wird demnächst auf dieser Seite veröffentlicht P1/E - 49 Second Romance (Hirsch Breaks) Ebenfalls 2004 aus den Mastern der Originalsingle produziert Tennis Boy Blues - NME No.1 Tennis Boy Blues war eine Nachfolgerband von P1/E. Neben Michael Schäumer waren Yuji Kimura (keys) und Monika Dietl (voc) in der Band. 8-Track Demo Tennis Boy Blues - Imagination Unveröffentlichter Studiotrack von Tennis Boy Blues. Trotz Vertrag mit dem Discolabel Uff-Zick Records, die auch für den Megahit "Goddess Of Love" verantwortlich waren, kam diese Single nie auf den Markt. Es gibt noch eine 7 Minuten lange 12" Version die leider verlorengegangen ist Tennis Boy Blues - What Is The Bane Of Your Life 8 Track Demo von 1984. Das Original stammt von Philipp & His Foetus Vibration. Jim Thirlwell mochte die Adaption seines Songs sehr Tennis Boy Blues - Gotta See Jane Ein Cover des Klassikers von R. Dean Taylor Drop One - Work Hard Acid House Track von 1989. Erschienen auf dem Big Sex Label aus dem dann Tresor Records wurde. Die Vocals sind von Olaf Jeglitza der später unter dem Namen "MC Sar & The Real McCoy" mehrere Chart Hits landete. (download)


Exil-System special

Fünfter Teil der Plünderung des Archivs von Mein Walkman Ist Kaputt-Blog, Mai 2006:

Exil-System special

The place to go in West Berlin, circa 1979-81, is said to have been the underground venue SO 36 in Kreuzberg, documented by Manfred Jelinski on the recent Berlin Super 80 DVD. This was a hot spot for anarchist activity that filmmakers, musicians, and art students alike no doubt made their own. Frieder Butzmann, Die Tödliche Doris, and Einstürzende Neubauten, to name but a few, were some of the big names on the scene, as the strength of the cassette culture and underground labels sprung up like weeds through concrete. Legend has it that Thomas Voburka had a job in the same Berlin restaurant that Michael Schäumer (P1/E) worked in. Inspired by West Berlin's Geniale Dilletanten movement (also the name of the '81 festival and the manifesto published by Wolfgang Müller (Die Tödliche Doris) in 1982 (link)), Voburka decided to go for broke and release a record. Thus, Exil-System was born and the Mono/ 45 Upm 7", fronted by Vorburka and Michael Schwabe, was its debut in 1979. 500 copies were released only. Flash forward to 2003 and record collector Frank Maier had an idea. He would set up a label, call it Vinyl On Demand, and get this material back in print! Well, almost. The four Exil-System releases, all featuring Thomas Voburka, the mastermind behind the label, were grouped together in 2004 for The Exil-Sessions 1979-2004 LP. The only problem was, it was limited to 500 copies again. And so now the re-issue has become just as collectable as the original 7"s, even more so considering some VOD's sold out before the release date. Until a kind soul offers up a suitable rip of the LP re-issue (tracklisting here), we are stuck with my own bootleg collection, which is complete, but rather patchy, using several resources to pull the project together. But worry not, for, either way, we have the four Exil-System singles (1979-80), from Mono/45Upm, P1/E, Weltklang, & Hits Berlin, in all their primitive synth glory. Apart from the group P1/E (featuring Voburka, Michael Schäumer and the early Neubauten member Alexander Hacke aka Borsig), this is predominantly the work of the duo Thomas Voburka and Michael Schwabe. Both starred in Erwin Kneihsl's underground 1982 film Gemischter Salat ('French Dressing'), and Voburka furthered his own career in acting. Here's a taster of the Inspector-Clouseau-in-Berlin sound of the 'Vorwarts' 7". As for the rest, think a German Lou Reed and Jonathan Ritchman with only a beatbox and a couple of instruments found on a scrap heap. Killer.

V/A - Exil Sytem 1979 -2004

This the best Vinyl On Demand release so far! It compiles all music (four releases) released on the Exil System label during 1979 and 1980. Besides that it also features a remix from 2004.

