Sunday, March 27, 2011

V.A. - Heimatliche Klaenge vol.53 Prae-Kraut Pandaemonium Vol.5


Heimatliche Klaenge - Native Sounds
vol.53

Prae-Kraut Pandaemonium Vol.5

1 The Monks - I Can't Get Over You
2 The Pralins - Jumpin' Run
3 Proud Flesh - Price Of Misery
4 Shamrocks - Shame Shame Shame
5 Jo Hamann - Wild Woman
6 Thrice Mice - An Invitation
7 The Angels - She's So Far Away
8 The Five Dops - She's Out Of My Mind
9 The German Of The Bored - Wieder Auf Der Gass'
10 The Five Torquays - There She Walks   
11 The Echo-Sounds - Too Late Now   
12 The Hounds - All I Want Is You   
13 The Beatmakers - My Situation   
14 Team 4 - Ich Zeig' Den Weg   
15 The Matadors - Hate Everything Except Of Hatter   
16 The Electric Frogs - Mona   
17 The Speeders - No More Waiting   

Bonus
18 The Q - Erna Pt.1&2



Back from a deep dive in Uncle Scratch's rave-yard, here come Louie, Louie and Louie Louie with another edition of Prae-Kraut. Limited as always, but in numbers, not in minds. Some accuse us of severe bodily injury for the inclusion of things like Kaplan Flury or Antoine, others say that these are the tracks they like best. (We have the odd quarrel about it in our own crew now and then). That, of course, is part of the reaction we hope and intend to get. Don't worry, you'll find a couple of candidates again.
The artefacts in this series often reflect the problems of kids dreaming of being stone free as Brian Jones and dating Uschi Nerke, but brought up on a diet of Bach, Goethe and Knigge by parents and teachers unable to handle their share of collective responsibility for the years of nazi-terror. Always afraid of the question "...and what did you do during the war?", the oldies kept on oppressing everything that smelled like fun from Mickey Mouse to Emma Peel. Just like the 3rd Reich had never happened, you were told, that being German means to do things on a "higher cultural level" or let them be. You'll hear the results of those who gloriously failed to keep up with such pretensions and those who gave a damn about it. From head-on wam-bam R&B to sophisticated hard-to-follow philosophy set to music...
And, by the way, we don't have a sick affection for the KKK. The little white hooded men are re-incarnations of the famous Phantom band from the cover of Vol.2, whose identity still isn't quite clear. That's the problem with limited editions. You have to explain the running gags...
Oh, and still by the way...
In case you'd consider some of these tunes not wild enough for exposure in the Garage of Fame... Some of them enjoyed popularity on the Reeperbahn way back, when American kids associated Rock n'Roll with names like Pat Boone and Fabian, while "The Beatles" still was a somewhat ridiculous name for a group. (Outside Liverpool and Hamburg, of course)


The Monks/ The 5 Torquays:
No need for another complete run through the history of the Monks. You'd hardly read these liners (let alone buy this record) without being familiar with their epoch-making LP (well, our epoch anyway). US-GI's, who cut their hair to a tonsure (hole in the middle), as kind of protest after a harsh debate with a commander about too long hair, and changed the name to The Monks. Changed? Indeed, they started as The 5 Torquays and even recoreded a 45 for the wonderful Dr. Scherer Sound Studios. Dr. Scherer was a dentist and released at least two more fine German bands, The Mersey Kings and The Excelsions. Now here's our chance to thank the other mad doctors: Dr. Rolf Binder, who gave us The Psychotic Reactions and The Slyboots and Dr. Hans Daniels for Magic Spirit and Goin' Sad (first recording to feature Wolfgang Niedecken, by the way).
Back to the dentist. The A-side of The 5 Torquays is an early version of The Monks' "Boys Are Boys" and can be found on Visions Of The Past 1. "There She Walks" starts with the same guitar riff, The Velvet Underground based their "Their She Goes" on some years later. Both stole it from Marvin Gaye's "Hitch Hike". The Monks made 2 singles after the black album. For reasons we'd rather keep to ourselves, we won't use them this year.
The first one was "Cuckoo" b/w "I Can't Get Over You" and the songs sounded a bit too tame in comparison. We can offer live versions of both now. They come from the "Beat, Beat, Beat" TV-Show (Frankfurt). Excellent sound quality, and -more important!- here they get the outrageous Monks-treatment they deserve. It's Monk Time!



