#germany pressing

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The Blues Session Box Set Contained a compilations of the legendary blues player in Chess Records

This is Muddy Waters’ Walking Blues. From the blues session box set. Germany Pressing

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Pot-Ent

@ 1972 W Germany Pressing

*****

This is a delightful German sampler LP from approx. 1972.  I’ve owned it since at least the end of the 70’s.  Unlike many colored vinyl discs of the day, this one is reasonably high quality (see below).  Nice gatefold cover, what would’ve been called a Unipak in the US (LP loads from the inside, once you open the cover).  Somewhat obviously catering to the “Progressive” crowd, of the day – yet not going too crazy.

Pot-Ent (Polydor Germany 2482 027)

Side 1

The Who – Young Man Blues (from “Live At Leeds”)

Golden Earring – The Wall Of Dolls

Sabicas with Joe Beck – Inca Song

Steeplechase – Lady Bright

Ten Wheel Drive with Genya Ravan – Stay With Me

Eric Clapton – Let It Rain

Side 2

Eric Burdon and War – Tobacco Road

Sweet Thursday – The Dealer

Stone The Crows – Blind Man (first album!)

Armageddon – People Talking

Ginger Baker’s Airforce – Doin’ It

So, a fairly ordinary set of contents.  I never knew Steeplechase were produced by Eddie Kramer!  Or that Sweet Thursday was produced by Hugh Murphy (and originated by Tetragrammaton Records; weird cover shown, too).  And I guess this Armageddon is different than the British group – “People Talking” is written by “Frank Diez / M. Galatik” and the label is designated as Kuckkuck Records.

Inside the cover is all of the album covers of the material described above, and a sort of  catalogue of Polydor Records’ products of the day; I see stuff that I want to buy that isn’t represented on this LP (both are sampler LP’s – but are they colored vinyl?):

“Blues News” (Polydor Germany 109 577) (DM 10.-)

“Pop Sound 70” (Polydor Germany 2482 001) (DM 10.-)

Ron Kane

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Conrad Schnitzler

Consequenz

@ 1980 Private Press (Germany)

******

Conrad ("Conny") Schnitzler (17 March 1937 – 4 August 2011) was a prolific German experimental musicIan associated with West Germany's 1970s krautrock movement. A co-founder of West Berlin's Zodiak Free Arts Lab, he was an early member of Tangerine Dream (1969–1970) and a founder of the band Kluster. He left Kluster in 1971, first working with his group Eruption and then focusing on solo works. Schnitzler participated in several collaborations with other electronic musicians.

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Ginger Baker's Air Force 2 was the second and final album by Ginger Baker's Air Force, released in 1970. In Germany, Australia and New Zealand it was released with a different track listing, including previously unreleased songs.

The song is taken from the Germany 1st Pressing

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Joe Simon

The Power Of Joe Simon

@ 1973 W Germany Pressing

*****

Under the encouragement of Richbourg, Simon moved to the Polydor distributed Spring Records label in 1970, which paired Simon with Kenny Gamble and Leon Huff. The team scored a #3 R&B hit in 1971 with "Drowning in the Sea of Love" and a #1 R&B hit in the summer of 1972 with "Power of Love". Both songs reached #11 on the Hot 100. "Drowning in the Sea of Love" sold over 1.5 million copies and the RIAA on January 6, 1972 gave a gold disc. "Power of Love", written by Gamble, Huff and Simon was Simon's third million seller, and the R.I.A.A. awarded gold disc status on August 29, 1972.

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Gary Numan

Strange Charm

@ 1986  Germany Pressing

****

Strange Charm was the last studio album released on his self-owned Numa Records label before he signed a recording contract with I.R.S. Records (he would later release two more albums on Numa in the 1990s). Unlike most of his previous albums, Strange Charm is a fragmented release with no obvious theme on it, either musically or lyrically. Numan admitted that the album was disjointed, concerned more with atmosphere than theme. The majority of the album was produced by the Wave Team, who had produced most of Numan's previous offering, The Fury, and continued in a style similar to the previous album (with liberal use of saxophone and female backing vocals). However, the album's stand-out tracks, "My Breathing" and "New Thing from London Town", were produced by Ade Orange and Bill Sharpe and Nick Smith, respectively, and offer a departure from the industrial sound of the rest of the album into quite different atmospheres. "New Thing from London Town" was a re-recorded version of the single released by Numan and Bill Sharpe (under the name Sharpe + Numan) a month before the release of Strange Charm. The Strange Charm version of the song retains the original music, but features new lyrics written and sung by Numan (the lyrics on the single version were written by Roger Odell). Elsewhere, the songs on Strange Charm range from radio-friendly pop ("The Sleeproom", "I Can't Stop") to slow-burning ballads "This is Love"), to fast-paced, energetic synth-rock (the title-track).

By the time of Strange Charm's recording, Numan had found himself more and more alienated from the mainstream of British pop music, while most of the money he had made during the early part of his career had now been consumed by his costly self-funded record label. Numan later recollected that the studio atmosphere was tense:

“It was a hard album to finish. The career problems created a dreadful atmosphere to write in because it felt like everything I was doing was for nothing... I knew I wanted a dark and dreamy sound for Strange Charm. However, I didn't quite know in which direction I wanted to take my songwriting. I was also running out of things to write about. There were quite a few arguments and the studio atmosphere was unusually tense and bad-tempered. At one point I had three different versions of a song on the 24-track and I couldn't decide which way I wanted to go.”