Mono 45 Upm is present with its two great and weird NDW tracks from 1979. Next to that Weltklang and Hits Berlin are featured with their minimal/NDW songs. But it is ‘49 second romance’ by P1/E that is the ear catcher of this record. This catchy minimal wave / elektro track could well become a hit again.

Also featured on the lp is the lesser, but still enjoyable, ‘Licht und Schatten disco mix’ version of this song. Too bad there is another remix of this small masterpiece on the lp, a 2004 dance rework. This track spoils the nostalgic mood of the album. But, besides that this is a great historical record for the true 80’s addict.

A1 Mono 45/Upm Romance Adieu, Bienvenu Realité
A2 Mono 45/Upm Fast Lust In Tuned Cars
A3 P1/E Dependence
A4 P1/E 49 Second Romance
A5 Weltklang VEB Heimat
A6 Weltklang Hoffnung / Sehnsucht ??
B1 P1/E vs. Weltklang 49 Second Dance
B2 P1/E 49 Second Romance (Licht Und Schatten Disco Mix)
B3 Thomas Voburka Romantik Adieu (Kalt Wie Eis O.S.T.)
B4 Hits Berlin Vorwärts (Monogam 7" Mix)
B5 Hits Berlin Vorwärts (Exil-System Mix)
B6 Hits Berlin Rückwärts
(download) (alternative download without weird letters)



Vierter Teil der Plünderung des Archivs von Mein Walkman Ist Kaputt-Blog, Mai 2006:

Phonophobia- 1979-1983 VERY GOOD RECORDS LP

The story of this record is short and sweet. Phonophobia were a studio-based trio from Bremen, led by visual artist Harald Falkenhagen. They recorded between 1979-83, never performed live, and pressed up 1200 copies of an ultra-minimal DIY 7" in 1980, before disappearing back into der Hinterlands. In 1999, 20 years after their initial foray into the avant-garde, Very Good Records (check Simon Harris' homage to the label) were kind enough to rescue Phonophobia from the scrap heap of DIY-music history, and re-master their lost work with the 1979-1983 document. This is the Dortmund label that did the same for Conrad Schnitzler and Seesselberg. Phonophobia's sound fits somewhere between these two, taking Seesselberg's minimalism and the dark electronics of Schnitzler's oeuvre towards a more refined sensibility. This acted as a small precursor, then, to Konrad Becker's interests in sound design later on in 1980, and further cemented the paving of the path that eventually led to the IDM approach of the 1990s. All of the 1979-1983 LP can be sampled via the website, including, the highlight of the original 7", 'Feed Me'. Falkenhagen's list of phobias was later taken to the extreme here.

By request, I'm posting more zip files on the site, so folks can get the whole record. Included is a Japanese interview with Harald, who has been kind enough to let me share his music:

Phonophobia- 1979-1983 VERY GOOD RECORDS LP

01 Montenegro 4:20
02 imp 1 0:04
03 Polyopie 1:30
04 imp 2 0:14
05 Hoerst Du Mich? 2:20
06 imp 3 0:04
07 Rein Raus 3:13
08 imp 4 0:05
09 Feed Me 6:22
10 Das Ende einer Schallplatte endless (on LP)

11 Antistress-Trainingsschule 3:13
12 Schweine im Weltall 1:36
13 imp 5 0:04
14 Whistler 1:53
15 imp 6 0:04
16 KG 1:04
17 Irrenhaus 2:35
18 imp 7 0:04
19 Luzy 0:37
20 lemmorT 0:32
21 imp 8 0:10
22 Irrenhaus (slight Return) 1:18
23 Das Ende dieser Schallplatte endless (on LP)


Ink Records special

Dritter Teil der Plünderung des Archivs von Mein Walkman Ist Kaputt-Blog, Mai 2006:

Ink Records special

Out of all the small NDW independent labels, the most obscenely hip was probably Mike Schmidt's Ink Records. Schmidt's group Croox was the first release on the label in 1980, with the highly sort after 'A' LP (Ink01). This is an NDW classic and, sadly, now rare as hen's teeth. Unfortunately all I have is a bad cassette rip. :(

The first 7" on Ink was this incredible piece of German underground goofiness by Don Bartnick (Ink04). 'Gefährliche Karriere' is the highlight for me, if only for its English 'Dangerous Career' translation. Fittingly, Bartnick never released another record, although his earlier contribution to the ridiculous 1980 NDW Christmas record, Denk Daran, on the Überblick label, can be found here.

