as a kind of gestalt-therapy for mike i felt obliged to reup goodbye vincent by the jivaros quartet. by the way: all the other links still work… you’ll find all that good music here. enjoy!
Archive for October, 2008
after la la la lale andersen it is time to clear your ears out, right?
how about treating them with a dense mix of underground resistance tracks? no strangers to this blog (i’m still waiting for an alternative history, man), thanks to the black dog (veterans of electronic music themselves) you have now the chance of getting one hour with ur – dense and intense. yessss…. and to rinse after, i recommend to also get the mix dedicated to robert hood – one of my personal favourites. great great musician making great great records.
and then the men from black dog are obviously very nice: you also get a couple of exquisite other mixes. all that you can get here. enjoy and say thank you!
and then massimo not only liked talk talk, but would like some more, you know 80s stuff. so here a couple of links with places to find quite a lot of interesting stuff. with a strong tendency for 80s and / or live music:
mixing desk – live music archive: very tasteful selection. some obvious, some not. and the name actually says it all: live music. and be sure to get that and also the trees recording…
robert poland: if we talk about music blogs dedicated to the eighties, then we have to mention robert poland. more on the pop side of things. nice.
t.u.b.e. – the ultimate bootleg experience – bootlegs. and more bootlegs. this time more on the rock side of things. not everything is my cup of tea – but by the sheer mass they post this would be rather difficult – hey, not even everything on my hd is my cup of tea…
and if you want to search for more i suggest you try
totally fuzzy, of course, and
so – make yourself a cup of tea, take your time and enjoy!
so i finally get around to fullfill another request: a re-up of the soundtrack to the movie lili marleen. yeah, slowly slowly… ripped at a better bitrate and with better scans – get it here.
and then i thought it a good idea to finally get around and post “the original” lili marleen. the one sung by lale andersen. well, i ripped the whole record. and well, it is actually a pretty bad record. what is frustrating is that basically i should like it: a lot of songs about sailors and fernweh and all that. but then music and arrangements are really…not good. and her overpronounciation of the german language, that very clear pronouncing with too much emphasis on the “i”s and all that… so yes, it is a first: the first record i post that i do not recommend. although it might have a certain camp appeal. well, one song i quite like because it is lyrics-wise just bizarre. it starts with the titel: die rosen, sie blühn nur im mai (the roses only flower in may). which is obviously already a very wrong statement (and no, no poetic licence here, please). and then the lyrics drift strangely to the prairie and cowboys. huh? roses and cowboys? see what i mean? i still don’t know how and why. whoever wrote the lyrics must have had some problems adjusting his / her medication… or maybe it is irony? whatever… well, i by far prefer the versions of hannah schygulla and marlene dietrich (or amanda lear, for that matter). but if you are still up for it: you get it here. and hey, i really do like the name and logo of the label…
Just a sidenote:
Today I coincidentally attended a lecture by Fred van der Kooij on acting in movies where van der Kooij showed a clip with the relatively unnown actress Brigitte Helm, claiming that she was far more versatile in her acting than Dietrich or Garbo ever could have been.
The clip he showed proved him absolutely right and so Brigitte Helm is my new Glitz & Glam heroine of the 20ies/30ies.
You might remember the female lead character Maria in Fritz Langs Metropolis. that’s her.
Brigitte Helm (what a charmingly uncool name, much cooler though than her real name Schittenhelm) gave up acting after being typecast for roles where she had to play the angel that turns into a vamp and vice versa.
