captain beefheart extrapilating the piano while the recording engineer sleeps

probably recorded during the sessions for trout mask replica late in 1968 or early in 1969 (sounds like new years mourning) this is the captain speaking whilst disregarding a late laid piano and nobody cares either. neither. the dust blows forward and the dust blows back and the wind blows black through the sky the beefheart beats no more slobbery fields forever!

can you believears can you? i found these recordings in the ohmxgodatabase of sugarmegs where app 40.000 weird bootleaks are waiting to be unearthed and hearthed. for this particular sonic evidence they are hiding a lot of accompanying information.

and now spend and spoil ten minutes of your mmh-life:

01-untitled piano song (1:33)
02-untitled piano instrumental #1 (1:53)
03-a lot of money for you, a lot of money for me-untitled piano instrumental #2 (1:19)
04-short whistling (0:10)
05-untitled piano instrumental #3 (2:04)
06-why can't we be free? (0:50)
07-untitled piano instrumental #4 (0:58)
08-untitled piano instrumental #5 (0:31)
09-untitledtitled (0:46)

the beefheart piano tape
(mp3 /24 mb)

german sick-teeth underground beat - unterweltenkrachinnenraum - elektrick loosers volume four

ELECTRICK LOOSERS VOLUME FOUR - the prae-kraut pandaemonium that never was meant to be. thirty german undergrounded beat garage ravers re-unearthed and ex-zombiefied from the same treasure trove-source that brought you all the other millions off-ucking nukkets of teutonic pampers around your ears - established and ruling since 1987. deadicated to the hellth of the earth, but the world wood never lissen. sonic reducing for your education.

We revived the Prae-Kraut series, why shouldn't we do the same with Electrick Loosers. Intended as the CD-outlet of the Pandaemonium, there were 2 volumes that summed up Prae-Kraut 1- 4, but then we found it a bit boring to concentrate on stuff that has been done already, and we released a volume that rounded up all the German nuggets that have been scattered all over the place on trans-world garage comps and other publications, where they seemed to sit uncomfortable and lost (dare I say wasted?) a bit. Now I dug up the old master tapes of intended Prae-Krauts, which had to be re-made, re-modeled cause other enthusiasts got in the way, and were a little quicker with their German beat comps. Read the whole story on www.prae-kraut.de. I searched the net over now and couldn't find any posts for the old Visions of the Past volumes, Boom Boom, Beat on the Krauts and a couple of other releases that were red hot in the very early 90s, but obviously as hard to find today as the original Prae-Kraut vinyl is. So here we go with the second Prae-Kraut that never happend (in fact it is the first), and dedicate this one to our old friend XL Beaver, who did a great job when he came in first with about 15 of the numbers above. Better late than never, these all are tracks that were planned for the first 6 volumes of Prae-Kraut. And as we only selected our favourites, this one is vintage German Beat (no Swiss or Austrian contributions this time). 1000 thanks to Peppermint Patti for the formidable cover that lay around unused for 15 years.

here we go-go!

