01 Dinosaur Dreams - The Joint
02 It’s Too Late - The Skins
03 I’m A Man - The Strangers
04 Stop The Light - The Skin
05 Time Road - The Lightnings
06 Mailman - Andy Nevison & his Rhythm Masters
07 Little Things - Lord Allan & Sir Richard
08 Hurt Me If You Will - Jonah & The Whales
09 From The Penitentiary - The Dukes
10 Shout, Shout - The Moody Section
11 Please, Please Love Me - The Monks
12 Devilґs Woman - Freedom
13 Crazy Time - The Lamberts
14 Under My Thumb - The Strangers
15 Dance - The Dynamites
16 Hear Me, Help Me - Berry Window & The Movements
17 I Want A Dog - The Beethovens
18 Jewels And Diamonds - The Jewels 4
19 Since She’s Been Gone - The Beat Cats
It took a little longer this time, but now we’re back in time for tea with another 50 minutes of the rarest German 60’s Rhythm&Beat records, and it’s one of our best volumes yet, I’d say.
Round 15 kickstarts with THE JOINT Richard Davies, who fusioned (or confusioned) Joint with Argosy in 1970 to give birth to Supertramp, was stuck in Munich in 68 and played clubs like Blow Up and, well yes, the Joint with the Joint. The reportedly Welsh band with German members never released a record, although they had some studio dates and- judging by their stunning appearance in ZDFґs TV-series »Akzente«- had a lot to offer, musically as well as optically. One of the musicians (if it wasnґt a pseudonym for Davies himself) was David Llywelyn, who often worked as the musicmaker for b-movies and TV-plays in Munichґs Bavaria studios. And while he threw together a lot of lesser interesting easy listenig-stuff, his work with Joint on »Dinosaur Dreams« (from the film »Griller«) was rather breathtaking freakbeat (Pity that no other tapes could be found. A Joint LP could be a killer.) In 69 The Joint folded and the limeys tramped back to Blighty. Not that super, if you ask me...
THE SKINS from Frankfurt and their 66 split-LP with The Black Points should be familiar since PKP 12 and they meanwhile showed up on other comps as well. They mostly did covers, but choice was brilliant and they executed that stuff in a primitive, slower, but heavier way, that made the originals of Kinks, Troggs, Pretties and - in this case - Small Faces sound tame. »It’s Too Late« is an underrated Marriott & Co. song that served as the flip to their 65 flop »I’ve Got Mine«.
After tracking down more than 20 German bands called THE STRANGERS, we thought we had it made. But here comes another bunch of aliens, from Herzogenrath, with a 66 private pressing, and both sides are irresistible. Sure, both are covers, but if you thought you’d already experienced every imaginable way of mistreating Muddy Diddley’s »I’m a Man«, listen to this trashcan production. Deranged from the very start and derailed after 2 minutes, The Strangers bury this classic in a free-form turmoil that sounds like a harbinger of those Krautrock oddities, that shook the nation years later. »Under My Thumb« is a sped up, remarkably non-copyist interpretation of the Glimmer Twins’ idea of a manicure.
THE SKIN (singular, not to be confused) probably were an Austrian group. Their 7ґґ on Alpenton Studio Trieben is a weird clash of cultures with galloping bongoes making the pace. Nothing known about these guys, but »Stop The Light« is one of the strangest sounding DIY-products of the decade in question.
The 66 Tonstudio Scherer single by Heidelberg’s LIGHTNINGS has been on top of everyone’s wantlist for years. In the late 90’s it showed up once on a record fair, but was stolen before it could be sold to the highest bidder. (Before you ask: no, we haven’t been there.) The following years hearsay, gossip, rumour had it, that this is a killer garage punk 45 in the 1st. degree. Which it’s not. Expectations high like that, it even was an anti-climax on first hearing. But it still is one of these unique overambitious »compositions« of German wannabe philosophers that we love so dearly.