What gets my vote for the most bizarre group on Ink is Reifenstahl. Gerd Gaida and Matthias Rapp pose as a duo on the cover (a typical NDW approach), and play all instruments on the record, though additional members of Croox may be involved on some tracks. After all, like jazz players, it was not uncommon for members to drift in and out of various groups during the highly versatile post-punk era, especially in the experimental Düsseldorf scene, circa 1980. Reifenstahl's Die Wunderwaffe LP was the sixth release on Ink Records, 1981. Their Residents inspired chaos can be heard on these three choice cuts:

Reifenstahl- Die Wunderwaffe
Reifenstahl- Der Wustenfuchs
Reifenstahl- Space Invaders

Some of the items from Ink's brief back catalogue can be found as part of a WFMU playlist put together by Markus from Hamburg, Germany. Nearly all of the Ink tracks aired are from the 1982 Partysnäks LP (Ink010), which apparently acted as a soundtrack to an abandoned film project titled Die Tanzbeinsammler. The Google translation for this one is particularly great: 'The Dance Leg Collecting Tanks'. Wtf? This is where I call on any German speakers (martinf?) to help translate some of the inner sleeve!

From what I can make out Don Bartnick played a car dealer in the film. And I'd imagine that each track lends itself to the film narrative in some curiously angular way. Here are my two favourites from the record, hope you enjoy:

Ela Eis- My Clown
Kunst=Stoff - Schluckauf

martinf said...

You asked for it, so don’t blame me for any brain damage after reading the following words:
Party Snäks, music from the movie „the dancing leg(s) collector”
Summary of content:
Location is Rio in South America.
Don Bartnik, a salesman for used blue cars, is in financial troubles. He dreams of a career as an entertainer. In his dreams someone suggests a stage act with fried chickens. So Bartnik starts to practise a mechanical dance with 2 chickens from the Netherlands called Skänky and Trap.
Don Bartnik is in love with the nightclub singer Gay. She once presented him the old suitcase in which they met. Now this suitcase is stage and home for Skänky and Trap. One day Gay has a parachuting accident and lands on the roof right above Bartniks window where she secretly watches his training with the chickens. She is amused and confused about Bartniks misuse of the suitcase.
The next day, while Gay talks to herself, she is overheard by 3 regulars of the “Pilsstübchen”: Mustafa, an oil sheik, Jochen Zepp, a wrecked film producer, and Graf Grenzgang, an agent with higher orders. Mustafa sees his chance to escape total boredom and offers Bartnik a very bad deal. Bartnik declines with a nod, but Skänky and Trap get angry because they want to get out of the suitcase, so they try to get on good terms with Mustafa. But Mustafa is depressed by Bartniks decline and commits suicide.
The mean and corrupt Jochen Zepp hopes to have a worldwide comeback with the help of Skänky and Trap. He plans a monumental movie with 50.000 chickens dancing on the “Place de la Concorde” after taking part in a regatta on the river Seine with other heavily masked animals. So he tries to get Gays affection with three-biguous offers.
The politically confused Grenzgang detects a secret code within the dancing routines by Skänky and Trap and tries to recruit Bartnik for the secret service. But Bartnik thinks Grenzgang is just an undecided car buyer.
In the evening there is a big party at the “Pilsstübchen”. But some kidpunks from Hamburg who travelled with the HSV to a soccer game abroad don’t like the music and wreck the place. During the muddle Zepp and Grenzgang both try to get Bartnik drunk. When Gay smells the money involved she tries to get Bartniks affection with unmistakable singing.
Bartnik has only eyes for Gay and Zepp is so frustrated that he thinks about offering the main character of the movie to a blind canary. Grenzgang tries to convince Gay to have sex with Bartnik so he can fetch Skänky and Trap. But Gay declines so Grenzgang swaps the cherry in her cocktail with a toadstool. Gay drops out and nibbles on a piece of Reifenstahl.
Bartnik, who thinks he is making the best deal ever, acts shockingly, annoys all the other guests and wrecks the place even more. When he is drunk like his cars are blue he finally is brave enough to have sex with Gay.
At this point the shooting of the movie breaks down. Jo Fuchsberger, acting as Grenzgang, refuses to work any further until he is allowed to act as Bartnik. When his demand is refused he leaves. The next day the crew discovers the location wrecked with kakao powder and all finished scenes ruined with dumpling sauce from South Tirol. This is the end of the movie. Fuchsberger is dropped by the producers and has to earn his money with third class tv game shows.
Sounds like a great plot for The Da Vinci Code 2 :-))