1. The War – SHELLEY (3'25)

2. Is It True – THE MERSEY KINGS (3'01)

3. Shoot Your Shot – THE PHANTOM BROTHERS (2'55)

4. The World For Us – SAD SACK SET (2'37)

5. Action Painting – THE RICKETTS (3'13)

6. I Don't Miss You – KENNY (2'33)

7. Bad Bad Boy – THE FREED (2'21)

8. Nobody – THE JAILBIRDS (2'50)

9. Blackbird Face – THE CHOSEN FEW (2'10)

10. German Measles – THE SUBJECTS (2'54)

11. Come Back – THE REBBELS (2'10)

12. T'was On A Monday Morning – THE STEADFASTS (2'30)

13. It's Great – JONAH & THE WHALES (3'25)

14. Please Be Mine – THE RACKERS (1'38)

15. Go Go Mojo – THE UNITED 5 (2'35)

16. I Feel Alright – BEATBAND G 66 (2'59)

17. I'm Not Like Everybody Else – THE IDLING DOMESTICS (3'30)

18. Brand New Cadillac - THE RANGERS (2'49)

19. She's My Baby – THE ORIGINAL SURFERS (2'56)

20. Uncle Willy – THE KENTUCKYS (2'50)

21. The Other Man – THE NEWS (2'18)

22. Hummel Twist – TONY CAVANAUGH & THE LIVERPOOL TRIUMPHS (1'42)

23. Lost John – THE STARFIGHTERS (2'22)

24. Noch einen Rum, noch eine Whiskey – MIKE ROGER & HIS MACHINE GUNS (2'21)

25. It's Love Baby – THE TONICS (2'16)

26. Set Of Teeth Nr. 5 – THE DIVERS (2'24)

27. Shimmy Shimmy – THE THANES (2' 15)

28. Darlin' – THE TONACS (3'12)

29. Comin' Home, Babe– PAUL NERO'S BLUE SOUNDS (2'33)

30. Hall Of The Mountain King – CASEY JONES & THE GOVERNORS (1'39)

SHELLEY: Eastbourne, Sussex. After 3 unsuccessful 45s for Pye they came over here and recorded two much better, but equally ignored singles. „The War“ was on Hit House Rec. You'll find the other 7“ on PKP 18 (here on this blog)*** MERSEY KINGS: one of these unpayable 45s on Scherer, the Heidelberg based private label, that gave us among others The Lightnings and The 5 Torquays. „Is It True“, b-side of „I'm A Hog For You“ (> PKP 14) was a minor hit for Brenda Lee, and was often covered by mid-60s beat bands. Another German version was recorded by The Pounds.*** No need to repeat all the praise about Rendsburg's PHANTOM BROTHERS (read Ugly Things 24) The second and last 7“ was a sledgehammer version of Jr. Walker's „Shoot Your Shot“, released in '67 on the tiny ND/NC label, misspelled on cover as „Shoot Your Shut“.*** The SAD SACK SET's only single showed up on Cornet '67. Marek Lieberberg, later boss of Mama Concerts and nowadays one of Europe's richest impressarios and promoter of madness like Rock am Ring, was a member of the band from Frankfurt, and while the song was credited to the group on the label, it's note for note The Hollies' „Little Lover“.*** I know of 3 different German combos called RICKETTS (well, one of them spell with as single „t“). The Ricketts in question, probably from Greater Cologne, first appeared with 5 tracks on the '69 concert-compilation „Wir im Scheinwerfer“ (= we in the spotlight) on Resono. „Action Painting“ was the most obvious choice for garage heads, but you'll find one of their real songs (with lyrics, that is) on old Prae-Kraut vinyl. (>vol 7.) Their 45 on BASF is best avoided.*** KENNY (MacGaskill) from Glasgow came to Germany with The Fleets and stayed in Kassel when they left. He recorded here for Metronome, Ariola and GM, and his backing bands were The (Scottish) Sonics and The (German) Cars. His best side was „I Don't Miss You“ for GM in '66, and he is accompanied by The (uncredited) Cars.*** Still foggy after all these years... Absolutely nothing known about THE FREED and this frantic garage stormer from '67 on the small Rex label.*** One of many German JAILBIRDS, these here came from Mainz and put out a sought-after private pressing in'66. „Nobody“ is the closest we come to a ballad here. You'll find the flip „I'd Like To Go“ on Prae-Kraut 19 (Just scroll down a bit) *** THE CHOSEN FEW from Hofgeismar near Kassel started as The Rolling Beats (documented on the Telefunken LP „Twist Battle Party“). „Blackbird Face“ (CCA, 67) was the first single, the second and last was on GM Rec. (> PKP 3), where they backed girl singer Gesine Darieux on one side.*** Not to be confused with the ones from Munich, these SUBJECTS hailed from Troisdorf and began as The Spitfires (undocumented). This sole 7“, a private pressing on SP, 67, is pure trash with some of the most hilarious „lyrics“ this side of Malepartus II. The flip side was on PKP 10.*** THE REBBELS (Koblenz) claim delibarate choice of wrong spelling. (Well, Electrick Loosers does the same.) The best side of two singles for Bellaphon was „Round The World“ (> PKP 3), but „Come Back“, flip of „Monkey Monkey“, is a close runner up. The boys got quite upset, when they had to find out that John Christian Dee, the Adam of Eve and pain in the asses of many a German band on Bellaphon and CBS, put his name under the title on the label.*** With only 3 songs released, THE STEADFASTS (Memmingen) reached cult status among fans of the moodier kind of garage rock (remember „Class of '66“ ?). The debut was a split single with The Cashions (>PKP 9), followed by this CCA 45 in 66. H.-W. Kunze translated „Monday Morning“ and recycled it with at least 3 different German crooners on his label. *** Nürnberg's JONAH & THE WHALES mutated to Ihre Kinder by the end of the decade. „It's Great“ (Vogue, 66), a sharper version of a 7“ by The (UK) Monotones , was their only release. Jonah was Jonas Porst, son of a rich and famous man. A projected second single was shelved, but can be heard on PKP 15 and 17. *** These RACKERS came from Kassel and are not the ones from Weilburg of „Crazy Haunted House“- fame. Their only 7“ was released '66 on the very fine Paletten label.*** THE UNITED 5 may well be a Dutch band, as a group of the same name, who had a single called „Go Go Baby“ on CCA, definitely came from Ijmuiden. „Go Go Mojo“ is a totally different song from a 7“ on Saba/MPS, and the similar titles caused a lot of confusion among collectors. Anyway, same or other band, both singles were exclusively released in Germany 1966. *** Formerly known as The Gang, Cologne's G 66 were inspired by Q65, when they were looking for a hipper name. They had a big following in their hometown, but only released this one single on Vogue (66). The flip can be found on PKP 10. *** IDLING DOMESTICS!?! Wow, bold construction of a name. What they meant to say was „Faules Gesindel“.They came from Delmenhorst and won the Battle of the Bands '67 in a draw with The (rather dull) Confusion. The result was a split-single sponsored by the local newspaper Delmenhorster Kreisblatt. Cool choice to give one of Ray Davies' best songs a try, but back then this was just the overlooked flip of „Sunny Afternoon“. *** The origins of THE RANGERS (not to be confused with Frederic's Ruhrpott Rangers) are unknown, but the only 7“ on Privat Records (a private pressing nevertheless) is a bit of a sensation, because it obviously was made before The Renegades had a monsterous Continental hit with the song they stole from Vince Taylor. Here everything is properly correct.: Title, writer's credits and Vince's arrangement.( Though The Rangers tighten up a bit and lay down something like the blueprint to The Clash's version on „London Calling“.) *** THE ORIGINAL SURFERS from Holzminden were another bunch of young hopefuls, who payed CCA-owner Kunze for recording and pressing of a first (and last) single 1966. Despite the name, they tried to be a tough R&B-band like The Stones and Spencer Davis' Group, and hadn't much in mind with surfin'. „She's My Baby“ sounds suspiciously like „Everybody Needs Somebody To Love“ to my ears. *** Like The Phantom Brothers, who also only had 2 singles, Wuppertal's KENTUCKYS were one of Germany's most infamous rowdy-bands, legendary for weird behaviour and outrageous stage antics. „Uncle Willy“, seemingly inspired by Zoot Money's version, was the first of 2 records for Bellaphon in '66, and showed up on one of the backlashing Continental Pebbels, but I guess it's time to dig it up again. More of The Kentuckys on PKP 3 & 9. *** THE NEWS from Bad Kreuznach were another of these non-hit-wonders with a one-off 45 on a backyard label. Local heroes for a year or two, but at least you have something to show your grandchildren, when they doubt that you've ever been young. Their lone single showed up in '65 on Uniphon. *** TONY CAVANAUGH was a black American drummer and singer stuck in Hamburg, where he found enough work in the Top Ten Club and other venues, and drummed and recorded uncredited with many touring acts. Under own name he recorded for Decca, Somerset and Metronome between '63 and '67. His wildest release was the '64 live-LP „Rock-Twist-Slop-Hully Gully“, and „Hummel Twist“ is the funniest statement on migration, integration and being a stranger in a strange town I've heard since Eddie Wilson's „Dankeschön, bitteschön, wiederseh'n, I wish I could sprecken sie Deutsch“. If you want to listen to the whole LP, click at >Berlin Beatet Bestes<>THE STARFIGHTERS, well, looks like – thanks to Franz Josef Strauß – every town had a band of that name. These here came from Iserlohn, and like so many, they started as a skiffle group. The one and only 7“ was released '64 on Team Rec., and sold well enough to be picked up by Bellaphon for national distribution. „Lost John“, the old Lonnie Donegan number, is better known in The Lords' version, but if the release dates are to be trusted, The Starfighters came first. *** MIKE ROGER was Nürnberg's answer to Elvis. Or Fats Dominio, if you dare a look at the covers of the many singles he put out on Aba Nori, a label he kept alive alone with his slopdance-craze records. Some even made the lower registers of the charts. Born Hermann Glöckler in 1930, he was the king of the bad part of town behind the railroad tracks, and with his Machine Guns he backed a lot of touring C&W and R&B-singers. „Noch einen Rum“ (64) was the b-side of „Veedeboom Slop“, his second minor hit, and a number that Tony Sheridan later covered for Polydor. Rogers died in 1984. *** Hamburg's TONICS should be more than familiar with every Prae-Kraut-follower. While so many of their singles are best forgotten, „It's Love, Baby“ (65, Elite Special) is a real winner. Written and first recorded by Hank Ballard, there are a couple of other beat arrangments around, most noteably the one by The (UK) Knack. *** THE DIVERS from Kulmbach recorded 3 titles for CCA in'66. Why they (or H.-W. Kunze) neglected the best one when the single was pressed, is hard to understand. But „Set Of Teeth Nr. 5“ (great title!) didn't stay unreleased completely. What not even The Divers knew, and what's written down wrong in all specialists' books: There is this CCA single by Lord Crazy called „Crazy, Crazy“, and indeed the instrumental track of The Safaris' song of the same name was used. On the flip we have this outrageous „Witchy Bitchy Super Duper Eyeball Highball...“-thing (see PKP 8), a backwards-track in the tradition of Napoleon XIV's b-sides, and everybody thought that it's The Safaris again. It's not. If you listen closely, you'll recognize that Kunze used The Divers' leftover. Here it is in all its glory as it was meant to be heard.*** THE THANES from Munich's suburb Pasing were extremely charming and polite guys (as the TV-documentary „Beat auf dem Lande“ shows), but optic-wise they made The Stones look like acolytes. All 4 sides of two '66 singles on Meilton are covers, and due to lacking abilities on instruments, they even make „Things We Said Today“ sound rough and rocking. „Shimmy Shimmy“ was one of the stage-standards on the German club circuit, and lots of interpretations are documented. While it was a hit for The Orlons, the best and oldest version I found in my collection is a Bobby Freeman 7“ from 1959. *** Although the only 7“ of THE TONACS ( not to be confused with The Tonics) came out on a major label (CBS, 66), there's not much known about the band. They were a quartet from the Frankfurt hinterland, I've been told. And they somehow remind me of the early Bernd Frank singles...*** PAUL NERO is of course jazz legend Klaus Doldinger, who later fertilized Krautrock with his bands Motherhood and Passport. „Comin' Home, Babe“, the old Ben Tucker number, still is a floorfiller in the marvellous hit version of Mel Torme, but garage freaks will be more familiar with The Downliners Sect's rendition. Alongside Stefan von Dobrcinsky, Sahib Shihab, Atilla Zoller, Ingfried Hoffmann and Peter Trunk, - names that should let your jaws drop in awe, but probably won't, ignorant bastards! - we hear Klaus Voormann on bass and another third of Paddy, Klaus & Gibson, Gibson Kemp on drums. (Taken from „The Big Beat“, 65) *** CASEY JONES & THE GOVERNORS were the most successful of all ex-patriate Brit bands in Germany, but they had a reputation for turning R&B classics to simple, stomping sing-along-ditties, and a breakneck-speed version of Edvard Grieg's „Hall of The Mountain King“ from „Peer Gynt“ came as quite a surprise, when it showed up on their second, much rarer LP for Golden 12 in '65. And Casey had the nerve to take over the writer's credits!!! As I do with this little historical report. Stay tuned. The Lolly Pope.

A Sturclub Production 1992 - 2010

ELECTRICK LOOSERS VOLUME FOUR
(mp3 / 320 kbps / direct download / 180 mb)

the flamin' groovies 1992 in agony. shot down in flames.

strange enough most people believe that the flamin' groovies sacked themselves after the australian adventure and the flop of "step up", a fine album though indeed, but - as all the other 12 or 33 albums before - the 99th commercial flop, a reliable fate, that became the trademark of the world's most underappreciated band since '69. Back in the states they fumbled around with bits and pieces and tried to re-invent the whole caboodle one more time and time again. still with Zahl and Johnson, they tried to get commercial for the 45th time and released "rock juice"in'92 (steiniger saftladen), an album with an ugly cover, lousy production and, let's face it, a couple of jordan-compositions that you'd rather not listen to. believe me. but hidden under all that third hand power pop for wimpies, there's "give it away", a song that shouldn't stay buried under all that tedious crap. (o.k., the more i listen to "rock juice", the more i still like it better than 99 percent of all what's called power pop today. but the groovies usually didn't try to set standards... they simply were the ultimate reference) - anyway. no way. anyhow. nowhere... never mind the annie, get your guns... here's the swansong of a teenage header: and we give it awayawayawayagain...

|>> the flamin' groovies - give it away

no milf today! but still alive and wellst with the sevens!!!

the pope and popeye have been fighting relevant battles these days downtown stuttgart and had a hard time obeying to the non-violent agreement of wiping the pigs away, but somehow it seems to work. we'll be back with more action sooner or later, but here's a little reminder... we're still alive and well! no scans, no pictures, but you probably know anyway how switzerland's most radical punk band used to look. here's the third and last of the sevens' outtakes from 1965 called "i can't understand". (you'll find the other two tracks on a prae-kraut pandaemonium #19) - stay rude, stay rebel!

no time to be 21! (trance-poisoned and transdamned noch=mal!!)

|>> the sevens - i can't understand
(mp3. direct download)

the singer: not the song - alex chilton live in bremen (1988-02-07) & hamburg (1988-02-02)

those who only know the letter do not even know the letter and are doomed to repeat history right here: alex chilton was a punk before you was a punk and he shipwrecked and broke down where others did not even dare to accept the challenge.

down in the deep black holes of my tape collection i unearthed the tapes of two live concerts that LX executed in germany way back in february 1988. the alex chilton trio hit the stages in hamburg and bremen and the first generation of northwestgerman psychpunks all went to see their swan singing. LX (singing of course and playing his guitar) was backed by ron easley on bass and vocals and doug garrison on drums (both played with panther burns and the hellcats and both have left only very few traces on the www). you will get to hear the complete bremen concert plus five tracks they only played in hamburg plus the hamburg version of the letter. 70 minutes of dry dense instant noise. so geil!
thanks go out and again to the lolly pope for digitizing these recordings quota: "alex chilton, the hamlet - without the prince - of rock 'n' roll, always had a nose for trouble and a fine hand in killing his own career whenever fame and fortune threatened to raise their ugly heads. but in 1988, armed with a new record contract and the album „high priest“ under his belt, he kicked his own ass and gave it another serious try. he toured europe, where he enjoyed considerable cult status since the days of big star, but somehow these gigs were poorly attended, and tales of drunkenness and cruelty didn't help the matter much. in early feburary he was upnorth germany, and both northern federal state radio stations - radio bremen and ndr hamburg - recorded and broadcasted the gigs at „modernes“ and „markthallen“ respectively. we decided to put together a program of all the songs he played, but to avoid doubling, we took the bremen concert, where he was in a much lighter and brighter mood, and add the extra tracks from hamburg after the first rendition of „the letter“. (listen to alex' intro to the second, and you'll know what i mean.) but anyway he was cool, calm and collected on both occasions and, with the help of two comrades in arms from memphis, he layed down sharp and honest performances a far cry from charming, but pretty scruffy and untogether stuff like „live in london“. it's a shame they all die like flies on schubert these days, but i guess he'll team up with pete quaife up there, who passed away last week. where have all the good times gone..."

here we go:

01 bangkok
02 make a little love (holiday akopoff)
03 dalai lama
04 no sex
05 thing for you
06 b.a.b.y. (porter/hayes)
07 rock hard
08 lost my job
09 volare (migillaci/modungo)
10 little g.t.o. (john wilkin) >>> (ronny & the daytonas)
11 the letter (wayne thompson)
12 come by here (alvis armstrong)
13 take it off (eve darby)
14 tee ni nee ni noo (slim harpo)
(01-14: bremen 1988-02-07)
15 the new girl in school (wilson/christian/norman) >>> (jan & dean)
16 rockin' daddy (sonny fisher)
17 the train kept a-rollin' (tiny bradshaw) >>> (johnny burnette, yardbirds etc.)
18 sick and tired (kenner/bartholomew) >>> (fats domino, searchers etc.)
19 with a girl like you (reg presley) >>> (troggs)
20 the letter (fade out)
(15-20: hamburg 1988-02-02)

the alex chilton trio live in nw-germany 1988
(mp3 / 320 kbps / 160 mb / direct download)

to listen to the concert before you download:
please change to the german version of this song....

tornado warning – doug sahm & the texas mavericks live in bremen 1987-04-13

in 1987 the lolly pope and me=myself saw doug sahm and the texas mavericks play live in tübingen, a very pleasing evening at the old amerika-haus close to the blaue brücke organised by one hans kesteloo. unfortunately no recordings of this event seem to have survived, but in the deep black holes of my collection i found a tape of their gig in bremen only four days earlier. this tape is what you are going to be listening to right now and the lolly pope has a lot to say. please enjoy:

"Those were the days when Rock n' Roll – though already smelling suspiciously funny – was still alive, and there were reasons to leave the house every once in a while. As a hardcore Sir Douglas-fan since the German release of "She's About A Mover" in '65, I had to see the MAN when a gig at Tuebingen was announced '87 during his European promo tour for the Texas Mavericks album on New Rose. When I asked fellow-warrior-against-the-jive van daale to come along, he was a bit undecided, but soon as he heard of chances (well, that turned out to be just rumours) for some cameo appearances by Roky Erickson, he was more than convinced, and we hit the road to our old Alma Mater on smoking wheels. It was a night of pure magic, and definitely the only useful purpose one of these Amerikahauses spread across Germany - and usually rather a place to protest and throw molotov cocktails - ever had. Doug seemed to be a bit embarressed with that Roky hype, which was a promo-trick invented by his management, promoter, record company or who ever, but he explained, that he and Roky were old friends and companions since the days of the Vulcano Gas Co., and that he had a couple of Erickson's songs in his repertoire for decades anyway. I can't tell you the complete line-up, but I remember that Doug's son Shawn was on lead guitar, and Speedy Sparks was as prominently featured on guitar and vocals in The Mavericks as Sir Doug himself. Augie Meyers was sadly missing, but they had a small keyboard on a table, where they shared fake-Vox organ duties when necessary. Trouble with this incarnation of the Sir Douglas Quintet is, that they all worked under aliases on this record (subtitled „Who Are These Masked Men“), and bass and drums are stated as Miller V. Washington and Frosty respectively there. But then again, who the care fucks anyway... The only regret we had, was that we forgot to bring along some bootleggers' equipment to document this memorable evening.


Some 23 years later a tape of a gig in Bremen, recorded 4 days earlier, showed up in stunning sound quality. It time-warped us back to the days when the defuncted Pinkees couldn't yet imagine to reincarnate as Sturclub. Reduced to the duo format we were sitting in limbo, but somehow the idea of the Club of the Stubborn was in the air right from the start, and after struggling through all the madness, and losing some members half our age to the „real world“, we're still angry old men getting younger than yesterday. (Look out, here comes tomorrow...)


Back to the drawing board: Speedy Sparks, in and out with the Sir Douglas Quintet since 1980, obviously is a die-hard Buddy Holly admirer (like Roky) and covers no less than 3 of his classics here („That'll Be The Day“, „Not Fade Away“ and „Rave On“) with bravour and grandezza. He also does a fine rendition of Van Morrison's „Brown Eyed Girl“, and that's a very good idea after 20000 versions of „Gloria „ worldwide. I could have thought of less over-played Chuck Berry-classics than „Johnny B. Goode“, but it's a crowd pleaser anyway, and his mediocre self-written „Redneck Rock“ is the only number I could have done without. Speedy makes up for this with a tremendous run through Erickson's „Don't Slander Me“. I had to listen to legions of lousy versions of that song before and after, but this one, well, don't know... It somehow sounds right. But Sir Doug of course is the man in charge here, and he blows away all wannabe Tex-Mexers this and the other side of the Rio Grande lefthanded with „Texas Tornado“, something like his theme song, and speeds up with a killer interpretation of Roy Head's „ One More Time“, a song that may sound familiar to formerly young punks in the version of Joe „King“ Carrasco & The Crowns (remember Stiff Records?) „She's About A Mover“ nails me to the cross like it did in '65, and I still can't grasp how Lenny Kaye could miss out on this one, when he compiled the original „Nuggets“. A personal heartbreaker, tearjerker, you name it, is the Gene Thomas Medley („Sometimes“/“Cryin' Inside“), which was one of ten highlights on Doug's '76 album „Texas Rock For Country Rollers“. A wonderful melange of Western Swing and New Orleans R&B, and I remember well the hard times I had back then, when I outed myself as a fan of both in the wake of da Punk. The following „Key To My Heart“ from the same LP is a very personal, possibly autobiogrphical song, that still seemed to haunt him 12 years later, and... , fuck me, I need a new handkerchief.

Strange enough... I've first heard „Starry Eyes“, one of two handfuls of 70's songs that'll survive this and the next century, on Doug Sahm's rare LP „Live Love“ (1977, Texas Re-Cord Co.), a year before I noticed that it was a Roky Erickson song. The greatest number Buddy Holly couldn't record, anymore, but a post-mortal tribute in both versions anyhow. And then „Mendocino“!!! The smash that catapulted Sir Douglas high in the charts worldwide. And left him stranded as some kind of one hit wonder, teenage novelty attraction from times not true anymore. Tortured and mutilated in „Original home language versions“ from Cambodia to Michael Holm. Nurse, my brain hurts!!! (Just listen to the words, teenyboppers! But then again: it's too late anyway.) Who'd have thought that Roky Erickson would survive Doug Sahm (or even the 80s)? But that's the way the cookie crumbles, and it's a pleasure to see Roky singing and walking with kindergarden kids instead of zombies these days. Doug's worst ever LP was „Border Wave“ (never trust any kind of wave) in '81. Recorded for Takoma, but released in Europe on the then still major label Chrysalis, it was aimed at a mass market, and sounded like Sir Douglas trying to out-teenybop Michael Holm at his own game, which was old hat and around the corner by that time for years anyway. (Though there's a hell of a version of The Kinks' „Who'll Be The Next In Line“ on it, to give truth some honour). And you'll find the most ridiculous execution of The Elevators' „You're Gonna Miss Me „ ever on this strange platter. BUT: here it is the way God, Roky and Doug planned it. A real revelation. And it's true: I'm missing Doug Sahm, the first and last real KrautROCKER (yep, his parents immigrated from Bavaria).