The Pralins:
From Munich (probably). Meanwhile, we fond out that it's them posing in front of that little cruiser on the cover of the "Yeah Yeah Beat"-reel (see Vol.3). A nice discovery in Haggis' recommended Record Shop was the "Beat With The Pralins" Populдr-LP from 65, full of R&B standards that make Lord Uli's mastering of the English language sound sophisticated. "Jumpin' Run" is The Pralins' step in the right direction writing originals.
Doesn't that one sound like Deep Purple used it as a blue-print for "Black Night"?


Proud Flesh:
Nothing has been delivered so far. Best band on the "Wir im Scheinwerferlicht" split_LP. Very much to our satisfaction, they add another of that great German hate-songs to the collection. "I hate my mother, my father, the rich and misery!" Ha, Doors, Dils and Motцrhead in one song, what more could you desire? (Deutsche Bundespost, Zollfahndung und Finanzamt Vielleicht?...)



The Shamrocks:
Not the fine Swedish band of the same name, but not German either. Like The Renegades, Casey's Governors, Jimmy And The rackets, Shorty And Them or The Dee Jays to name a few, they had to leave the isles to get their raw R&B released. Judging by the name they ought to be the Irish origin, Ulster maybe. They had a lot in common with their brothers-in-crime on the early Hamburg scene, The Liverpool Roadrunners soundwise. The Shamrocks only release is a German LP that stands sleeve to sleeve between The Pretty Things and The Downliners Sect in my collection. "Shame" is a version of a not so often covered Jimmy Reed number. The fabulous Rattles were impressed enough to re-record and release it as their tenth single in 65.


Jo Hamann:
An all-time favourite and one of the reasons, why we started the whole project is this mysterious single on the "offers Musik" label. Problem is, though it fits perfectly, it definitely isn't Prae-Kraut. We don't know anything about this guy who sounds like a hybrid between The Godz and Can, but this record was released in the early mid-70's. But as Yahoo's Real Kraut Necronomicon double-album has been post-poned once again, we decided to present "Wild Woman" as a taster. You'll find the equally amazing (but totally different) B-side there within this millenium. And I don't wanna hear all these hard-core R&B purists complain. This is what Rhythm and Blues is all about!


Thrice Mice/ The Angels:
Harburg is a suburb of Hamburg (some say it's the other way round) and had its own daily newspaper."Harburger Anzeigen und Nachrichten", who sponsored a battle of the local bands in 67. They even immortalized the best four on an EP called "Beat in Harburg". And the winners were... Thrice Mice. Hard to tell what they're singing about, but wait till you hear the runnersup. The von Gosen-brothers added another 3 members (no, they didn't change their name to Double Thrice Mice) and recorded an indigestible mixture of Vivaldi's "4 Seasons" and dull Hard Rock for Philips in 1970. Not to be confused (Why not? Who cares!) with Pink Mice who did about the same for Europa. The Angels came in second with a nice piece of German Folk Rock. Using the phrase "so I can say" usually is reason enough for inclusion on Prae-Kraut, but the exact declaration of time gone by (two months and a week ago) makes it a must for every connoiseur of the English language. It's a shame, there's no "th" in Tennessee... We'll excuse you from The Barons and The Cops and Robbers who complete the fab four of Harburg.



The 5 Dops:
The 5 Dops were the backing band of Manuela, something like a teutonic equivalent to Sandie Shaw, and can be heard on most of her early hits for Telefunken.They were stepping out on her for this lone 7-incher, to show their harder edges. I don't think that "She's Out Of My Mind" was aimed at Manuela, but they actually had to knock at the office door of another major to get this one on vinyl. 


The German Of The Bored:
In order to dig deeper and deeper, we put a want_ ad in the papers, asking for unreleased material of local bands. The response wasn't like the flood we had expected, but we received a rehearsal room tape from these clevely named loonies from Zazenhausen, a suburb of the southern capitol of subculture. Everything in our hometown was so much Underground that it is well hidden to this very day. (Can anyone out there supply anything by Stuttgart's wildest, Born To Raise Hell?). Anyway, "Wieder auf^der Gass" is an adequate reworking of the Canned Heat hit, though hardly anyone born on the wrong side of the Neckar will understand a word. he Band was formed as The Sleepy Lightning Conductors in 66 and mutated to The Selfish Shellfish Blues Band at the turn of the decade, while their singer joined the remains of the Meatles to form Can't eat Meat. Hope they're not screwing us. I've been living here for 40 years now, but nothing of that sounds familiar. But to my shame, I must admit, I've never been to Zazenhausen yet.
(The German Of The Bored: Great name, but another fake. Same band as Meatles)



The Echo-Sounds:
The Echo-Sounds had at least two singles on the tiny Populдr label. While most of the other songs suffer from an overdose of saxophone, "Too Late Now" is a strong little number in that typical German marching band tradition, (love it or leave it) and has been queing on the short list far too long.
(The Echo-Sounds: Came from Scotland, but their records were only released in Germany.)