Teja - Säuren Ätzen Und Zersetzen

Zweiter Teil der Plünderung des Archivs von Mein Walkman Ist Kaputt-Blog, Mai 2006:

Teja- Säuren Ätzen Und Zersetzen 7"

Little is known about Teja Schmitz (a Google search churns up a contemporary French musician of the same name). The only recording he released into the wild was this incredibly eerie (Dubstep on acid, anyone?) self-produced and self-released slice of Neue Deutsche Welle period DIY, circa 1980-1. This does not appear to be a homemade recording however, as the sleeve claims it was mixed at the Klangwerkstatt studio in Düsseldorf, which happened to cater for many German punk/New Wave groups of the time (Male, Fehlfarben, SYPH...). The results sound as if Teja may have been an engineer or veteran from the Krautrock era. The slowed down dub techniques echo Conrad Schnitzler's lone electronic voyage through the hazy years that blurred German Kosmische musik into German New Wave. The b-side turned up on a flexi pop compilation ('A Tribute To Some Bizarre Vol.2') some years later. Teja performs all and to cap it off there is a personal thank you and signature on the back of the record. Very nice.

01. Säuren Ätzen Und Zersetzen ('Acids Corroding & Decomposing')
02. Studieren ('Study')


D.U.R. Deutscher Tanzabend

Augenblicklich finde ich nicht wirklich die Zeit, mich um neue Rips von Platten/CDs/Tapes zu kümmern, vielleicht im nächsten Monat), deshalb hier ein Griff tief ins Archiv des längst untergegangenen Mein Walkman Ist Kaputt-Blog aus dem Mai 2006:

D.U.R. Deutscher Tanzabend ZENSOR 7" 1982

This is a bonkers little 7" from a young & up-and-coming duo of the era, Helmut Rohde and Straftat, who never really hit the big time. Rohde went on to form the more commercial sounding New Wave group Verlorene Unschuld (Lost Innocence), who were apparently quite naff according to the NLW/Backagain re-issue program (although these guys also thought the same about Grosse Freiheit!). This was originally issued on the Zensor label in Berlin, 1982. The guest list on the record is particularly telling. The avant-gardist Frieder Butzmann, synth expert Christian Ch. Kneisel, and Stephan Kaske of Mythos fame, are all behind the making of this record. Frieder Butzmann acted as key spokesman for the Berlin underground during the years in which punk quickly mutated into New Wave. In many ways NDW was the new punk, as teenage angst and guitars were scrapped in favour of Dada and synthesizers. Christian Kneisel has dabbled in all sorts, first joining forces with Agitation Free in 1974, then becoming a music teacher, and writing the 'Wo das Kraut Wächst' article in Rock in den 70ern (edited by Tibor Kneif), 1980. The Encylopedia Of Electronic Music describes his early West Berlin group Volt-Age as 'a bit like Kraftwerk on steroids'. As for Stephan Kaske, who mixed the record at his own Mythos-Studio in Berlin, check GarColga's 8 Days In April blog for the legendary Mythos debut on Ohr in 1971, fronted by Stephan when he was only 18. The title of this 7" translates as German dance evening!