The band encores with Ritchie Valens' „La Bamba“, the first million seller in Chicano Rock. An old, worn-out warhorse, you might think, but a heartfelt tribute to a 17-year old Latino, who had 4 Top 20 hits in 8 months, before he fell from the sky with Buddy Holly and the Big Bopper. Not really the day the music died, but a bit like the beginning of the end...."

01: That'll Be The Day
02: Texas Tornado
03: One More Time
04: Not Fade Away
05: Brown Eyed Girl
06: She's About A Mover
07: Rave On
08: Gene Thomas Medley: Sometimes / Cryin' Inside
09: Give Back The Key To My Heart
10: Don't Slander Me
11: Starry Eyes
12: Redneck Rock
13: Mendocino
14: Johnny B. Goode
15: You're Gonna Miss Me
16: La Bamba

tornado warning – doug sahm & the texas mavericks live in bremen 1987-04-13
(mp3 / 320 kbps / 57 minutes / wrapped as one track / direct download)

(doug sahm / steven t. / question mark / kim fowley)

kevin ayers live in bremen 1976. a way too short radio broadcast for you to fall in love again.

and though the music he released in 1976 was rather boring kevin ayers still was a very lovable and fascinating entity live on stage. on the 19th of august northwestgerman radio bremen recorded an evening with kevin ayers live at the famous postaula in bremen of which at least seven songs were broadcasted some days later. though we can only guess who was with him that evening it is most likely that ollie halsall played guitar, bill livsey probably was on keyboards, charlie mccracken played bass and rob townsend sat in on drums (any information on the flute player is welcome). the last song is a fragment, but it is interesting and sadly nostalgic to hear christian günther again, a linking anchor man for strange and popular music in the late sixties, who later on was the stadium announcer for werder bremen and who died rather untimely in 2001. 

ja: christian günther: kaum to underestimate. 

but back to kevin ayers: here is what you are going to hear: 

 

01 - may i?

02 - whatevershebringswesing 

03- shouting in a bucket blues 

04- observations 

05- lady rachel 

06- blue 

07- mister cool (fragment with christian günther) 

 

 

kevin ayers live in bremen 1976-08-19 

(mp3 / 320 kbps / listen with leftclick or download with rightclick / no scans) 

 

 

the ramones live in hamburg 1978. very bad recordings for the heartcore collector only.

the term "spurensicherung" points you to forensic crime scene investigations as well as to german conceptual art in the seventies of the last century. and sometimes the securing of evidences is more cheerless than cheerleading. for your and my very own discomfiture i saved at least 20 of 23 songs the ramones played in hamburg in 1978 from a muffled and crumbled tape i bought in 1979. the sound quality is horrible but abusing some alcohol whilst listening to these ruins will make you grin and howl.

and yes: it is 9/11 1978 and the ramones hit the stage at the hamburg markthalle in germany. the ramones of course were joey on vocals, johnny on guitar, dee dee on bass and marky on drums. they had just released their road to ruin album and became more and more professional in promoting new products and executing the same 23 songs every evening. but fascinatingly they were still stumbling. the first three songs of the tracklist included could not be restored so we start off with i don't want you and end with little german boy.

the ramones live in hamburg 1978/9/11
(mp3 /256 kbps / direct download / no artwork included)

a prae-kraut pandaemonium volume 19. german sixties underground garage psych punk. incroyable!

yeah! underground! yeah! sixties! yeah! germany! yeah! punk! the prae-kraut pandaemonium strikes back and forth with an other compilation of teutonic beat, mayhem and all=too=rare noise! this is not fucking white pride: this is this is this is blatant prae-kraut obscurity: some twenty=eight pieces of "music" no=one has ever heard of. off we go! power pop psych garage punk underground for your pleasure, compiled by the lolly pope and tekknikally subversified by up yours sincerely=one crouter aka west fauster. yeah!

this is what you want and this is what you get:

01) It's All Over Tonight - THE SEVENS (2'14)
02) You Say Yeah - THE ROLETTS (2'30)
03) Every Single Day - THE SCARECROWS (3'10)
04) Someone's Call - THE NIGHTBIRDS (2'52)
05) Otherwise Happiness, Part 1 - THE TOMBSTONES (6'49)
06) I Had Forgotten - LOST GENERATION (3'12)
07) Beggin' Me To Stay - THE SEVENS (1'56)
08) Mad Situation - STEPHEN DEREK (2'25)
09) Milord - THE BLACK LIONS (2'59)
10) I Can't Get It - THE CHEYENNES (3'33)
11) Take A Chance - MATT COLLINS & HIS BEAT BAND (2'14)
12) That Ain't Where It's At - THE SOUL EXPLOSION (2'23)
13) Mr. Busdriver - THE SONIC (2'11)
14) It's All Over Now - THE TONICS (2'48)
15) Kind Of Mine - THE SUBJECTS (3'08)
16) Keep It Out Of Mind - THE LIONS (2'40)
17) The Ghost - THE GHOSTMEN (3'14)
18) She's A Lover - THE SNAPPERS (2'18)
19) TNT - CHARLY & HIS EXPLORERS (2'12)
20) It Will Be Fine - THE GHOOLS (2'18)
21) Every Night - THE SUNBEAMS (2'16)
22) Hold On - THE VAMPIRES (2'17)
23) I'd Like To Go - THE JAILBIRDS (2'12)
24) Mr. Peaceman - THE SCAVENGERS (2'53)
25) It's Nothing - LES SAUTERELLES (2'30)
26) In The City - THE MAGIC RAINBOWS (2'28)
27) Crazy Daisy - THE MOUNTIES (2'11)
28) Nachts in Chicago - THE HUBBUBS (3'08)

and the lolly pope says the following:

<<< No introduction necessary to the fabulous SEVENS from Basel. Switzerland's best R&B-band could not only play the standards rough, tough and frantic, but also had the guts to write their own songs when they went to the studio. In 1966 they had enough material to record an LP of their own numbers, but Layola Rec. considered the result a little too wild and uncommercial, and talked the guys into recording "Don't You Fret" (Kinks) and "I'm Cryin' " (Animals) to make the damn thing a bit more accessible to the average beat fan. The two omitted tracks, "It's All Over Tonight" and "Beggin' Me To Stay" showed up on a tape reel these days, and here they are for our pleasure. (Track 1 & 7)

There's a whole lot of "lyrics" been written by ambitious, but overtaxed young German-speaking hopefuls that unintentionally came close to dadaism, but the Austrian ROLETTS beat them all easily. These lads definitely had a message! But what exactly are they trying to tell us? Nurse, me brain hurts!!! "You Say Yeah" was the first of two singles for the tiny Cosmos label, and we're desperately seeking for the second one.

Just when you thought you had them all... Here's an unexpected find on the famous Paletten-label, an EP by THE SCARECROWS from Lauterbach, Hessia. While three of the tracks are crap of the highest order, "Every Single Day", obviously inspired by The Animals, is a stunning triumph of unknown German beat history.

The Swiss NIGHTBIRDS, who spent the most part of their career in Italy, had a first PKP-appearance on volume 18 with their wild debut single. "Someone's Call" is the fifth and last 7", and the only one on a Swiss label. ( COS, '68) Freak beat ballad, for those who need pigeonholes.

THE TOMBSTONES from Duesseldorf released one of the weirdest German private pressings on Tonatelier W. Schmitz in 68/69. A 13-minute song squeezed on two sides of a 7", and part 2 starts again with a drum solo slowly giving way to some more improvisational noodling, until the singer sets in again for the last minute. Armed with cheap Woolworth guitars and an even cheaper ersatz-wah wah-pedal, this very democratic group takes the time to demonstrate the instrumental skills of each member and then some. And then some more... A great example for the spirit of the transitional (or was it transubstantiation?) phase from Prae-Kraut to Krautrock, with the beat roots well intact. They owe more than a warm handshake to Steve Winwoods "I'm A Man", but who doesn't?

Vienna's LOST GENERATION are, if at all, better remembered for two very funny (if you're able to decode the hilarious hometown dialect) 45s on Philips in the early 70s. The self pressed debut from '67 was one of the best kept secrets of Austrian rock history until our dear friend Matt, the dentist, (to whom we – for hundreds of reasons – are indebted beyond all galaxies) found it in his trawl. "I Had Forgotten" is one of these irresistibly naive, but tremendously charming ballads that always were an integral part of the PKP-idea. It's great to have a garage, but things like these will always find a home here. And a garden to grow...

THE SEVENS - "Beggin' Me To Stay": See Track 1.

Next is a strange and uncategorizable 45 by one STEPHEN DEREK on the Duo label. I only know of two other singles on Duo, and both are by Gerhard Dlugi. (Remember his monsterous German language version of "Gloria"?) As ever so often with German records, it's hard to date the year of release, but if the guy (who may as well be Dlugi himself) chose the pseudonym with the infamous TV-inspector Stefan Derrick in mind, it's probably '69 or '70. And yes, we absolutely love the lead-flutist!

While rumour has it that THE BLACK LIONS from Bern, Switzerland, were a wild R&B band, their only 45 won't raise the roof of your garage. "Milord", a self-payed pressing made by Turloaphone, sounds like '64, but came out in '66. Obsolete by then in every other city of our hemisphere, but quite en vogue in Bern, the proverbial world capital of human snails. Late, but great.

THE CHEYENNES were another unknown Swiss beat band. Their moment of prominence was an anticlimax, as a repro of the cover of their sole 7" ('67, Eurex) was printed on the back of Pebbles 27 (the Swiss edition of the backlashing continent), but they somehow didn't make the cut and were non-present on the record. A real shame, if you ask me, but delay is the sweet pain of reissues, and here comes your chance to listen to "I Can't Get It", a wonderful, moody midtempo creeper.

Whoever MATT COLLINS may have been (he also sings in Italian), the members of his BEAT BAND all have names that hint at Yugoslavian origin. (Laibach/Ljubljana, Slovenia, I guess.) They had an early (approx. '64) German-only LP on Somerset called "It's Beat Time", that consisted of rock n' roll-standards done in a twist routine a la Joey Dee. The standout track is Matt's own composition "Take A Chance".

Center was the budget label of Saba/MPS in Villingen. Most of the releases were happy-go-lucky easy listening or pseudo-jazz big band tunes for dancing schools. One of two notable exceptions was the LP "Soul Fire" by THE SOUL EXPLOSION in '68. There isn't much soul influenced music on the record, and the misleading monicker was stamped on at least two, probably three very different sounding combos, none of them showing any typical German symptoms. Mastermind, producer and writer of all the tunes is one Martin Siegel, and the recordings were made in Germany. Considering the fact that legions of first class jazz musicians were always hanging around at the MPS-studios, who knows who's been making a little extra money here. The singer on our chosen track obviously is a native speaker, and the band must have heard "Blonde On Blonde" already, but who hides behind this incarnation of The Soul Explosion? Guess work... and before you try to get smart: the band with the same name and a 7" on the Tarantel label from Augsburg has nothing to do with this one here.

The second amazing LP on Center is "Original English Beat Company" by THE SONIC (1969). The band, two Scots and two Brits, came over with the second wave of Limey bands in '65 and settled down in Kassel for the next four years. As The Sonics they released a killer single on Paletten (see PKP 4) and a less satisfying, still decent one for Ariola, but while both flopped, they made a comfortable living as a live act of high renown on the German club circuit. When they dropped one "s" and recorded the LP, they covered Dylan, Steppenwolf, Deep Purple, Grapefruit, Simon Dupree et al. in a very individual style, but didn't come up with one original composition. I'm too lazy now to find out where I first have heard "Mr. Busdriver" - more or less a re-write of The Box Tops' "Letter" - but I hope that one of you out there will find out, and leave a message in the comments-department.

Hamburg's TONICS have been the most prolific of all German bands, even if about 75% of their recordings were released on budget labels under aliases like Spots, Pick-Ups, Ravers, Shotguns, Movers, Soho Gamblers, Ginger Rockets and about 20 more. This could have been good news, but trouble is: there's only a handful of remarkable tracks hidden among the enormous output between 62 and 74. One such is their rendition of Bobby Womack's "It's All Over Now" from the 65 Polydor-LP "The Tonics' Hitparade", a straight uptempo beat arrangment quite different from the more familiar Stones-version.

The whole recorded work (three songs) of Munich's SUBJECTS (not to be confused with the "German Measles"-Subjects from Troisdorf) was released on the Hungarian-only V.A.-LP "International Beat" (Qualiton, 68). "Headlines" has already been featured on PKP 9, here comes "Kind Of Mine", another showcase for Michael Hoffmann's skills on keyboards. When Krautrock took over, the band recorded a fine LP as Subject Esq. and after further line-up changes mutated to Sahara.

THE LIONS from Detmold made their recording debut on a harmless, but charming CCA-7" as the backing band of French singer Monique, and followed it with a lame and forgettable instro 45 on the same label. As one of the weekday bands in Herford's Jaguar Club they were invited to record four studio tracks for the V.A.-LP "Beat Parade im Jaguar Club" (67, Hansa). Two were originals, and it's a shame that Hansa, who released a lot of less rewarding one-offs, didn't press singles of these. Something went wrong with the songtitle, which reads "Keep It Out Of Mind", while the band keeps singing "out of sight".

Not much known about THE GHOSTMEN and their sole 45 on Bellaphon. They reportedly came from Gaggenau, and "The Ghost" could have been a hit in '65, but sounded hoplessly dated and passe´ when it came out in '68.

Here's another one from THE SNAPPERS' German-only LP (s/t, 68, Elite Special). For further details see Prae-Kraut vol. 16. It's on this blog. Just scroll down, or click at the "Prae-Kraut"-link at the end of this liner notes.**

Same is recommended for CHARLY & HIS EXPLORERS. "TNT" from "Beat Time" (Vogue/Pop, 65) is a drastically rearranged version of The Nashville Teens' superb flipside to "Google Eyes".

A moody, dramatic, nearly cryptic beach ballad, most likely inspired by "(Remember) Walking In The Sand", but beating this classic shorthanded, written and performed by a band from a country, where they know the sea from hearsay, if at all??? Improbable, but true. THE GHOOLS were a Swiss group with a one-off 7" on Layola in '65. Ghoulish indeed, but nothing else known about The Ghools and "It Will Be Fine".

If we trust the local press, THE SUNBEAMS were the best beat band in Oberhausen '66. Friends and labelmates of the (all-girl) Rag Dolls, they released one of these love-'em-or-hate-'em mumble-stumble typically German beat singles on, yep, Beat Records. It's like abstract art, free jazz or Mo Tucker's drumming. Looks like everybody could do it better, but when you try you fuck it up.

The story of THE VAMPIRES from Schweinfurt, who via Hanau and Hamburg settled down in Spain, where they made it big, and even bigger in the progressive era as The Evolution, has been told thrice here on PKP already. "Hold On", one of four recorded originals, was the third of six 45s they recorded for the Spanish Sesion (sic) label in '66 and '67.

Oops! Here's one starving on the PKP-shortlist since 1994. THE JAILBIRDS from Mainz and their self-edited 45 "I'd Like To Go" ('66) has been treated like a handicapped child. You like them most, but do you really have to show them? How will the neighbors react? Fuck 'em, and let's get sentimental for two minutes!

And, in the mood now, another sick song that haunts my dreams for a decade. Only possible in Germany. THE SCAVENGERS from Hannover and their only 45 on Studio Ton (68) has caused disturbance to some garageheads' minds when the a-side, "Animal Station", appeared on PKP 12. But the flip, "Mr. Peaceman", is even weirder. A far out Curtis Mayfield/Impressions-imitation with a recorder solo, an untightened snare drum and a love&peace-message as enigmatic as The Roletts' (see track 2). How cool can you get before freezing....

LES SAUTERELLES from Zurich were advertised as The Swiss Beatles in their early days, but the most successful Helvetian band were no copycats and had a lot more to offer. If we'd need a catchy comparision, a mixture of The Byrds and The Who would be more appropriate. "It's Nothing" has only survived on a '67 acetate, but an Italian language-version of the song called "Aiuto...va sempre male" has seen the light on Columbia, Italy.

The world is full of wonder! A test pressing without cover on Tonstudio Dortmund GmbH showed up recently, and the label promises "Deutsch-Englisches Amateur Beat-Festival Dortmund 1968". In very small letters we get assured, that all participating groups are from Dortmund and the suburbs. And you better believe it. No English involvement whatsoever. Avanti dilettanti: The Faces, The Voices, The (German) Nice, The Outlaws, The Stagnation, The Emetics, The Flash and THE MAGIC RAINBOWS with a desperate execution of The Who's " In The City" demonstrate their amateur status in all subterranean glory, but the sound engineer is the king of the bunglers here. Incredible record, stay tuned. We don't dare compiling more than one track per volume.

Even more wonders: Now and then you come across a rare and unknown single from the right decade, but hesitate to buy even for spare change. With an unimaginative cover, a songtitle like "Crazy Daisy" and a daft name like THE MOUNTIES..., well, you know, disappointment programmed. But then you take it anyway, because what if... right? Right!!! This 45 on Music Corporation nailed me to the floor. Can't help it, but The Mounties remind me of genius-loonies like The Gods (the American ones on ESP) or our very own Shaggys (no, not the American Shaggs, but then again, yeah, too). And the flip "Only Today" is another winner. The torture never stops...

Before we forget...There are some perverts out there who dig the German sung contributions on PKP the most. For your strange,dubious and pitiable taste: THE HUBBUBS . I've suffered my way through five LPs and about 20 singles of Austrias most prominent 60s-band without finding one decent track among the lame schlager-beat rubbish. (O.k., a handful of listenable Shadows-cloned instrumentals, but, come on...) And then, with zero hope, I found The Hubbubs' debut 45, "Nachts in Chicago" (International, 64). Extremely silly (if you understand German,) sure, but a great sneaker nevertheless. Now I'm searching for the follow-up 45 "Unter einem trueben Strassenlicht" from the soundtrack of the very early sexploitation flick "Geissel des Fleisches" (=Scourge of the Flesh).

That's it for today. 70s Krautrock rarities next time. Urmel et oimel, ego me absolvo. Bless & bliss yourselves... >>>

and now you may download the complete album: cover and liners of course are included: all tracks are here in 256 kbps and you will need 150 mb of free space:

a prae-kraut pandaemonium volume 19
(look mom! no ads!)

the fondellas. roy loney in 1999. unreleased demo recordings.

though roy loney had left the flamin' groovies in 1971 the music he played throughout the following years of course was not only a footnoting appendix to the history of bright and clever power pop punk. and having been a subscriber to bomp magazine since the early seventies i always loved his kind of understated rock and was very glad that i had found the fondellas in 1999. so it is a shame he seems to be forgotten nowadays, even wikipedia and discogs seem to be comprehending only very few information about roy loney and literally nothing about the fondellas (the german ostrich fanzine though is recollecting some commemoration these days). so let's get back to 1999 and dance. the fondellas in 1999 were roy loney (lead vocals), james ferrall (guitar), danny mihm (drums), karl a. malinowski (guitar) and don bacardi (bass). they rehearsed sporadically, played a few gigs in san francisco, had a great time and then went off again. 

 

on their homepage "fondellas.com" they offered three demo tracks as free downloads in glorious 64 kbps; the page and the music though have vanished into digital nirvana (i.e. archive.org). fortunately i was one of probably some fifteen people who had downloaded and stored these tracks, and a few days ago i dug them out again, pimped and boosted them up a bit and here they are again in 320 kbps as direct downloads. 