Here an excerpt from Die wunderbare Lüge der Nina Petrowna (by Hanns Schwarz)
and the first scene of Abwege by G.W. Pabst
thanks! me loves some reader participation.
funny enough i never really considered marlene dietrich that much an actress – she was just…marlene dietrich. but then you know that me and movies…i am just not that educated.
it might seem quite a jump from the smoky cabaret of agnes bernelle to the smoky glitz of marlene dietrich. but then again they used to live in the same neighbourhood in berlin and seemingly agnes’ father gave miss dietrich early roles. and let’s not forget that marlene dietrich rose to fame in the role of a cabaret singer in der blaue engel: ja, die fesche lola.
and we can also take up the thread of the artist and society, the political. as leni riefenstahl, marlene dietrich was certainly very much into style, finding a congenial partner in the director von sternberg. unlike miss riefenstahl she had very clear political points of view and voiced them also very clearly. she stated that she no longer wanted to be a citizen of a country ruled by nazis and consequently became an american citizen. she also supported the boys (the allied troops) by being part of the entertainment for soldiers. it must have been in a way a good time for her – seeing her talking about these times in different filmed interviews gives me the feeling that it was a time of urgency, a time where she seemed to know exactly that she had to this. in a way her comments always come across as she would judge this as her most important contribution she made in her life…
after the war her movie career slowed somewhat down, but her musical career did take off. again she found a congenial partner. burt bacharach. and still she was also visually stunning: be iti n her trademark flesh coloured, nearly naked looking glittering gowns and her swan feather coat, be it in a man’s smoking. aaahhh… ambiguity rarely looked that good.
i leave it at that with my comments. there is much on the net and off the net to get you deeper into the mistery she was. i will leave you with something for the eyes and the ears, with four live recording spanning ten years of her musical years from 1954 to 1964. the first one i got off the net quite some time ago: thanks to the original uploader! and yes, i am still looking for a vynil copy of this – i mean, that cover…
the second and the third are vinyl-, and the fourth a cd-rip from my collection. the vinyls are ripped each side by side, meaning two files per record. and don’t be too confused if you came across the same records looking different but sounding the same or the other way around: all these records exist in different variations (regarding the cover and the tracklisting). i would like to add that these last three are all recorded under the musical supervision of mister bacharach. and yes, the last one i originally bought especially for one song. a song which we will find in another version (an absolutely stunning version, i might add) in one of the following posts. and now: enjoy!
live at the café de paris, london, 1954 – introduction by noël coward
dietrich in rio 1959
wiedersehen mit marlene, germany 1960
at queen’s theatre, london 1964
weimarer republik, the times between the two wars, the golden youth celebrating life, the seedy nightclubs with coked up hustlers in berlin – or in paris, for that matter. as an afterthought to my last post, and especially for my straight readership i have to recommend as further reading of course also pitigrilli‘s cocaine. yeah, love is the drug… yes, the exciting 1920s.
time for something made in the … 1980s. a record which corrects especially one aspect of the 1920s, the cabaret. it wasn’t all liza (with z), you know… the cabarets were certainly a place for entertainment, but also a place for the search of different expressions, ranging from the radically senseless of the dadaist (cabaret voltaire) to the journalistic work of kurt tucholsky. the cabaret is for me not only interesting in its inclusion of political, artistic, sexual minorities, but also in its more artistic form in its attempt to combine art with the social. and it might be not so much a coincidence that the following record came out in the 80s, where there were also different artists working on the combination of the artistic (in this case: musical) and the social by trying to be popular – not necessarly in the sense of selling as many units as possible, but in the sense of transporting content in popular forms. also out of the sense of an urgency to try and influence the social, the political, the necessity to take a position also as artists. for me such different artist as the specials (and the specials a.k.a., and the fun boy three ,and colourfield), early ub40, the style council, the the /matt johnson, billy bragg, tom robinson, fad gadget / frank tovey … and elvis costello.