01. Deurtschland Brennt ('Germany Burns')
02. Maschinenmusik
03. Bericht aus der Beamtenkultur ('Report from the Official Culture')


Siluetes 61 (re-upped)

Die Single erklärt sich eigentlich selbst: eine DAF-Parodie oder -Huldigung von Tom Dokoupil. DAF ist/war ja auch eine holländische Automarke.

Disco Mix von "Fahrt im DAF"
"Die fahr den DAF Seite" / "Die sing selbst Seite"
Text und Musik: Tom Dokoupil / Cover: Picasso-Dokoupil
7", 1981, Tausend Augen 1005, im Vertrieb von: pop import

Siluetes 61 "Fahrt im DAF" (download)

Summary: This record by Tom Dokoupil really explains itself. DAF was not only the abbreviation for Deutsch Amerikanische Freundschaft but also for a dutch car manufacturer.

First posted 30.08.06


Red Idol Fan

Eigentlich sollte ich in diesem Moment an einem Text für eine halbvergessene hannoversche Wave-Kapelle sitzen, die demnächst ihre alten Aufnahmen remastert auf den Markt schmeißen will, aber vorhin habe ich mir zur Entspannung/Ablenkung die Red Idol-DVD von Guitar Wolf reingetan und ich war schwer beeindruckt von dieser genialen Entsprechung von kaputten Bildern und kaputtem Sound, auch wenn statt 60 Minuten die Hälfte gereicht hätte. "What's the best original/it's the japanese copy" sagen Gruppo Sportivo schon vor Jahrzehnten, aber es stimmt immer noch. Keiner verkörpert die Essenz von Rock'n'Roll besser als Guitar Wolf. Schon allein der Einstieg ins Konzert, wenn sich Bass Wolf und Drum Wolf die Tolle kämmen während Guitar Wolf eine Dose Bier auf ex kippt, sagt alles. Wen kümmert es schon dass die Gitarre immer verstimmt klingt und unsauber gespielt wird und die Untertitel so schnell wieder ausgeblendet werden, dass man nur die Hälfte erahnt, wo die Texte eh keinen Sinn ergeben (oder ist es nur die Übersetzung?). Monster Trash! Und den Film "Wild Zero" würde ich gerne mal sehen (vielleicht demnächst Freitag nachts im arte-Trash-Programm?).
Nur Trash dagegen ist der Film "Der Fan" mit Bodo Staiger (Rheingold) und Désirée Nosbusch von 1982. Freundlicherweise wird der damalige Skandal um die nackte 17jährige Désirée dokumentiert, wobei sich die Ausagen widersprechen. Laut Nosbusch ging nur darum, dass Szenenbilder ihrer Nacktszenen bereits Monate vor dem Filmstart an die Presse weitergereicht wurden, laut der Presseartikel wollte sie aber vor Gericht die Veröffentlichung der entsprechenden Filmszenen verbieten lassen. Dabei können die das ganze Machwerk um einen Fan, der den angehimmelten Star umbringt und danach aufisst, kaum retten. Von Schauspielerei wage ich bei den hölzernen Darstellern kaum zu sprechen, auch die Maske versagt und lässt die angeblich kahlgeschorene Désirée wie einen Wasserkopf aussehen. Tiefpunkt ist jedoch die Mordszene die wie ein Schachspiel arrangiert ist und den Eindruck erweckt als ob der Star extra langsam handelt um sich ermorden zu lassen. Ist schon Brennende Langeweile aus heutige Sicht nur mit Mühe anzusehen, so ist Der Fan einfach unerträglich.

The History of DAF...

left to right: Michael Kemner, Kurt Dahlke, Robert Görl, Wolfgang Spelmanns and probably Chrislo Haas (source; 8/82, 9/82)

