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:

- may i?
- whatevershebringswesing
- shouting in a bucket blues
- observations
- lady rachel
- blue
- mister cool (fragment with christian günther)


kevin ayers live in bremen 1976-08-19
(mp3 / 320 kbps / direct download / no scans)

download as FLAC via megaupload (260 mb)

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 an 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:

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)

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 / 256 kbps / 130 mb / direct download)

the beach boys. pet sound rehearsals. 1966.

some of you might think that the beach boys were clean, glossy and smooth: but in 1966 they were not. they were horrible, bothersome, proto-industrial and a lot of fun. before they released their eleventh album pet sounds in 1966 they executed some at least interesting noise in their rehearsal room and you can hear dolce notes gone wrong, wrong takes, wrong breaks, wrong, wrong, wrong. and false. great.

the heart of this album is about half an hour of i just wasn't made for these times featuring harpsichord, theremin, harmonica, four saxophones and brian wilson singing while directing about twenty musicians. minimalistic caterwauling discipline, a longanimous patient breakdown and a meditational freak-in. wounderful.

the pet sounds rehearsals
(mp3 / 256 kbps / 100 mb / scans included / download with multiupload)

this album by the way is a sister in crime to the 1983 charles manson recordings live in san quentin, that you may find next door at freemusic07 and nova express.

von mir aus: neue hannöversche musik 1984:: the 39 clocks, padeluun, frau maiworm, beatklub und reste=gäste.

nachdem ende 1984 in düsseldorf die ausstellung von hier aus 64 meist bundesdeutsche künstler mit aufbrüchen zu neuen gestaden präsentiert hatte antwortete emilio winschetti gegen ende des jahres mit der hannöverschen suche nach neuen ufern: einige dutzend musiker(innen) und künstler(innen) wurden an die leine genommen und dem kreativ-brodelnden untergrund der sturmfesten niedersächsischen hauptstätte zugeschrieben: die re-voluption in re-vonnah blieb dann zwar aus, doch jenseitz von schröder und eloy wurden die nischen weiter und die vernetzungen enger. manches war natürlich damals bereits abschliessend gesagt; manches aber wirkt bis heute.

einige der hier kompilierten klänge habe ich ja bereits zu diversen gelegenheiten und geläufigkeiten genutzt (padeluun, 39 clocks, trip vulgo cocoon), doch die gesamtschau habe ich euch bisher nicht unterbreitet. so also jetzt. massen und unmassen seltsamster äähh-"rock", derdiedas so-so nur in der nordwestdeutschen tiefebene entstehen konnte: die einzelnen projekte und das werwiewohin wollt ihr euch bitte selbstständig erarbeiten: als grundlage sind abbildungen von cover, tracks und liners diesem post in ausreichender qualität beigegeben. da die kassette mit einer begleitenden pappe im lp-format erschien ist das original-cover zwar als erkennbarer scan doch auch aufgedröselt in lesbaren kleineren einheiten zu finden. have gefälligst no fun!

also zweimal 45 minuten musik (kassettenseite eins und kassettenseite zwei) mit diversen permutationen der 39 clocks, mit mister brotbeutel very himself, mit rena tangens und padeluun, mit nietzsche und anderen kastrierten philosophen und auch=n bisschen emilio natürlich. bald mal merz.

90 minutes of northwestgerman psychodelearyc punkart a(n)d noiseam. hannover suburbanizing bielefeld and verden/aller. no bfbs for you!

hannovervonmiraus1

hannovervonmiraus2

(mp3 / 256 kbps / direct download / tracks: see scan!)

this is bad as bad as punk could be: german punk live may 1980: suicides, rabid, bildstörung, normahl and damned bobby & the homicides

meine lieben. diese erste pogo-nacht damals am 17. mai 1980 in winnenden in der nähe von stuttgart war klasse; leider sind die aufnahmen scheisse. manches ist nur fragmentarisch und dumpf auf der kassette erhalten, titelangaben und besetzungen fehlen und vermutlich sind die angaben auf dem cover sowieso insgesamt falsch. meine erinnerung an diesen abend ist eine ganz andere (ich bin mit einem pinken hemd aus der hose hängend von tübingen nach winnenden getrampt, ohne den hauch einer ahnung wo das überhaupt ist; hinterher kannte ich dann immerhin oliver, gaw, anabiose, germar, kid, hubbel, rolf, nivea, armin und noch so einige der kommenden aktivisten), aber egal: ich habe mich an die wenigen angaben auf dem cover und die nachträglich im wohnzimmer aufgenommenen zwischentexte gehalten. wir hören also in reihenfolge die suicides aus erlangen, rabid auch aus erlangen, bildstörung aus frankfurt, damned bobby and the homicides aus wildbad und normahl aus winnenden, wobei es doch recht unwahrscheinlich scheint, dass es von normahl nur ein einziges stück gibt. aber nochmals egal: man kann sowieso nicht viel erkennen. (die aufnahmen und den vertrieb der kassette hat damals vermutlich germar übernommen; die zwischenansagen stammen meinen ohren zufolge von oliver. mehr weiss ich auch nicht)

fragmentary and muffled concert recordings documenting one of the very first punk events in southwest germany on the 17th of may 1980. though these recordings are very rare you will not have the slightest chance to enjoy too much "music": this is bad as bad as punk could be: and i love it!

go:

suicides (13:25)
rabid (29:16)
bildstörung (28:52)
damned bobby and the homicides (18:29)
normahl (3:38)

(all live and horrible / mp3 / 256 kbps / direct download)