Ton Steine Scherben 1st LP and Das Schillernde Leben des Nikel Pallat von Ton Steine Scherben Book

Ton Steine Scherben - Warum geht es mir so dreckig? LP

Label: David Volksmund Produktion: Year: 199?; Format: Vinyl LP

A few weeks back I listened to the latest episode of "Und Dann Kam Punk" podcast from Berlin, a podcast dedicated to finding out what brought people to punk rock, young and old. In the case of Nikel Pallat, the interviewee is not directly someone connected to punk rock but nevertheless played an important role in the development of said genre, especially through the distribution of the music (more about that in the book review below). The podcast episode not only prompted me to actually order a copy of Nikel's biography, but to pull out also my copy of the band's first LP, originally released in 1971. Ton Steine Scherben formed 1970 in West-Berlin around their charismatic singer Rio Reiser and famously played along Jimi Hendrix at the Love & Peace Festival on the isle of Fehmarn, situated between Germany and Denmark. After the band has established itself as a powerful and popular live band on Berlin's live circuit by 1971 it was time to record the first LP. It is unbelievable how well this record has aged, lyrically as well as musically. Ton Steine Scherben are considered to be one of the earliest German-language rock bands, if not the earliest. And with Rock I don't mean some watered down soft-rock band, but an ass-kicking, angry and socially aware band cranking out tunes that meant a lot back then, and still do to this day. The band quickly gained a fanbase within West-Berlin's anarcho and squatter circles, no doubt due to their direct anti-capitalist approach as a band. Ton Steine Scherben released their records on their own David Volksmund Produktion label and thanks to Nikel Pallat managed to gain distribution channels throughout West Germany after the band was initially only known mostly in West-Berlin. I would go as far as comparing Ton Steine Scherben to MC5 or London's Third World War in the sense that they were proto-punk before the term was ever coined. They foreshadowed what was to come later in the decade and musically one can hear Ton Steine Scherben in early German punk bands such as The Pack or Big Balls & The Great White Idiot. Lyrically Ton Steine Scherben influenced countless Deutschpunk bands in the '80s and were also covered quite a few times, most famously by Slime from Hamburg. Even though the band sings in German and many of you out there will not understand the lyrics I highly encourage everyone to seek out this and the band's second LP. They are timeless classics and have shaped radical music in Germany in many ways. RIP Rio Reiser (1950-1996)

Nikel Pallat mit Christof Doerr - Das Schillernde Leben Des Nikel Pallat von Ton Steine Scherben

Publisher: Hannibal Verlag; Year: 2023; Format: Softcover book (German language)

I thought it came handy to combine the review of Ton Steine Scherben's first LP with this book, even though it is in German, hence it's not that easily accessible which is a shame as it's a truly great read. As mentioned above I learned about the life of Nikel Pallat and this book through a podcast and how glad I am I did as the book is not just highly entertaining and informative, but above all inspirational. Pallat first heard Ton Steine Scherben when attending the Fehmarn Festival in September of 1970. Interestingly enough for a young man infected with the Rock'N'Roll virus he had a serious background when it comes to his professional life as a Tax Office employee by trade. According to Nikel back in the '60s places like the Tax Office were a haven for Nazis who often ended up in higher positions, being rewarded for war crimes as if World War II never happened. After having experienced Ton Steine Scherben live and having moved to West-Berlin Nikel was determined to not only meet the band, but to get involved. Initially he had sly hopes to become a member as he had written some songs, but that wasn't to be until a later point. Since the guys in Ton Steine Scherben liked Nikel and learned about his background in finances, they figured why not put the man in charge of distributing the band's "Macht Kaputt" single. And this is exactly the point where Nikel's life changed once and for all as fairly quickly it became clear that Ton Steine Scherben had found themselves not just someone who's good with numbers but also capable of managing the band and gradually turning them into a household name for polito-rockers across West-Germany. Nikel is probably most famous for his TV outburst in 1971 wherein during a discussion about Independent Music he sets out to destroy the table with an axe in order to send a radical message (Link: https://www.youtube.com/watch?v=tN1GEiO1vmI ). Said event marked just the beginning of Nikel's colorful and fascinating career in the independent music scene. After establishing himself as the manager and distributor of Ton Steine Scherben Nikel started Efa (Energie Fuer Alle) in 1983, Germany's first independent record distributor. As mentioned above Nikel did play a significant role in the evolution of punk rock in Germany by bringing labels such as Crass Records or Alternative Tentacle under the umbrella of Efa. Everything comes to an end they say, and so did Efa, but not Nikel's hunger to continue where he left off. Indigo Musikproduktion und Vertriebs GmBH, which exists to this day, is Nikel's home away from home, a record distribution and music production company having succeeded to exist in the age of Spotify, a company Nikel despises by the way. The book is divided into short chapters in which some reflect about Nikel through the voice of a third person. It becomes clear that Nikel is not just a well liked person but someone many look up to as to how to lead a fulfilling life. At 77 years of age Nikel still works full time for/at Indigo and I imagine that will never change. I hope this book gets translated into English at least in order to give Nikel's story more exposure. 

Photos borrowed from the book. The one with the various people in it depicts a scene from the apartment Nikel lived at in West-Berlin with Ton Steine Scherben. 

Tom Waits - Closing Time LP

Label: Asylum Records; Year: 1973; Format: Vinyl LP

Well, first and foremost I am back to writing reviews for the blog after a lengthy spell on the sidelines due to other commitments. Initially I had planned on jumping right in with a review of an ancient hardcore punk smasher, but truth is that my mood, mind and my local record store had other plans in store. I guess you could say that Tom Waits' first LP had found me at the right time as Mr. Waits is someone I had on the radar for years, but it wasn't until this past Saturday I had finally bought one of his releases. And let me make it as clear as possible that I am thankful 'Closing Time' is in my collection now as it is simply a beautiful record. But let me not get ahead of myself and give you a very brief introduction as to the early stages of Tom Waits' life and career. Waits was born in Whittier, Southern California in 1949 and after his parents had separated when Tom was just ten years old he moved with his mother to Chula Vista, a suburb of San Diego. After developing a love for R&B and Soul singers as well as Beat Generation writers like Kerouac, Ginsberg or Burroughs Waits began to frequent folk music venues around San Diego until he eventually became part of the circuit by the late '60s. In his early days Waits often covered songs by Bob Dylan or country singer Woodrow "Red" Sovine but little by little he started to write his own material, lyrically often influenced by his relationships with various girlfriends. At some point Waits realized that San Diego wasn't offering him enough exposure and as a result of that he started to take more and more trips up the Pacific Highway to the Troubadour in West Hollywood, Los Angeles. It was at the Troubadour where Waits came to the attention of Herbert Cohen who surely had a word with David Geffen, a transplant from Brooklyn and co-founder of Asylum Records in 1971. Closing Time was released in 1973 and word is that Waits' intention was to create a piano-led jazz album while the producer pushed it in a more folk-oriented direction. In my opinion the different directions this album is a result of worked perfectly and fifty years on since its release this album not only stands the test of time but should really be regarded as one of those essential albums to be heard by everyone with good taste in music. Phil Scarisbrick, writing for UK magazine Secret Meeting had the following to say about Tom Waits while reviewing 'Closing Time': 

Drenched in whiskey and the foggy aroma of tobacco, Waits plays the part of a lounge singer in the last dive bar in town. You can picture him crouched over a worn out piano, with a worn out suit and worn out trilby hat. A fading Marlboro red cigarette hanging from his mouth, he places his liqueur on top of the piano and starts to play. For all this bleak imagery, the music we hear is utterly beautiful. There is a quote often attributed to Waits where he says, "I like beautiful melodies telling me terrible things." Closing Time fits this description perfectly.

Trust me, I certainly couldn't have described it better hence I rather give you someone else's quote that couldn't have been more perfect. When I sat down to listen to 'Closing Time' last night I made sure I sat comfortable in my recliner. From the moment the needle hit "Ol' 55", being the opening song of Side A, I was basically not just mesmerized, but instantly taken back in time to a world which was much slower, less hectic, less healthy and much boozier. Waits' music has the gift to not just evoke all kinds of emotions, but to lift you into a state of euphoria and depression at the same time. Songs like "Martha", "Lonely" or "Midnight Lullaby" to name a few, have the ability to take you on a trip down memory lane enabling you to reconnect with lost memories while enjoying simply beautifully crafted songs. No matter what music genre you really prefer, there are records that just speak to everybody and in my honest opinion 'Closing Time' is one of them. The fact that the album didn't sell very well back in 1973 just tells me that quite often brilliant artists are overseen early on in their careers and Waits certainly proved to the world how multi-talented of an artist he is. I shall make sure to seek out more of his music in the future so stay tuned until Closing Time. 

V/A - The Anthology Of British Blues LP

Label: Imperial Records; Year: 1968; Format: Vinyl LP

It's not like I need more artists or genres to get my teeth into as I sure as hell have enough I am trying to get through and to learn about when it comes to music from the past, but sometimes the records seem to find me instead of the other way around. Last week I walked to a small local independent book store in Downtown Buffalo during my lunch and in the few boxes stuffed with second hand records the cover of an old British Blues record struck my interest. After having listened to the record last night and having done some research about the artists themselves I have the slight suspicion that in the future I will want to grab more of old British Blues records and to immerse myself in its history. And in that sense this record is a good introduction as it is a highly enjoyable compilation that was recorded in 1968 highlighting tracks by known and not so known British Blues artists of that time. Tony McPhee for instance - the sole constant member of the Groundhogs - is to be found on this LP with three outstanding tracks, one of them a great take on "Death Letter" by Mississippi legend Son House. The one artist I found most compelling on this record and naturally dug deeper into the history of though is Andy Fernbach from Bournemouth on the sunny coast of England. None of the three tracks Andy contributes to the album are his own but we are talking 1960's here where that was standard with Andy paying tribute to some great US blues players including Skip James whom Andy had the pleasure to tour with shortly before James' had passed away. For a much more detailed biography and history of the Blues in Bournemouth please see the link at the end of this blog entry. Also to be found on this LP are sister and brother Jo-Ann Kelly and Dave Kelly, equally fascinating when it comes to their personal histories with Jo-Ann having been a much wanted pursuit by Canned Heat from Los Angeles. If you are like me and just start out getting interested in British Blues then seek this one out and I have the feeling that just like me you'll get the bug to be wanting to find out more. The liner notes on the back of my US pressing state the following: "It's music to nurse two jiggers of Scotch by in the lonely wee hours. It provokes melancholy reflections of reality, and gives glimpses of life as it really is. Here, without pretense, is basic blues."

Link to fantastic article about Andy Fernbach and Blues in Bournemouth: https://bournemouthbeatboom.wordpress.com/andy-fernbach/

Poison Idea / Ray & Glover - Single At Christmas 

Label: Tim/Kerr Records; Year: 1993; Format: Picture Disc 7" Single

Last night I listened to an entertaining episode of the "Vinyl Guide" podcast with Jerry A of Poison Idea fame as a guest. The interview prompted me to go through one of my 7" boxes to see which Poison Idea EPs I have and at the very end of the box I stumbled across this nice Christmas split between Portland's finest and the Blues/Folk duo Ray & Glover. So tonight I sat down to not just listen to the two songs but to type up the last entry for this year as every blogger needs a break too, and I am certainly craving one from my job and from my hobby. Poison Idea crank out a great version of the classic "Santa Claus is back in town" while digging deep into the blues while on the other side Ray & Glover deliver a nice and slow bluesy number with "I'm mad at the fat man". 

A nice and fitting end to my blog entries for this year me thinks and with having said that I would like to extend my thanks to everybody that has read my blog these past few months since I have been active again, it is much appreciated. 2023 will bring you more of the same so be ready for a wild ride and until then enjoy the holiday festivities and a happy and healthy New Year to you all!

Lightnin' Hopkins - Flash Lightnin' Volume One LP 

Label: Diving Duck Records; Year: 1985; Format: Vinyl LP

This was the first LP I had bought of Lightnin' Hopkins some years back at Flashback Records in London, UK where I spent quite a few Saturday afternoons. I knew of Mr. Hopkins and have at that time liked 'the blues' for some time hence it was time I started a little collection of his. In the meantime I have bought quite a few more of his recordings but looking at his extensive catalogue I will never hear all of his recorded material, that much is guaranteed. Anyway this is a perfect record to spin with your coffee on a weekend morning as it kindly smoothes you into the day with thirteen tracks recorded in 1954. According to the sleeve notes on this record said year marked the end of Hopkins' most creative period and a lot of the recorded material was never released on record until these two volumes on Dutch label Diving Duck. Sam 'Lighnin' Hopkins was born in Texas in 1912 and died in Houston, TX in 1982. At a very early age he fell in love with the music of Blind Lemon Jefferson and in the '20s and '30s Sam used to accompany Texas Alexander by playing on the streets or buses. The tracks on this record all fall between two and three minutes and many of them deal with Sam's longing for a lost woman, something not unusual for blues artists of that time. Most of the songs are mid-tempo blues numbers with Hopkins' typical deep and cracky voice while two or three numbers are upbeat and faster introducing early rock'n'roll tendencies. All in all this is a highly enjoyable record and many more Lightnin' reviews will be coming your way in the not so distant future, stay tuned!

V/A - Texas-Mexican Border Music Vol. 1 (An Introduction 1930-1960) LP

Label: Folklyric Records/Arhoolie; Year: 1975; Format: Vinyl LP

I love picking up records like this compilation of at least to me absolutely unknown artists from the Texas-Mexican border with songs recorded between the 1930s and the early 1960s. It is kind of similar to discovering and learning more about blues music in the sense that it is music from the working people sweating in factories, packing houses or in the fields picking fruit. As the notes from editor Chris Strachwitz say it's the music of the Tejanos, Chicanos, Nortenos or Mexican-Americans. The recordings vary in quality and the songs recorded later sound generally louder and better but this is a highly enjoyable record taking you back in time to a place that certainly must be special and fascinating to this day. Migrants from Mexico have crossed the Rio Grande headed for the North back then and still do to this day in the hope of a better life in the US. Back then they have brought a different music with them and it would be interesting to see what a compilation like this one would sound like with current artists. I will definitely try to scoop more records from this series. Una historia de la musica de la frontera!