...according to Kurt "Pyrolator" Dahlke:
The first band we formed was YOU. It was Michael Kemner, Wolfgang Spelmans, Robert Görl and me. Sometimes Chrislo Haas joined as a guest playing saxophone.
Then we changed our style totally and Gabi Delgado joined as a singer and we decided to change our name too. In an election the name DAF was choosen.
We played live-gigs and made a studio-recording, which was never released - the tape was stolen half a year later, and I can only guess who did it.....
We found out, that Gabi was not the right singer and made together the album "Ein Produkt...", which was recorded in the livingroom of Wolfgang with only a tape-recorder and two microphones.
Then Gabi came back and there was the descion to go to GB. I wanted to stay in Germany and left the group in 1979.
Chrislo Hass bought the same synthesizer (Korg MS-20) and joined the group for the recordings in the UK.
Chrislo was also the first one, who left the band in London, to come back to Düsseldorf and to start his projects CHBB and later Liasons Dangereuses, after the record "Die Kleinen und die Bösen" came out.
Michael Kemner was thrown out of the group in London, when he got sick - a very bad move in my opinion. Wolfgang was thrown out of the group, when the recording-sessions in Conny`s Studio here in Germany started, and no guitar was needed for the sound.
Robert and Gabi were very ambitious, that is one of the reasons, why the lineup of DAF changed so much, they desperately wanted to be rich and famous, they "stopped at nothing" to reach their goal.
Source: http://ormfdmrush.livejournal.com/381469.html

Bei dieser Gelegenheit muß ich noch ein paar verspätete Kommentare zu früheren Postings abgeben:
  • @ Che Seibert @ Materialschlacht 1979: Falls Du Kontakt zu Sylvia James gefunden hast wäre es nett mich das wissen zu lassen, vielleicht gibt es ja noch unveröffentliche Musik der Band (E-Mail-Adresse steht rechts)
  • @ anonym @ S.Y.P.H. - Die Gevelsberg-Tapes: wegen der S.Y.P.H.-CD, Remix und so, siehe hier
  • @ Eric Stein @ S.Y.P.H. - Die Gevelsberg-Tapes: No, this is just a private collection of tracks released on music cassettes, it was never available on vinyl except for the 4 tracks from the first S.Y.P.H.-EP
  • @ pyrolator @ Deutsch Amerikanische Freundschaft "Into The Future" 1979: Auf dem DAF-Bootleg-Doppelalbum sind neben dem Auftritt in der Markthalle bei "Into The Future" nur noch Aufnahmen von 1980/81. Und die Aufnahmen aus dem Studio56 in Mühlheim habe ich nicht, ich war nie so tief in diese Szene involviert
  • @ anonym @ Krauts! Krauts! Krauts!: Die Sendungen gibt es inzwischen auf Bootleg-DVDs, leider ziemlich teuer
  • @ nima @ Station 17 "Der Film": Versuch es doch mal bei Michael Schütz von 17rec., schuetz(at)17rec(dot)de
  • @ todd @ Das Ist Schönheit - Hamburg Mai 80: Thealonian Music - Project X Chromosome X (1982)
  • @ anonym @ Landtagswahl 2008: Die Linke: Yeah, irgendwie war ich nicht in Stimmung, das Thema mit mehr als einem stumpfen Pflichtgefühl anzugehen :-(
  • @ sophia scalpel @ Flucht Nach Vorn: Sorry, mit "ostberlin-wahnsinn" von "lilli berlin" kann ich leider nicht dienen
  • @ Mario @ Die Albrecht Familie: habe ich mich schon bei Dir gemeldet? Auch wenn ich nicht glaube, Dir soo viel erzählen können (schreibe gerade einen Text über DER MODERNE MAN und merke, was ich schon für Lücken in meinen Erinnerungen habe :-(
  • @ Gustav @ Karl Nagel: Merci beaucoup!
  • @ sophia scalpel @ Marcus Oehlen: Die Fähnlein Fieselschweif-Single gibts gerade bei Mutant Sounds, die Maxi-Single habe ich hier irgendwo rumstehen, aber "Little Present" von Holger Hiller kenn ich leider garnicht
  • @ anonym @ Klar und Wahr: Urgh, Heino, it's a pain in the ass as I already wrote here
  • @ Count Yorga @ Klar und Wahr: Burned Out Split LP? Aber sicher gerne. Zwar verliere ich langsam den Überblick über meine Downloads, aber da bin ich mir doch relativ sicher. es gibt ja auch eine CD-Compilation von Burned Out...
Und hier noch ein Link in Ergänzung zu Der Plan 1979: Weltaufstandsplan in Düsseldorf 1978: GEH!. Auch historisch wertvoll: Hans-A-Plast und ST42 beim Anti-Faschistischen Festival in Berlin 1979. Und immer wieder The 39 Clocks. Und auch noch DAF.