Not only did Numan find it very difficult to create the kind of sound that he wanted for Strange Charm, but the protracted recording sessions resulted in the album being recorded in its entirety twice, diluting Numan's enthusiasm for the finished product. Strange Charm was finally released in late 1986, many months after singles from the album had been released. "This Is Love" was released in April and peaked at No. 28 on the UK Singles Chart; "I Can't Stop" was released in June and reached No. 27, and the original version of "New Thing from London Town" was released in October and reached No. 52. No singles were taken from Strange Charm after the album's release in November. The only single Numan released that month was "I Still Remember", a remake of a song from Numan's 1985 album The Fury. Released as a charity single for the RSPCA, "I Still Remember" reached No. 74 on the UK Singles Chart. The Strange Charm album itself peaked at No. 59 on the UK Albums Chart, and spent only two weeks in the Top 75.

For the visual look of Strange Charm, Numan abandoned the white suit-clad persona of The Fury and instead dyed his hair blond (again) and wore a Blade Runner-esque long leather jacket and sunglasses. Blade Runner was also the influence for one the B-sides of the album ,"Time to Die", which takes its title and most of its lyrical content from Roy Batty's dying speech during the climax scene of the film. Strange Charm is the third of five Numan albums to feature saxophonist Dick Morrissey, who performed on the Blade Runner film score. Vocal samples from the film can be heard on Numan's albums The Fury (1985) and Outland (1991). Numan has referred to Blade Runner as "one of my all-time favourite films."[3]

Numan did not support Strange Charm with a live tour (making it his first studio album since 1981's Dance not to be supported by a concert tour). However, Numan embarked on the 18-date "Exhibition Tour" in September 1987 to promote the compilation album Exhibition. A live album, Ghost, was culled from the final two shows of the tour (25–26 September 1987) and released in March 1988. Ghost features live versions of several Strange Charm tracks.

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Gary Numan

Metal Rhythm

@ 1988  Germany Pressing

******

Numan's career had stalled somehow during the first run of his own record label, leading him to sign a deal with IRS for several albums -- a deal that would lead to frustrations galore for Numan, who found himself suddenly constrained by a record company's idea of what Gary Numan should be. This did not affect Numan immediately, mind you -- Metal Rhythm is an energetic return to form, with some great moments in songs such as "New Anger" and "America." The basic theme of the album is the rebirth of a pop star...alas, it would be downhill for a while after this. IRS took cuts from this and several prior albums and cobbled together the patchwork of New Anger, and the slide began in earnest.

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The New Stan Getz Quartet, featuring Astrud Gilberto

Getz au Go-Go

@ 1964 Germany Pressing

****

Although the name Stan Getz (tenor sax) was initially synonymous with the West Coast cool scene during the mid-to-late 1950s, he likewise became a key component in the Bossa Nova craze of the early 1960s. Along with Astrud Gilberto (vocals), Getz scored a genre-defining hit with the "Girl From Ipanema," extracted from the equally lauded Getz/Gilberto (1963). While that platter primarily consists of duets between Getz and João Gilberto (guitar/vocals), it was truly serendipity that teamed Getz with João's wife Astrud, who claims to have never sung a note outside of her own home prior to the session that launched her career. Getz Au Go Go Featuring Astrud Gilberto (1964) was the second-to-last album that he would issue during his self-proclaimed "Bossa Nova Era" -- the final being Getz/Gilberto #2 [Live] (1964) concert title from Carnegie Hall. In many ways, that is a logical successor to this one, as both include the "New Stan Getz Quartet." The band features a young Gary Burton (vibraphone), Kenny Burrell (guitar), Gene Cherico (bass), and Joe Hunt (drums). As is typical with jazz, there are a few personnel substitutions, with Helcio Milito (drums) and Chuck Israels (bass), respectively, filling in on nearly half the effort. As the name of the disc intimates, this recording hails from the venerable Greenwich Village venue, the Café Au Go Go, in mid-August of 1964 -- two months after "Girl From Ipanema" became a Top Five pop single. However, the focus of Getz Au Go Go steers away from the Brazilian flavored fare, bringing Astrud Gilberto into the realm of a decidedly more North American style. That said, there are a few Antonio Carlos Jobim compositions -- "Corcovado (Quiet Nights of Quiet Stars)" and "One Note Samba" -- both of which would be considered as jazz standards in years to follow -- as well as the lesser-circulated "Eu E Voce." Getz and crew gather behind Richard Rodgers and Oscar Hammerstein's "It Might as Well Be Spring," and the scintillating instrumental "Summertime," from Porgy & Bess. Other equally engaging cuts include affective vocal readings of "Only Trust Your Heart," and the diminutive, yet catchy "Telephone Song." There is also some great interaction between Getz and Burton on "Here's to That Rainy Day." Getz Au Go Go is highly recommended for all dimensions of jazz enthusiasts.