The Hounds:
The Hounds recorded for a label that invested in German, Swiss and Austrian bands after the unexpected success they had with British migrants, Jimmy And The Rackets. Hard to say, where The Hounds came from, Switzerland being the best bet. "All I Want Is You" is the best track on their 2 45's handed down posterity, and could be inspired lyric-wise by Billy Boy Arnold's "Ain't Got You" via Yardbirds.
(The Hounds: from London. For correct story see Prae-Kraut Vol.14)


The Beatmakers:
From a borderwe didn't cross yet, comes this Danish band. "My Situation" was recorded for a famous German Club-label exclusively, sadly dumped on an impossible to find compilation. Not only does this brilliant tune stick to your mind like glue, the statements about the music business are every word as justified as they were 30 years ago. The missing link between "My Generation" and The Eyes' "My Degeneration".



Team 4:
searching for Shakes behind the berlin Wall of Sound was a disappointing affair for years. German Democratic Rock seemed to begin in the mid-70's with the bubbling schlock of Puhdys, City or Karat. In the early 60's the authorities tried to satisfy the upcoming requirement for Rock'n'Roll with an official communistic dance-craze-prescription called "Der Lipsie" (Imagine The Shadows doing "tea For Two" on valium). But the ungrateful brats rather stayed at home, trying to find AFN on the radio. The whole Beat-thing was considered much too decadent (aka Dangerous and officially declared animperialistic attempt to undermine morals of the free countries' youth.
Wonder what they needed an iron curtain for. LBJ and the KKK said approximately the same. In 67 the only GDR record company, in a moment of madness, decided to try on a daring experiment and released the Team 4 LP. "die Strasse" is far from shaking the foundations of your garage, and they even had to change the wild name to "Thomas Natschinski und seine Gruppe", butstill you'll find a handful of decent tunes and a shy backwards-solo. "Ich zeig den Weg" (I'll show the way) has been chosen for its sound rather than its lyrical qualities



Steve Cannings And The Matadors:
Made in USA, the cover proudly announces. Made in Cologne, the label spills the beans. But even if this faux pas had been avoided, you'd hardly believe a record coming out of N.Y.C called "Hate Everything Except Of Hatter" (hasse alles auЯer von Hutmacher). Well, Beefheart might...
Little Stevie gives us the news that he hates everything except hatred. Hovering over a carpet of weird noise, he sounds like Lucifer's Kaplan Flury. We especially love him for supporting us with another great hate song after running out of social comments from Novak's Kapelle. This little bastard grows. Took me 20 years to appreciate his demonic megalomania. Flip is another glorious failure, called "It's All Now, Baby Blue". Poor Boy...(Any infos on the T.M.-label?)


Electric Frogs:
A big hand for T. Elver, who sent in this tremendous 2-sider. If we had more active supporters like him, we'd run longer than Pebbles. This 69 Single is one of the few known on the Storec-label from Mьnster. "Mona" keeps a neat balance between the Stones', Quicksilver's and Bo Diddley's original version, good enough to justify another exception of our "no covers"- rule. "I'll burn the house next door to you..." 
"Tribute To Brian Jones" could be regarded as a reparation for Kaplan Flury pissing up Jimi's leg, and is one of the few tributes worth listening to. On par with Mike Berry's "Tribute To Buddy Holly"... Essential stuff!



The Speeders:
Not much known about them. They had another single early 1971 on Ariola. This one comes with a pale orange label circa 67 and is the flip of "Sandy Sandy", best ever German attempt at poaching on Beach Boys territory. Both sides were heavily pushed by SWF-DJ Walter Krause, but failed to click nationwide. "No More Waiting" has an instrumental part reminiscent of Turkey's best 60's band, Mogollar. Holidays in Izmir, I guess...

Notes (of hand): Voran -with a lot of help from a lot of friends- for Lolly Pope Ltd 95
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