In Memoriam – July 2012
Two Funk Brother died in July: first Maurice D Davis, who played trumpet on songs like Papa Was A Rolling Stone, and a couple of days later, on July 16, Bob Babbitt, who played the bass on Motown hits such as Tears Of A Clown, War, Just My Imagination; on soul classics like Midnight Train To Georgia and Band Of Gold. Also listen to his bass solo on Dennis Coffey”s 1972 hit Scorpio.
July 16 was a bad day for music. We lost Jon Lord, the great innovative organist of Deep Purple and Whitesnake. We also lost Kitty Wells, whose breakthrough as a country singer paved the way for female stars in that genre, such as Loretta Lynn and Patsy Cline. Wells was already in her 30s and a mother of three when she became a star; the first female ever to top the country charts. Wells introduced feminist themes into country long before that was regarded as ordinary and articulated a female self-confidence that would become characteristic of many women who succeeded her. Read more…
Waterloo was ABBA”s breakthrough hit after they won the Eurovision Song Contest with it on 6 April 1974. At the time, contestants at the contest had to perform their song in their native language, so Waterloo was initially presented in Swedish. Swedes had no history of achieving success in the English-speaking market, so ABBA”s determination to break that famine was quite audacious. For Swedish musicians hankering after international success, the market of aspiration was Germany, whose record buyers loved nothing more than foreigners molesting their language in heavy accents. ABBA had released records in German before Waterloo, so when the song won the Eurovision Song Contest, it was natural that a German version would be released. In fact, word is that the German version had already been recorded before the song contest.
One of Abba’s pre-Waterloo singles released in German was Ring Ring (as Bjorn Benny Anna Frida…BBAF?), which would become a big hit when it was re-released. ABBA certainly had some designs on the lucrative German market. Before joining the group, Agnetha had even tried, and failed, to become a Schlager star. And the Schlager “” the German brand of pop marked by banal and/or sentimental music and lyrics “” was a significant influence on ABBA, one which would manifest itself even in later years. In the beginning, the Schlager influence was particularly striking. Songs like Hasta Manana or I Do I Do I Do I Do were in essence Schlager songs. Both were bigger hits in Germany than they were in Britain (where the former wasn”t even released as a single).
Schmeling was a German heavyweight world champion who, after controversially losing that crown, proceeded to sensationally knocked out the great Joe Louis in 1936, before receiving a thrashing in the return bout two years later. His sporting exploits, as well as his gregarious and philanthropic character, secured him life-long German celebrity status until his death at 99 in 2005. His victory over the Black Bomber confirmed to the Nazis the supposed superiority of the Aryan race, and Schmeling “” not an enthusiastic Nazi himself and not a party member, but also not immune from enjoying the benefits of hobnobbing with them “” was celebrated accordingly. When he lost the return fight, the Nazis quickly dropped him. They might have done so even more forcefully had they known that Schmeling was involved in smuggling two Jewish children to safety in 1938.
Quite suddenly in 1980, a new genre revolutionised German music. The Schlager, so dominant in the 1970s, had become a tired form enlivened only by an onslaught of regrettable novelty songs (none more so than a comedy remake of You”re The One That I Want). Now it became supplanted by post-punk artists with attitude singing about burning schools, social alienation, prostitution, not paying one”s busfare and so on, set to synth-pop and punk rock. Among the first acts to hit were Hagen”s Extrabreit (friends of the red balloon allegorising Nena), Berlin”s Ideal, Cologne”s Zeltinger Band, and Düsseldorf”s D.A.F. and Fehlfarben. Many of the acts of what was dubbed Neue Deutsche Welle (New German Wave) were one-hit wonders. So it was with Fehlfarben, who didn”t even like their only hit. It”s difficult to see what”s not to like: it”s a rousing, chantable chorus backed by some serious funk grooves that cut into the New Wave sensibility.
One of this blog”s Facebook friends recently posted the video of the English version of Peter Schilling”s international 1984 hit. Here is the German original, a big hit there in 1983. As the title suggests, the song provides an alternative narrative to David Bowie”s two songs about the ill-fated astronaut, Space Oddity and Ashes To Ashes. The latter outed Major Tom as a junkie. Schilling”s lyrics can be read (and probably are intended) as a junkie parable. After his hit, Schilling stuck around for a few years, unable to follow up his international success (#1 in Canada!). In 1990 he suffered what is described as burn-out. In 1995, he formed an outfit called Space Pilots (you can spot a pattern here) which recorded one record, Trip To Orion, which became a big hit in the only market where obscurities can become hits and yet remain resolutely obscure: Japan.
There is a need to adapt this song into English, retitled Real. The Bayern of the title refer to Germany”s most successful football club, FC Bayern München, whom non-fans regard, with no exaggeration, as a cancer in the body of German football. So the alternative rock band Die Toten Hosen (The Dead Trousers) composed a very catchy number explaining how, if they were “super-talented” footballers, they would never sign a contract with that club because such an act would be thoroughly corrupting. At one point the singer demands to know: “What kind of parents must one have to be so stupid as to sign for that shit club?”
Spiele ohne Grenzen was a Europe-wide TV show, known in Britain as It”s A Knock-Out and in French as Jeux sans Frontiers, in which residents of small towns would engage in silly competitive games involving teamwork, such as carrying on stilts logs of wood over a gelatine net above a melted-marshmallow moat while their opponents try to knock them off with flares in the shape of rubber ducks. The winners of these inane games would then qualify to pit themselves against their counterparts from other countries. It”s fair to say that Peter Gabriel was not a fan; in his hit song Games Without Frontiers he compared the whole thing to warfare. Oh, but if only international disputes could be settled by childish games played by rubber duck wielding soldiers dressed like the Vatican”s Swiss Guards.
In their wake came two rock bands: the Zeltinger Band, a punk outfit fronted by what may be Germany”s first openly gay singer (and one who, by his bruising appearance, challenged the stereotype of common imagination “” 
The Bläck Föös song (roughly translated as “Have a drink with us”) in the group’s folksy manner, tells the story of an indigent old man standing at the door to a local bar, lacking the funds to have a drink. In the Bläck Föös” notion of their hometown, no Kölner would tolerate such a sad situation, and inevitably he is invited to join a group of drinkers, on their tab, with the admonition to drop his bashfulness about drinking off other people. A great social attribute of the city’s people, you will agree. Well, I”ve lived in Cologne (briefly) and tested the theory. Fuck all social interaction, never mind fee beer.
BAP”s song shows the group at its worthiest. Never shy to make a social point, the sing title is self-explanatory. Musically it is pretty good, building up slowly before it explodes in righteous anger. Frontman Wolfgang Niedecken, who wrote the song, has explained that it does not address only Germany”s terrible history, but the ever-present danger of “petite bourgeois fascism” “” what he means is ideology underpinned by bigotry “” which he says can erupt suddenly at any given time in the face of public indifference. It features a bizarre line about Zorro not coming to the rescue, but shrugging his shoulder, saying “so what” and at best pissing a Z into the snow.
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