and on the label co-owned by elvis costello also appeared in the eighties a record that tried to set the record straight on cabaret. and who would have been better to do that then agnes bernelle? born 1923, daughter of theatrical entrepreneur rudolph bernauer, she was obviously already as a child exposed to the cultural diversity of berlin of these times. her family fled berlin in 1936 to london. then the fascinating career of miss bernelle brought her from exile-cabarets to radio host to singer to actress. not necessarly in that order, and sometimes overlapping. father’s lying dead on the ironing board is agnes bernelle’s second record – her first one, apparantly with songs from weill / brecht, a selection with which she started her singing career – or, as described in the liner notes, her one woman show, was published in 1977. father’s lying on the ironing board has a different selection: it is based on lyrics, poems by ringelnatz, klabund, wedekind to music composed by michael dress, since there were no musical scores to these texts, be it because some of them were not songs before, be it because they have not been written down at the time. there is one interesting exception, a nod that cabaret was not only german, but actually at least as much french: there is one song with lyrics by jaques prevert – who has been a great source of inspiration also for many chanson singers…
the record also provides a lot of information through using the inner sleeve, besides a detailed biography of agnes bernelle one also finds biographies of the writers and musicians and a very interesting introduction to the cabaret. just click on the thumbnail on the right hand side… be warned: it’s a big file…
three years later she released mother the wardrobe is full of infantry men with songs that were written between 1900 and 1988 – the better known composer of the newer songs are certainly tom waits and marc almond. and yes, marc almond is credited making this record possible. but then we knew all along that marc almond understands everything about cabaret in its different forms and its different offsprings.
both records are a lot of fun, certainly because of the lyrics, the selection of songs, and of course agnes bernelle’s unique style to present them. but it is strange – both records also leave me wanting… in a way both records are not really records, but rather collections of songs. it is for me just so obvious that she loves telling these different stories, ranging from the touching to the absurd, from the frivolous to the earnest, and i think this is why i miss that the records in itself do not really tell a story. i am just still surprised that there is no live recording of her. and i also think that it might would have been interesting to involve marc almond and billy mcgee (who wrote one song especially for her) would have influenced the making of this record even more in the direction of giving it a more, hm, rounder appearance… but enough critizising – how about you just enjoy these songs and its stories? huh?
and then it is also a good starting point to htink about the cabaret away from its representation in that movie / musical and its traces that lead to the present day. and some of these traces will show up on this blog in the not too distant future.
and as a little taste of how miss bernelle performed, and also to show why i would just love to listen one day to a live recording (or even better: see a live performance) of hers, here a clip of her, singing that duet marc almond wrote for her (showing also their closeness – there must have been: you can only write lines like “not so oblivious this bitch is” for someone you love, right?):
time to recommend some further reading, related to what i posted and what i will post. and also to give some feeling to how it was before, before the big cut of the second world war. also with the intention to maybe follow some of these lines from way back to today… and yes, i have to smile, they are all, eer, gay-themed. the last one amazingly frank, actually…
the obvious choice is christoph isherwoods goodbye berlin. and yes, it has been an inspiration for the musical and film cabaret. well well – the book is better. sorry, liza… and isherwood is always recommended, anyway… and yes, goodbye berlin might be a good starting point to get into the history of the weimarer republik, its culture, but also to get into the work of mister isherwood.
second i do recommend a book written in the twenties but published much later. a book which draws a fascinating picture of germany between the wars. and it is about the body: the temple, which gave stephen spender‘s book the title… i remember having it read with a lot of enjoyment. the stuck up brit and the golden, young germans withouth worries…and it’s funny, it will always remind me of a golden summer in amsterdam…
but then one that really amazed me – i have to admit i did read it only lately, is the first novel by klaus mann: der fromme tanz. written at the tender age of 19 it is quite shocking, actually. most people describe the crowd in the book as bohème – i’d rather use demi-monde… it explores the topics of art in a big sense – the art of / for a generation, the search, or rather the recognizing of love – be it in its most abstract, be it in its most carnal. it is really a quite amazing little book. at the same time it is also interesting to read about the cabarets, the shady bars, the coked up hustlers…
i also recommend to research all three author’s lifes a little bit – and yes, this time wikipedia isn’t a bad place to start.
allright, for the ones less into reading i do have some music. well, not me exactly, but zakkorama does. presenting a “little” series of german popular music especially from the 20s, 30s, and 40s. some artist already have shown up here on this blog, some will still show up… start here with part 1 and 2 – and then you’ll find under june the other parts – including a bonus at the end. and don’t forget to say thank you!