 

please listen to: 

out of my head 

look out mable  

don't back down (fragment) 

 

in a december 2000 interview with ken shimamoto of 1-94 bar roy loney mentioned his work with the fondellas in some short sentences that are quoted here as follows: 

 

K: Skipping forward in time a little bit, you had the Fondellas, which had Danny and James. Is that band still active? 

R: No, it isn't, unfortunately. We lost our bass player, who moved out of town, and our rhythm guitar player kind of faded away. It just became kind of hard to pull it together. I don't know if it's totally OVER, but it's definitely on hiatus at this point. We'll see if we get something together. It was a band that I sort of came into after the fact. It was already a band, but they couldn't hang onto a singer. They kept having singers either leave or get thrown out; they weren't good enough. So finally at one point, Danny just broke down and came to me and he just said, "Look, would you wanna be in our band for a while, just help us out? We need a singer, we don't have one." I said, "Sure. It'll be fun for me. I'll learn the songs, play some shows, get to rehearse, just have some fun." And it was good for me, but it was their act, pretty much. They ended up doing a few of my tunes, but for the most part with the Fondellas, I was just sort of a hired hand. 

 

K: Did you do any recording with them? 

R: No, we didn't, unfortunately. We did a little home stuff that's very, VERY funky sounding, very loose. And there's a couple of videos of us playing live where the soundtracks aren't too bad, for what they are. We were very hard rock. It was very...it was LOUD. We were really loud. It was"crunch factor," it was a crunchy sort of band. I kinda thought of it as "geezer rock;" these old guys up there crankin' it up, gettin' off on it. I think our attitude was really, "Fuck you if you don't get it." Really like that. So we played some gigs, got some people diggin' us, but it just sort of ended. I think it may come back together at some point in some form or other.

 

the vibrators. live 1977. bis an die grenzen übersteuert. knalllaut.

nichts was ihr nicht sowieso schon in der sammlung habt: and of course you can find this one in your own collection. but most of you will never have heard it THAT loud: a german promo single released or not released in august 1977: the vibrators live executing london girls and stiff little fingers (missprinted on the label as "stiff little singers"): und an manchen tagen wie heute=jetzt sind die vibrators die am häüfigsten nicht=gehörte band jener zeit. egal for you. a serious cryme. here we go:

please note: most of the music in this=here blog has been deleted by some fnording idiots; but by the time being all files in this=here post are available. please enjoy.

london girls
stiff little fingers

(both mp3 at 320 kbps; direct download)

CANESTEN hilft gegen pilze! und herr brunke macht musik dazu... (extreme rare kraut!)

eine kleinigkeit haben wir denn doch bei unseren vertriefenforschungen im bereich der kraut-pilze übersehen: nämlich dies=hier. 1973 hat bayer ein breitwandmedikament gegen pilze entwickelt und mit einer schallplatte gefeiert: CANESTEN wird zunächst von mittelbau-manager(inne)n beschrieben (hier: hintendrangehängt) und dann von wolfram brunke mit musik umspült: krantz krossartick! (tzwaar orkestriert mit streichern und schleimern: doch aus dem matsch heraus klingend einige strahaler der neuheuen mutzick: ha!=üppsch!!) (die wissenschaftshuberei is noch=hinten=dran gehängt) (searches and destroys all fungi broadwideband orkestral kraut 1973)

listen canesten


wolfram brunke hat übrigens 1973 auch für bayer die lp "jubel trubel heiserkeit" aufgenommen; diese single allerdings wird nirgends erwähnt.

völlig verkrampft im hier und jetzt. die rosenkreuzerische variation der diskordianischen tanzmeditation: speak rosicrucian or die.

a 25-cm / 10" shellac record probably released in the late 50s of the last century of the last millenium. thee holy order of rosicrucian behaviour here lets you know how to conquer the world and your beautiful selves: holy war! you will never be the same again. all your gods will be with you: exhale slowly! doch warum sollten die rosenkreuzlerianer nicht die heilsbringer der einen einzigen wahrheit sein? (eine seltsame idee: dass es weniger als achtzehn milliarden wahrheiten gäbe und dass irgendeine davon heilbringend sei: aber das lehren die seerosenkreutzer ja bereits den anfängern) (dass zunächst alles falsch sei: kurz danach auch: and here we go again) (no thing is as wright as as wrong sayers saynt rose the crucian ov all thee wholy withdomes) (all hail eris!) ("concordia! it's easia!" says the mgmt!) (oh=no!) (ja: macht macht nichts; wir hören und bedenken das jetzt mal!) (das rockt!)

rosicrucian record number seven, released by the AMORC in san jose, calfornia: both sides wrapped as one track: 16 minutes, 320 kbps, direct download. listen to:

sanctum invocations
cathedral contacts
ah sweet mystery of life

exercises in vowel sounds
breathing with vowel sounds
secreto eterno

a rosicrucian meditation (no pan alsjeblief)

the damned live in hamburg. october 1977.

exactly what the headline says: the damned live in hamburg recorded on the 19th or 20th of october 1977 (see their live performance index for details). the damned in 1977 of course were rat scabies on drums, brian james on guitar, captain sensible on bass and guitar and dave vanian on vocals. and though this is a rather muffled and bad recording (probably with my old mono-recorder well hidden underneath the overcoat of my younger brother) this execution is a nasty-bibulous enerjollification of psychedeleriac punkfun. be an adept and enjoy the noise!

you are what is happening:

i fall
you take my money
neat neat neat
fan club
problem child
sick of being sick
idiot box
help
your eyes
fish
stretcher case
so messed up
new rose (fragment)

the damned live in hamburg. october 1977
(mp3 / 320 kbps / 32 minutes / 75 mb / direct download)

(plus a different version of the same recording; filtered, bent and fumbled about by SPINO as announced in the comments)
 

amon düül 2. eternal flashback.

sixtyseven minutes of rare, obscure and sometimes unidentifiable amon düül 2 sounds mixed into one long track for whatever reason: in 1996 captain trip released this mash-up collage of odds and ends as a free give-away and it is long since out of print. no further information was included except for the foretelling adumbration that some of this material originated from some embryonic ur-düül in 1967 while most of the rest were said to be alternate takes of classic düül sounds mixed with some re-recordings. and this is exactly what you get: no defining idea or clue but sixtyseven minute of sometimes awkward mostly great and at least interesting music. irritating versions of kanaan, between the eyes, phallus dei, some bavarian folk music and a short reminder of singvögel rückwärts. very strange indeed and not the kind of music you would use to convince and persuade newbies to love amon düül 2. but for the deadicated heartcore fan this is pure gold!

 

amon düül 2 - eternal flashback
(mp3 / 320 kbps / 160 mb / direct download)