Da der Beitrag Das Marsungeheuer soviel Anklang gefunden hat hier noch ein Titelbild von einem Ravensburger Taschenbuch von 1970, diesmal gestaltet von Stefan Lemke und Marie-Luise Pricken. Offenbar ist es das einzige Mal, wo sich die beiden von Heinz Edelmann haben inspirieren lassen. Zum Vergleich hier der Umschlag von meinem liebsten Beatles-Buch:

Und hier noch ein Link zu einem schrägen Beatles-Comic, der zwar das Design von Edelmann adaptiert, aber vermutlich aus urheberrechtlichen Gründen eine etwas andere Geschichte erzählt mit Meeren der Konsumprodukte, des Kinos und des Nirgends. Dinosaurier kommen auch darin vor :-D


When the facts change, I change my mind.
What do you do, Sir?

John Maynard Keynes, Ökonom, 1883-1946 -> wikiquote


Mania D.

Here's the final file originally posted by Dorfdisco Braunsfeld in April 2007: Mania D. - LIVE IN DÜSSELDOF & SO + Single

You remember my last package?! A trio with saxophone, jazzy influences, released a tape 'live in düsseldorf' and a single. Here the same package with Mania D.: a trio with saxophone, jazzy influences released a tape 'live in düsseldorf' and a single. Bettina Köster and Gudrun Gut formed later Malaria!; Beate Bartel formed together with Chrislo Haas (Ex-Deutsch Amerikanische Freundschaft) Liaisons Dangereuses.

seite 1: TRACK 4
seite 2: HERZschlag + kinderfunk
(monogam records berlin 002)


Das Marsungeheuer

In Hannover - laut einer Studie der Universität Hohenheim gehören ihre Bewohner übrigens eher zu den Pessimisten und mißmutigen Zeitgenossen - gibt es seit einiger Zeit sogenannte Bücherschränke, in denen jedermann seine überflüssigen Bücher der Öffentlichkeit spenden kann. Manchmal steht dann auch etwas anderes darin als ein Simmel-Roman oder religiöses Propagandamaterial, z.B. 2 der hier abgebildeten alten KinderJugendbücher aus dem Verlag Ravensburger mit irgendwie psychedelischen Umschlägen. (Die schönen Bucheinbände von Walter Grieder sind eigentlich der einzige Grund für dieses Posting.)

Während mir der Band "Das Zeitgericht" bisher unbekannt war stehen die anderen beiden schon seit Ewigkeiten in meinem eigenen Bücherregal und merkwürdigerweise sind es die einzigen von gut einem Dutzend Ravensburger Taschenbücher, bei denen ich mich erinnere, sie auch tatsächlich gelesen zu haben. Insbesondere die Geschichte "Der Mörder" von Ray Bradbury (im Band "Das Marsungeheuer") ist mir in Erinnerung geblieben, ist sie doch angesichts der heutigen Handy-Verbreitung mehr als nur prophetisch. Auch der Rest ist pädagogisch extrem wertvoll, um jugendlichen Hirnen naiven Fortschrittsglauben auszutreiben.

Interessanterweise ist The Cartoonist gerade dabei, mit den Problemen der Einrichtung einer Basis auf dem Mars zu kämpfen, mit grün leuchtenden Kernreaktoren und in Landschaftsbetrachtung versunkenen Robotern. Den jeweils aktuellen Stand seiner Expedition könnt ihr hier nachlesen. Hoffen wir, dass seine Reise nicht ähnlich schrecklich endet wie die von Leutnant Enoch in der Geschichte "Das Marsungeheuer" von Evan Hunter.

Translation: Just look at these beautiful covers of old paperbacks for children. And check out The Cartoonist for his latest adventures on Mars.

Update: 10.10.: Hier noch eine Abbildung von dem von halbwissen erwähnten Band "Die vergessene Stadt":