while fullfilling at least some requests – yes, the others will ne fullfilled, too, it is just that as usual i am..eer…meandering through this blog instead of adhering strictly to my, hm, publishing plan – but then this meandering is actually part of the concept.. where was i?
yes, i would like to take this occassion to point you to two interesting places to read something obviously interesting i came across lately.
second a really good interview with matmos about music, concept art, and all that. read it. not much more i can say…
re-upped by request – requested from a man with taste, quite obviously. mc 900 feet jesus‘ the city sleeps. you get it here. and i couldn’t resist adding a little bonus.
while we’re on cd-singles, and because i stumbled over it just lately and well, i haven’t heard it for while really loud on a good system and boy oh boy, what a bass – and then there is this remix on it by a certain david z done at the paisley park studios, minneapolis. well, just enjoy neneh cherry‘s i’ve got you under my skin. and the video i posted a while back here.
and then we have a premiere on this blog: it is the first time a promotional email works! i don’t really know why i have received it in the first place, but then i did find on the page of molemen.com my old favourites all natural, and you can download a mixtape, called unlikely villain by decay for free which i quite enjoy and then i just discussed the other day that it is interesting how little hip hop we listen to these days compared to, you know, when we were less old. so see it as my little contribution to bring some hip hop back into your ears. just too bad there is no pre-listening possibility for the ill’s manic depressive music-album. and shouldn’t that be an album published on wordsound, anyway?
to round things off nicely, and because i’m conviced we all need some more sissy-ness in our lives, here the link to: dre skull’s sissy bounce mix. yep, you might guess right: booty for us sisters, but not only. believe me, doing it the sissy way just gives your booty that extra swing when shaken! yeah! this comes via earplug.
and then to give you a picture here one of sissy nobby. me likes, as m used to say… (source)
so – now you should have enough new beats to listen to before we dive again into older sounds…
i have to admit that i am still looking out for that recording of villon songs by georges moustaki (on a 10″ vinyl, seemingly). and while looking out for this and other interesting things my gaze got attracted by a cd with four names on the cover – three of them known to me, but unexpected in its combination: villon, artmann, qualtinger, fatty george.
yes, i have to admit that i did not know that the great writer, especially great lyricist, h. c. artmann made a translation of villons poems into – the vienna dialect. and well, i do understand this translation as bad as the originals in french argot (but then i have the french argot version in a critical edition). and i also did not know that helmut qualtinger recorded these poems. and of course i did not know that fatty george provided the musical background to it – but then i have to admit also that i did not know fatty george… my only excuse is that i am not familiar at all with the austrian jazz szene – but then this is no excuse, really.
recorded in 1964, it has been published again in 1989 by – yes, preiser records. so i thought while we’re at it (see the preceeding post) we can as well make a little addition to the growing body of villon’s work on this blog. well, get it here – and enjoy!
i promised you some opportunism. and therefore you get herr karl. the famous monologue by helmut qualtinger, one of austrians great actors / comedians. the monologue, written in 1961, is the life story of herr karl told to a young man – but it is nothing like burroughs’ words of advice for young people (yep, it is on the spare ass annie cd)…
it is a tale of nasty egotism, him of course complaining – while being well fed, of course. it is a trip through austrian history – and…eeer…it will not help eliminating any prejudices you might have regarding austrians. but do not forget that austrians also do have a tradition of very harsh, acid and even bitter cricism of society. just to be clear: herr karl is not really funny, but my jaw dropped on several occasions, since some monstrosities are delivered so deadpan, and so…believeable. shudder… yep, the banality of evil is a phrase that can be used here as well.
but well, the strategy of herr karl seems definitly one that gets you through stormy times in history. interesting to note that although it is of course a condensed version of an opportunist, quite some arguments and parts of his reasoning seem rather familiar…
so have a listen for yourself – a recording of this monologue you can get here, ripped from vinyl, from the very interesting label preiser records, which we will meet later on again… oh – the only drawback for quite some readers will be: it is in german…
and then for the ones who like it more visual: check youtube.