«Mailman« (Columbia 7ґґ,66) is ANDY NEVISON’s 3rd contribution (see vols. 2 and 14), and possibly not his last. All 6 sides of his 3 singles are excellent down to earth R&B, done with that certain non-chalant charm and humour only true masters of the genre have to offer. He might have been a big star of black music in his homelands, but found life more appealing in the Ruhrgebiet, where he settled down when Uncle Sam didn’t need him any longer. He’s alive and well and still on the road (usually in Westphalia) with his Rhythm Masters. Staying power...Don’t miss him, when he comes to town.
LORD ALLEN & SIR RICHARD : Mysterious, but noble. »Little Things« (not the Dave Berry hit) was a one-off 45 on Ariola in 65. It’s a marvellous example of Fab 4-inspired Merseybeat and not necessarily a German production. It sounds quite British in fact, but is a Geman-only release. They didn’t tour here, at least not under that name, and no-one seems to remember them, or something about how they managed to end up on a major label. We’ll work on that one...
The Jonah of JONAH & THE WHALES was not a musician, but Jonas Porst, son of the Photo Porst dynasty and the guy who had the money to pay for the equipment. He was the manager of the band from Nьrnberg and actually managed to get them a one-off deal with Deutsche Vogue, then one of the majors in Germany. » Itґs Great«, their 1966 debut, was a cover of a non-hit 7ґґ by the British Monotones and The Whalesґ version was a big improvement on the tame original. It even sold enough copies to convince the label to go for another try, but when the group split soon after, the second single was shelved and nearly forgotten. Both sides showed up in 67 on the megarare LP-compilation »Der deutsche Nachwuchs stellt sich vor« on Vogueґs subsidiary Pop Records alongside some corny Schlager-entertainers. Totally misplaced in this context, the fabulous »Hurt Me If You Will«, a version of the pre-Creation Mark Four`s song and the planned flip »The Day I Met You« went down unnoticed. Sonny Henning and Ernst Schulz, the masterminds of The Whales, reunited 69 in the infamous band Ihre Kinder, where they tried to make political statements in German tongue compatible with rock, but always forgot to roll. The results were often harder to take than »Balla Balla«, but thatґs another story.
THE DUKES came from the Sauerland, a region best known for dwarf schools and a funny former Bundesprдsident. They released 4 singles of very unconstant quality and their greatest moments were » Iґm An Unskilled Worker« and »The Dentist«, both documented elsewhere in PKP-history. ( You know the name, look up the number.) In 1967 they recorded a whole album of songs from mediocre to brilliant, but their Alcora label seemingly was too small to deal with LPs, and a bigger company couldnґt be found. The tapes gathered dust for decades, but most of the numbers sound good enough to think about a release of the whole thing. If that ever happens, »From The Penitentiary« is just a taster of bigger things to come.
Half as moody as expected, THE MOODY SECTION come as a big surprise with this 7’’ on Gisbert Witte Rec. »Shout Shout« isn’t much of a remarkable song, and if they could sing or play, this might be a quite boring affair. But fortunately they can’t, so they have to rip and smash and kick and slash that damn thing to bits n’ pieces in true garage trash spirit.
You’d hardly buy such records and read such cryptic notes, if you’d need an introduction to THE MONKS, the most famous non-hit wonder of the world. A German band of American roots, they were a synthesis of all seven arts and invented a couple of new ones by the side of the road. (Oh yeah, shooting with a banjo is some kind of art). Ahead of time so far that the world didn’t catch up yet...An unreleased Monks track would be a sensation, even if it was crap. But it’s not. It’s... wow !...It’s a one-sided acetate, recorded and pressed at Tonstudio Pfanz in Hamburg and seems to be the first recording after their 7’’ as The 5 Torquays. A fuzz monolith based on an unrecorded warm-up instrumental called »Paradox«, with some ad hoc vocals added. At the end they slip into another of their yet unrecorded songs, but »Please Love Me« has little or nothing to do with »Pretty Susanne« as released on the fabulous »5 Upstart Americans« CD. Inventing Heavy Metal AND Krautrock one rainy morning in 66, that’s hard to top. Does it make any sense to carry on after the holy grail has been found..?
