DIE TANZENDEN HERZEN - Tanzfläche 7'' 1988

Debut 7Inch from Die Tanzenden Herzen, a PowerPop trio which celebrated powerful and harmonious pieces. At the end of the Eighties the three were able to inspire not only beat-oriented audiences at many concerts in German-speaking countries and especially in their hometown of Berlin. The band was founded 1987 in Berlin by Klaus Mertens (vocals/guitar), Frank Bongers (bass/vocals) and Andreas Albrecht (drums/keyboard) as The Saturday Boys (the members had already played in numerous other bands and thus gained live and studio experience) and released a tape under this name in 1986 via the young Smarten-Up! label. Tanzfläche was recorded in January 1988 and the flip was played for the first time with wind instruments, Frank (sax). They liked it very well that it was decided to re-record the titeltrack that had already been recorded and to reinforce it with the use of wind instruments. So the release was delayed a bit, but for a summer hit in 1988 it was definitely enough.

Die Tanzenden Herzen convince with polyphonic singing, catchy guitar work, soulful harmonies, which are overlaid by powerful rhythms. Not to forget the sax & co., who give the pieces the right groove. The band plays its way into your hearts with a love to pop - directly! Two more albums followed before calling it a day in 1993.

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FALCO - Jeanny 7'' 1985

Another artist of the New German Wave was Falco from Vienna, who conquered the world with his Kommissar at the beginning of the Eighties, and was one of the most successful interpreters of this pop culture. In contrast to many other musicians, he was able to establish himself consistently with his music. After a short low phase he could build on old successes with his album Nachtflug at the beginning of the Nineties again. A bit backgound: Jeanny is the title of a series of songs, the first part of which sparked one of the greatest scandals in the history of German-language pop music. When Jeanny was published, there were allegations that the title played down or glorified rape, although the text didn't explicitly mention violence. However, it shows the perspective a rapist might have on his victim. The way in which the text is presented also allows the conclusion that it is a matter of a stalker who kidnaps his victim because of spurned love and kills him in his madness. The Newsflash part of the song reports a "dramatic increase in the number of missing people" and "another tragic case" of a nineteen year old girl who had been missing for fourteen days, where the police can't rule out the possibility of a crime.

Well, such views are typical of some moral apostle who only scratch the surface and cannot look deeper. Some radio stations fell for it and boycotted the song "for ethical reasons", absolutely ridiculous. Falco himself said in 1986: “Jeanny is alive, that is clear from the text and the video. Part II of Jeanny will prove in the fall that the man is the real victim. It's not for nothing that he ends up in the loony bin at the end, completely knocked out by Jeanny."

I say, a brilliant love song of a different kind with a lot of passion, obsession and still a classic! - On February 6, 1998, Falco died in a car accident on the road between the towns of Villa Montellano and Puerto Plata in the Dominican Republic. R.I.P.

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HUBERT KAH - Rosemarie 7'' 1982

Today we go back to the NDW epoch in the early eighties and come to Hubert Kah. I think Rosemarie was his first 7Inch that was released in February 1982 and the group's first chart success and its breakthrough as a top ten hit in the entire German-speaking region. In June 1982 an English language version appeared under the title Rosemary. The band started as a trio, consisting of Hubert (vocals/keyboards), Markus Löhr (guitars/keyboards) and Klaus (bass) and during this time, Hubert caused quite a stir by his T.V. appearances, wearing a nightdress (splendid) or straitjacket. Numerous albums have been released to date, but the initial phase is certainly the most successful and the later albums are rather meaningless, at least for me. Anyway, I like this single and the song, it climaxes with relish.

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SPERMA - s/t 12'' 1979

Before I do some essential housework today, first a fantastic reissue of late seventies by Sperma, a four piece from Zurich and active from 1978 to 1980, consisted of Peter (vocals), Päde (guitars), Tommy (bass), Turi (drums). They were cheeky, snotty and inexperienced and learned to play on stage. In their short lifespan they released four 7inches on Another Swiss Label, the same genius which brought us so many of Switzerland’s early punk releases and in August 1979 came Sperma's second record, a 12Inch, with these three songs; Pigs (Schmier), No More Love (from the first recording session) and Radio. On Pigs they demand the death to everybody in a blue uniform. The amazing thing is that this song is never the fell victim to state censorship. One has to assume that they never heard the song to this day. At No More Love, the farewell of the "Peace & Love" generation is resolutely demanded and on the song Radio the Swiss radio is attacked. This is the new edition with an informative, twenty page booklet in an edition of 100 copies in clear vinyl. Forty-two years after its first release, the Berlin label Static Age released this superb record again for the first time." Awesome sounds from a brilliant era!

- Great Thx to Fredrik -

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ROTTING CARCASS - Egal... 1995

Finally the weekend and let's roll in with a band that didn't bring much to vinyl but played solid D-Punk that can keep up with the big combos of the early Eighties. We're talking about Rotting Carcass, a four piece from Kempten which formed 1982 by Batz & Hesse (vocals/bass), Tommy (guitars), Kurty (drums) and this nice compilation came via Six Pack Records (early copies are handnumbered on back cover) and contains the full 1984 studio session plus the few songs, a split EP and some sampler stuff, that the band released. An older review, but can also be quoted here: "They showcases a bright, fast HC sound augmented by clean and basic production, resulting in a pleasant dose of good German material." Steve Spinali (MRR #28 • Sep.1985) - That's right, enjoy eleven catchy & rare nuggets that garnish a short break from everyday life. Now it's time to open the first beer, Cheers! 

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THEATRE OF TRAGEDY - Velvet Darkness They Fear 1996

This post would certainly not coming now, but one of my ex-girlfriends introduce me to them at the end of the nineties in form of a tape sampler with two songs on it and after the separation I bought this CD twenty-five years ago. Suitable for the weather, suitable for smoldering in nostalgia, suitable for cuddling; music from Scandinavia!

Theatre Of Tragedy consisting of Liv (soprano vocals), Raymond (vocals), Geir & Tommy (guitars) , Eirik (bass), Hein (drums), Lorentz (piano & synthesizer), and was a combo from Stavanger, originally assembled in 1993 and active until 2010. They started out as a doom and death metal band before becoming more of a Gothic rock band. Velvet Darkness They Fear is their second one, released via Massacre Records, and continued the bands particular brand of this style. Their sound is particularly defined by alternating and occasionally overlapping male death grunts with spherical female vocals, and this combination, which was copied later by many metal/alternative bands, is generally known as 'Beauty & The Beast'. Singer Raymond Rohonyis continues his early modern English lyrics in the nine songs. "Der Tanz Der Schatten", which is written in German, is the exception. The songs themselves rarely have a clear story, but death, undeath, demons and similar supernatural elements are all in the foreground. The lyrics to the songs are referred to in the sleeve notes as "pieces", "poems" and a "self-talk", depending on the roles the singers play. "The record is an impressive collection of beautifully crafted anthems, but at the same time are leaner, punchier, more melodic and emotional. The result is an album that is much more accessible, memorable and enjoyable than its predecessor, which is why many consider it the high point of the band’s career. The band’s line-up is largely unchanged relative to the debut album.... interesting band anyway, that can combine feelings and music in such a way that wild beasts are transformed into tame puppies and made a beautiful chapter in the history of dark heavy music."

A real masterpiece and definitely one of the best albums in this genre. TOP!!!

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V/A - Beautiful Music For Beautiful People 10'' 1990

 

A tasty 10Inch compilation from Amity Records which was released in seven versions. Ten bands from every corner of the world show their skills to the best and their sound varies from solid punk pieces with a slight metallic hardcore touch. Some of them are well-known and some of the rest are only here. Comes with a decent booklet that is unfortunately missing, anyone useful scans for me? In short, thirty minutes of interesting music whose time you can take without regrets.

1.One - DISSENT

2.Full Circle - INSTIGATORS

3.Too Many People - SCOUNDRELS

4.Alla Kan Lyckas - 16 BLASARE UTAN HJARNA

5.Sharpen Your Ax - CRIB DEATH

6.S.O.S. - LIBIDO BOYZ

7.People Like That Should Be Spayed - TIT WRENCH

8.Dissdents - FLITOX

9.Free The Five - S.S.D.C.

10.The Point Of Honor To Be Unintelligible - PRESIDENT FETCH

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SUNSET BOYS - Wreck My Bed EP 1979

A rare piece from the Wanted-List next. The Sunset Boys, a duo comprising Max Sunset (vocals/guitars) and Owen Tidy (guitars/bass/drums), were formed 1977 in Brighton where both were studying art. In late April 1978 they unsuccessfully took part in the Melody Maker-sponsored 'Rock & Folk Contest' and were described in the paper's report as a "Punk-Country" combo. Early 1979 they recorded their first EP with four tracks which was released via the independant Gimp label in an edtition of 1000 copies, housed in a picture cover which clearly tried to suggest that they were Americans. The sound is primitive, under-produced, raw-to-the-extreme-garage-noises, lo-fi, excessive, brutal and pretty amateurish. They also known as Maxims Trash and Maximum Mania and they performed throughout the early Eighties but did not release any further vinyl. Extraordinary fun record that you can't hear every day.

- Great Thx to Bristolboy -

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NE LUUMÄET - Motelli 12'' 1990

It's got damn frosty and I'm afraid a long winter is ahead. It takes refreshing sounds to lift my mood and it comes from Helsinki today with Ne Luumäet, who has already appeared in the blog. Known for their ramonesque sound, on this 12'' is a song with Motelli taken from the Laki Ja Järjestys album and the flip shines with two goodies which were recorded live @ Tavastia Club 25.October 1990. You can't go wrong with such great role models. By the way, the cover adorns a well-known hotel that wrote film history, you all know it.

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THE CREEPS - Enjoy The Creeps 1986

Huiii, friends... here's something brand new on wdthtc and I'm excited about the guys. We're talking about the Creeps, a Swedish four piece from Älmhult (Aha!) and active from 1986 to 1997 and the band consisted of mastermind Robert (vocals(guitar/harmonica), Anders (bass), Hans (organ), Patrick (drums). Their debut was released 1986 on Tracks On Wax and the first press was only made in 226 numbered blue vinyl copies and you can guess straight away how rare this fucker is. The Creeps were arguably the best combo of the garage revival of the Eighties and this excellent album is a journey back in time to the beat generation of the Sixties and they never forgot the R&B roots under the fuzz, they put on a few dance and instrumental numbers on their debut and awesome ballads.

A review: "Ever since the release of the 1972 Nuggets: Original Artyfacts comp there have been bands like the Creeps, and most likely there always will be. The Swedish retro act aims squarely at mid-'60s garage rock, aping the bands that aped the Yardbirds, but thanks to inspired playing and inventive arrangements, they succeed in adding to the tradition rather than just running in place. Recorded with period-appropriate atmosphere (i.e. a thick, dirty echo), the Creeps bang out nine originals that channel the Animals and Them, delivered with power and precision. "Down at the Nightclub" leads off Enjoy the Creeps with a stiff swing and a booze-positive philosophy, then breaks down with a jazzy piano coda. Other highlights include the lascivious "Hi, Hi, Pretty Girl," the Farfisa-driven instrumental "Rattlesnake Shake" and the frantic drum rolls and fuzz solo on "Ain't No Square." A medley of Sonics covers ("Maintaining My Cool" and "I'm A Rolling Stone") is reverent and energetic, but won't change anyone's mind about the wild, rambunctious Northwest originals. In fact, the only thing missing on Enjoy the Creeps is a sense of true abandon, that apocalyptic spark that makes the most primitive, boneheaded garage bands like the Count Five or the Seeds so eternal. The Creeps are musicians, not punks, and while there's no lack of get-down vitality to their sound, they won't take the listener anywhere except the dancefloor. However, their pugnacious take of the obscure, middle-finger anthem "City of People" seethes with defiance ("Baby don't you mess with me/Cuz you know you could never bring me down/Hey Hey Hey!"), equaling the sneer of the original 1966 Illusions single, and nearly matching Fireworks' vicious 1995 rewrite as "City of Assholes." Garage rock revivalists will find lots to move to on Enjoy the Creeps, but the band didn't stay tied down to their nostalgic muse for long. The Creeps modified their sound in later years, taking on more modern elements with soul/funk textures that earned them a Swedish Grammy, and a big hit in their homeland with "Ooh, I Like It" in 1990." (Fred Beldin)

"Positively lives up to its title. This is a must for any fan of Swedish garage, or any garage music." (Dogtowne, MRR #40 Sep.1986) - Fits, fantastic stuff!

- Great Thx to Fredrik -

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