Fortunately we have FREEDOM (not the british Procol Harum-renegades) , who recorded their 7ґґon the obscure Topmaster label late in 68. Already inspired by so called progressive music they hammered out one of the most primitive, and thank god, unskilled performances this side of The Godz.
THE LAMBERTS ain’t no pussyfooters, too. (Although their 7’’ on Rex made me think exactly that). Now an earlier no-label 45 showed up, and »Crazy Times« sounds like a great lost German garage jewel. Trouble is: looks like they’re from Austria. Who the care fucks anyway.
Here’s the other side of THE STRANGERS platter (see A3) and now we go marauding on Swiss territory again.
THE DYNAMITES from Basel and their 64 Sesam EP have already been praised on our last volume. The frantic fratrocker »Dance« is another cut from that extremely hard to find record.
BERRY WINDOW (real name: Urs Fenster) AND THE MOVEMENTS were another Basel-based combo with Swiss, German and British members. They recorded 2 LPs and 5 non-LP 45s for the German Intercord label. Their early output consisted of straight R&B/Soul covers and belongs to the best examples of that genre ever made outside of the USA. Unlike many other blue eyed disciples, Berry avoided oversouling and didn’t try to sound blacker than Wilson, James and Otis. Tuff enuff, and a band as tight as The MG’s. In 68 they decided to widen out the spectrum a bit, rented a sitar player, and produced some kind of psychedelic Soul. The resulting 7’’ »Hear Me, Help Me« was their last attempt to crack the charts.
THE BEETHOVENS (not Beathovens, as listed on the cover, sorry...) were one of 13 known teutonic bands using that Ludwig van-pun. We couldn’t find out yet which town they came from, but they’re not the Danish band of »Long Live Beethoven«- fame, and not Rolf Zuckowski’s boys, who recorded for Somerset. Their sole 45 came out in 66 on Kerston, and the real wild A-side showed up on »Diggin’ for Gold« before we had Vol.7 at the start. Back then, a deal was a deal, and we nearly forgot about the more than decent flip . »I Want A Dog« isn’t quite of the same calibre as »She’s My Love«, but a real fine R&B number nevertheless. Based on the chain gang-song »Take This Hammer«, The Beethovens show The Spencer Davis Group and a couple of other traditionalists where the hammer hangs.
THE JEWELS 4 were from Giessen and released this odd crossover of slow ballad and heavy riffing as a 45 on their own label in approximately 67. Lacking a fuzzbox, they used the sax as a piledriver. »Jewels & Diamonds« never rolls, but it really rocks now and then. Strange and fascinating. What caused so many schoolboys in this country to write square songs with nearly unplayable tempo changes, instead of strumming »Hang On Sloopy« and »Louie Louie« all day long? Collective genetic defect? Well, we’re glad about it anyway.
And here comes the next of these case histories: THE BEAT CATS’ whole estate is this acetate, and it reportedly is the last existing copy. (Which explains the somewhat crunchy sound quality). The group was from Berlin and recorded this fine 2-sider in 67. »Since She’s Been Gone« was written by beandleader Peter Weisbach and is a bit on the moody side of amateurism, but again the confusing stop-and-go-structure makes sure, that they’ll never end up playing pop music. Altough they try on the uptempo flip »Too Expensive«. Don’t worry, they fail gloriously, as you’ll hear on the next volume. Stay tuned.
P.S.: The Lightnings on the front cover are from Ober- or Recklinghausen, and not the ones that are featured on the record.
PRAE-KRAUT PANDAEMONIUM VOLUME 15 LOST CONTINENCE RECORDS 2004
Prae-Kraut Pandaemonium Vol.16 - Vol.20:
german sick-teeth underground beat - unterweltenkrachinnenraum - elektrick loosers volume four: