The other day, I found myself revisiting Wolf Maahn, one of my favorite German rock artists I’ve featured on the blog before. More specifically, I listened again to his third studio album Irgendwo in Deutschland (somewhere in Germany) from 1984. I got it on vinyl at the time and really dug it – turns out I still do!
Before getting to the record that became is national breakthrough, I’d like to provide a bit of background on Maahn, borrowing from a previous post. Wolf Maahn was born in Berlin on March 25, 1955. He grew up in Munich, where he saw The Beatles as an 11-year-old in 1966. Perhaps not surprisingly, that concert left a lasting impression. “The Beatles were simply untouchable to me,” he told a German newspaper during an interview in 2001.
In 1975, Maahn co-founded Food Band in Cologne, together with his brother Hans Maahn and other musicians. They released their studio debut Foodband in England in 1979. A version of that album for the German market, ingeniously titled Last Year’s Album, appeared the following year. Just like its predecessor, it featured all English music. Food Band released on more album in 1981, Rhythm ‘N’ Juice, another clever title, before they disbanded.
Following the dissolution of Food Band, Maahn launched his solo career. Former band mate, song co-writer and guitarist Axel Heilhecker joined Maahn’s backing band Deserteure (deserters). In September 1982, Wolf Maahn und die Deserteure released their studio debut Deserteure. The sophomore Bisse Und Küsse (bites and kisses) appeared the following year. Which brings me to Irgendwo in Deutschland.
Let’s kick it off with the opener Rosen im Asphalt (roses in the asphalt). Like most of the album’s tracks, Maahn composed the tune’s music and wrote the lyrics.
Here’s Fieber (fever). The catchy rocker is one of Maahn’s best known song and is the tune, which prompted me to buy the album. Again, he wrote the music and the lyrics.
Another highlight on the record is Der Clown hat den Blues (the clown is feeling blue). The song was co-written by Maahn, Heilhecker and backing vocalist Jane Palmer, with lyrics by Maahn.
The opening riff of Total gut drauf (feeling really great), another song Maahn wrote all by himself, could be from a John Mellencamp tune. I think it’s fair to say the sound of the entire album has an American flair.
The last song I’d like to call out is the title track. And, yes, you guessed it right, it’s yet another tune solely written by Maahn.
Irgendwo in Deutschland was produced by Maahn. In addition to him (lead vocals, guitar), Heilhecker (lead guitar) and Palmer (backing vocals), other musicians included Werner Kopal (bass) and Jürgen Zöller (drums). Kopal and Zöller later joined German rock band BAP. Kopal still is part of the current line-up of that band, now known as Niedeckens BAP.
In 1986, Maahn dissolved Deserteure and has since performed without a standing backing band. To date, he has released 15 studio albums, five live albums and one greatest hits compilation.
Every now and then, I like to feature German language rock and pop music, an acknowledgement of my German roots and the country where I was born and grew up. In this context, the act that always comes to my mind first are Niedeckens BAP. The band’s new studio album Alles Fliesst (everything is groovy), which was released yesterday, September 18, certainly provides a nice occasion to do another post on my favorite German band for now close to 4o years.
Simply known as BAP for most of their career, the band around singer-songwriter Wolfgang Niedecken was founded in the West German city of Cologne in 1976. While there have seen many line-up changes, as you’d expect over such a long period, two things have stayed the same: band leader Niedecken who remains their lyricist, lead vocalist and only original member, and the fact they perform their songs in Kölsch, the regional dialect spoken in the area of Cologne.
Since September 2014, following the departure of two longtime members, the band has performed as Niedeckens BAP. At the time, a seemingly somewhat frustrated Niedecken also declared the group would not longer have a standing line-up. That being said, the core members have remained the same since then: Ulrich Rode (lead guitar), Anne de Wolff (multi-instrumentalist), Werner Kopal (bass), Michael Nass (keyboards) and Sönke Reich (drums). You can read more about their previous music here.
Alles Fliesst is Niedeckens BAP’s 20th studio album. While overall I think it’s fair to say it doesn’t break much new ground, that’s just fine with me. Sometimes you don’t want things to change that don’t need to change. A few songs had been released as singles leading up to the album. Two of these tracks, Volle Kraft voraus (full steam ahead) and Ruhe vor’m Sturm (calm before the storm), I already covered in previous installments of my Best of What’s New music feature here and here, so I’m going to skip them in this post. Let’s kick things off with the nice rocker Jeisterfahrer (ghost driver). The title is a symbol for populist politicians and demagogues spreading dangerous misinformation and ideas. Sadly, this sounds all too familiar.
One of my early favorites is the lovely ballad Mittlerweile Josephine (now Josephine). It’s named after one of Niedecken’s daughters he apparently used to call Josie when she was a young girl. “Actually, the song is for both of my daughters,” he told news agency Spot on News, as published by German regional paper Stuttgarter Zeitung. “But you have to decide how to name it. My younger one is called Joana-Josephine, and the older one is Isis-Maria. Our guitarist wrote the tune and sent me a demo. It included the name Rosie. As I was listening to it, I thought it could also be called Josie.” Here’s the official video.
Amelie, ab dofür (not quite sure how to translate this) is another nice rocker. The lyrics are about a guy who wants to get to Amelie but is stuck in traffic. More generally, the song deals with everyday stress life can throw at you – not sure it has any deeper meaning, but won’t get sleepless nights over it! Apart from bluesy guitar work, the great music features nice horn accents by Axel Müller (saxophone), Christoph Moschberger (trumpet) and Johannes Goltz (trombone).
Jenau jesaat: Op Odyssee (specifically put, an odyssey) looks back on the band’s 40-year-plus history from humble beginnings in local bars to playing the German Rockpalast music festival in the ’80s that was broadcast throughout Europe and put BAP on the map more broadly. “The song deals with our beginnings when we were surprised that suddenly we were supposed to play outside of Cologne,” Niedecken explained during the above interview…’They don’t speak Kölsch, how is this going to work?’…Specifically put, we didn’t go on tour but on an odyssey to unknown regions.” Things worked out quite well for BAP, though their popularity has largely remained confined to Germany and neighboring countries where folks understand German.
Let’s do one more: Huh die Jläser, huh die Tasse (let’s raise our glasses and cups), a song that had been written last last year, was released in connection with Niedecken’s 69th birthday on March 30. Initially, he had planned to throw a party on a boat to celebrate the happy occasion, but that didn’t happen because of COVID-19. Instead, in a surprising move, Niedeckens BAP put out this track to celebrate first responders and others who have helped keep things going during the pandemic. “Huh die Jläser, huh die Tasse is a happy reggae to express our gratitude to people who provide social services in a broader sense, as professionals or as volunteers, and who oftentimes are underpaid and under-recognized in our society,” Niedecken stated at the time, as reported by the German edition of Rolling Stone. “These are the same people who are now saving our butts.”
According to the band’s website, the first takes for the album were recorded live in studio at a facility close to the Eastern German town of Dresden. The album was completed in Hamburg. Alles Fliesst was co-produced by Rode and de Wolff who also composed most of the music. As always, all lyrics were written by Niedecken.
Alles Fliesst is available in standard CD and vinyl formats. There is also a deluxe edition, which apart from the 14 tracks on the standard version features a studio outtake and live versions of nine tracks that were not included on the band’s last live album Live & Deutlich (live and clear) from November 2018. I previously covered it here.
Apparently, in November 2018, Niedeckens BAP became the band with the most no. 1 hits in the German albums chart with the above noted Live & Deutlich. This broke the previous record that had been held by The Beatles.
Sources: Niedeckens BAP website; Spot On News/Stuttgarter Zeitung; Rolling Stone (German edition); YouTube
A selection of newly released music that caught my attention
I suppose by now folks who frequently check out my blog won’t be surprised that another Friday brings another installment of Best of What’s New. For first-time visitors, the weekly recurring feature highlights new music I dig, which was released over the past two to three months. Since most of my blog focuses on the ’60s and ’70s, I try to include as many young artists in these posts as I can find. In most cases, it ends up being a mix of young and established acts.
This week’s batch includes a nice solo debut by a young female African-American artist you may know as the drummer of a great band from Memphis, as well as songs by my favorite German-singing rock band, one of “Nova Scotia’s busiest singer-songwriters” and somebody you may still remember from the ’80s, though he was performing under a different name back then. Let’s get cooking!
Tikyra Jackson/No More Fear
If you follow my blog, chances are you’ve seen some of my posts about Southern Avenue, a great band from Memphis, Tenn., blending traditional blues and soul with elements of contemporary R&B. Tikyra Jackson is the band’s drummer and backing vocalist. It turns out she’s also a pretty talented multi-instrumentalist who just released her solo debut single No More Fear on August 12. Apparently, the effort was driven by Jackson’s reflections on the recent murders of George Floyd and Breonna Taylor and Southern Avenue’s current pause from touring due to COVID-19. “I have a responsibility as a young, African-American and also as a woman to use my voice and platform to amplify the message that we are not going to tolerate inequality,” Jackson toldAmerican Songwriter. “I had a moment to breathe and be with myself,” she added. “Before Quarantine, it was just the road. But to be able to take a break and feel my emotions and cry has been a beautiful thing.” No word yet whether Jackon’s ultimate ambitions are an entire album. For now, here’s her funky debut single.
Niedeckens BAP/Volle Kraft voraus
Volle Kraft voraus (full steam ahead) is the fourth and latest upfront single from Alles Fliesst (everything is groovy), the new album by German rock band Niedeckens BAP’s, scheduled for September 18. Since about 1980, the group from Cologne around singer-songwriter Wolfgang Niedecken, founded in 1976 and for many years simply known as BAP, has been my favorite band singing in German. More specifically, they perform their songs in Kölsch, the regional dialect spoken in the area of Cologne. Not surprisingly, I’ve covered them here and on various other previous occasions. Released August 13, Volle Kraft voraus was written by the band’s guitarist Ulrich Rode with lyrics by Niedecken. The tune could work as a picker upper that’s badly needed in these corona times, writes Niedecken on the band’s website: “Try to remember what happiness feels like!” No nostalgia but more something like self-therapy.
Guy Paul Thibault/Shipwrecked
According to his website, Guy Paul Thibaultis one of Nova Scotia’s busiest singer songwriters. He is loved by audiences for his marathon shows, his stories and his knowledge of the history behind the songs he performs. He performs both his originals and fan favourites from every genre and era…Guy Paul is proud to be able to write, record, mix, master and produce all his music from his hometown of Cole Harbour Nova Scotia. His album “The Road Between” was awarded International Album of the Year 2019 from the International Singer Songwriters Association (ISSA)…Guy Paul has continued his busy pace as a recording songwriter, releasing a continuous stream of singles and new songs in 2020. His most recent one is Shipwrecked, a nice ballad that came out on July 15.
Sananda Maitreya/The MadHouse
When I listened to The MadHouse for the first time earlier today, I immediately thought the voice of Sananda Maitreya sounds very similar to Terence Trent D’Arby whose 1987 debut album Introducing the Hardline According to Terence Trent D’Arby was a huge success in Germany and many other countries. That’s because Maitreya and D’Arby are one and the same person! Following his successful debut, D’Arby released three additional records that each performed poorer than their predecessor. By time his fifth album appeared in 2001, he had changed his stage name to Sananda Maitreya, though the record appeared under the name Terence Trent D’Arby/Sananda Maitreya – probably a deliberate transition move. Since 2005, all of his albums have been released under the name Sananda Maitreya. “Terence Trent D’Arby was dead,” Maitreya explained to The New Yorker in June 2013. “He watched his suffering as he died a noble death. After intense pain I meditated for a new spirit, a new will, a new identity.” This new identity continues to this day and his latest single The MadHouse, which came out on July 3. Frankly, D’Arby had completely fallen off my radar screen many moons ago, and I’ve no idea about any of his music he released between his debut and this latest song. But I know one thing: Maitreya’s voice still sounds pretty soulful and that tune’s got a nice funky groove!
Sources: Wikipedia; American Songwriter; BAP website; Guy Paul Thibault website; The New Yorker; YouTube
These days, the U.S. is going through so much pain and despair. It truly feels like unprecedented times, at least to me. While it’s important to acknowledge the two epidemics of COVID-19 and systemic racism and hold those who call themselves leaders responsible, I also believe it’s critical never to lose hope. Never to give up.
One of the many beautiful things music can do is to help lift our spirits. Here’s a great picker upper from my favorite German rock band BAP or Niedeckens BAP, as they have been known since September 2014: Halv su wild (things aren’t as bad). The title track from their 16th studio album released in March 2011 has cheered me up more than once when I felt down.
Like all of the band’s lyrics, the words were written by founder Wolfgang Niedecken. The music of this particular tune was composed by him and his main songwriting partner at the time, former lead guitarist Helmut Krumminga.
The above clip is from a concert that was part of a tour to celebrate BAP’s 40th anniversary, which I was fortunate to attend during a visit to Germany in June 2016. The line-up featured Krumminga’s excellent successor Ulrich Rode.
Of course, I realize most readers don’t understand German – not to speak of Kölsch, the regional dialect in which Niedeckens performs the songs, and that is spoken in the area of Cologne. Following is a rough translation. Admittedly, it sounds much better in Kölsch, but I hope you get the point!
Hey what’s going on, don’t tell me you’ve given up.You’re right things are tough, but no matter what happens, the sun is rising, even though the night seems to be endless. Trust in what the new day brings before you’re consumed by self-doubt.
Things aren’t as bad, just wait and you will see. Definitely, things aren’t as bad, it’s gonna work out. Believe me, things aren’t as bad, no matter how much you despair. The world won’t come to an end. Things aren’t as bad.
Hey man, stop now, you will see land again. Don’t have doubts, you know what you can do. Don’t hide behind a wall, no, you have to get out. Sure, it’s a shitty situation, but, hey, shit happens!
Things aren’t as bad, just wait and you will see. Definitely, things aren’t as bad, it’s gonna work out. Believe me things aren’t as bad, no matter how much you despair. The world won’t come to an end. Things aren’t as bad.
The person who manages to take away our joy to live still needs to be born. It’s not a problem…no, it’s really not.
A selection of newly released music that caught my attention
This latest installment of the recurring feature presents yet another new tune by Robert Allen Zimmerman, who finally revealed there will be a new album with original music, probably providing some relief among die-hard Bob Dylan fans. The piece also includes a new song by a German singer-songwriter who happens to be a yuge Dylan fan and has led my favorite German rock band for more than 40 years. There’s also a melancholic track by Norah Jones. And how about rounding out things with some smoking hot blues by an indigenous artist from Canada? Let’s get to it.
Bob Dylan/False Prophet
False Prophet, released today, is the third new song by Bob Dylan that appeared in recent weeks. He probably thought three make a charm and also finally confirmed what many fans had hoped for: All these tunes appear on a new album, Rough and Rowdy Ways, set to come out on June 19. It’s Dylan’s 39th studio album, per Rolling Stone’s count, and his first release of original music in eight years since Tempest from September 2012. False Prophet, a guitar-driven bluesy tune, definitely speaks to me more than the previously released I Contain Multitudes and the nearly 17-minute Murder Most Foul. In fact, I kinda like it!
Niedeckens BAP/Ruhe vor’m Sturm
BAP or, since September 2014, Niedeckens BAP have been my favorite German rock band for now close to 40 years. I’ve covered this group from Cologne around singer-songwriter Wolfgang Niedecken on various past occasions, most recently here. One of their characteristic features is they sing all of their songs in Kölsch, the regional dialect spoken in the area of Cologne. Ruhe vor’m Sturm (calm before the storm), the first tune from the band’s next album scheduled for September, has rather dark lyrics, drawing a bridge between Germany’s past Nazi era and the growing influence of right-wing extremist ideology in Germany and other countries. “Everything that has happened in previous years, the populists that step by step are gaining power and those who are still in their starting positions…are developments that can frighten you and make you think, ‘how is it supposed to continue’,” said Niedecken during an interview with German broadcast station SWR1. “I’ve had many sleepless nights. I have now grandchildren…and don’t simply want to say, ‘ do whatever you want’ – I won’t accept that.” Niedecken who writes all of the band’s lyrics has spoken up against racism for many years. The song was deliberately released today, the 75th anniversary of Germany’s unconditional surrender to the Allies and the official end of World War II and one of the darkest chapters in human history.
Norah Jones/Tryin’ to Keep It Together
Every time I listen to Norah Jones, which for some reason I hardly do, I somehow feel at ease. There’s just something about the singer-songwriter’s voice I find incredibly powerful. Tryin’ to Keep It Together is a bonus tune on Jones’ upcoming eighth studio album Pick Me Up Off the Floor, which will appear on June 12. “I didn’t intend on releasing it early, but it kept running through my head,” said Jones in a statement, as reported by Rolling Stone. “It’s very much how I feel in this moment, so it felt appropriate to release it. Maybe it’s how others feel as well.” The song was co-written by Jones and Thomas Bartlett, a.k.a Doveman, who also produced it. Jones released the official video for the tune today. In a tweet she wrote, “The official video for ‘Tryin’ To Keep It Together’ was filmed at home and is out now. Thanks to my quaran-team house-mate, Marcela Avelar, for making this video.”
Crystal Shawanda/Church House Blues
Crystal Shawanda is an indigenous country-turned-blues artist. According to her website, she grew up on Wikwemikong reserve on an island in Ontario, Canada. While her parents exposed her to country music and taught her how to sing and play guitar, her oldest brother introduced her to what became her ultimate passion, the blues. She started her career in country music and her debut album Dawn of a New Day was released in June 2008. But while country music apparently brought her some success, she started feeling like a fish out of water and decided to take off some time. Shawanda returned in September 2014 with her first blues album The Whole World’s Got the Blues. Her new record Church House Blues was released on April 17. According to this review in Glide Magazine, it was produced by Shawanda’s husband and collaborator Dewayne Strobel, who also plays guitar on the record. The review notes influences from Shawanda’s heroes Etta James, Koko Taylor, The Staple Sisters and Janis Joplin. Regardless whether you agree with their take or not, one thing is crystal clear to me: That woman has mighty pipes and great energy. Check out the title track!
If you have followed my blog for some time, you may recall seeing the name BAP. The group around singer-songwriter Wolfgang Niedecken was founded in the West German city of Cologne in 1976. They entered my radar screen in 1981 after their national breakthrough with their third studio album Für Usszeschnigge! (translation: to cut out). BAP remain my favorite German rock band, which I realized once again the other day when listening to some of their music. This triggered my decision to do another post on them. And it may not by my last!
One of BAP’s defining features is that Niedecken performs their songs in Kölsch, the regional dialect spoken in the area of Cologne. While I think they are on par with many English singing bands, undoubtedly this has largely limited their appeal to Germany, though they have ventured out to neighboring countries and even once to China. BAP have seen many line-up changes over the decades, and Niedecken remains the only original member. Since September 2014 after the departure of two longtime members, Niedecken announced that going forward the band would perform under the name Niedeckens BAP and no longer have a standing line-up.
Niedecken has been BAP’s driving creative force. His key influences are Bob Dylan, Bruce Springsteen, The Kinks and The Rolling Stones. Niedecken has a friendly relationship with Springsteen. In fact, I previously read that whenever the Boss performs in Germany and Niedecken is around, he likes to invite him on stage to play a song together – to me this sounds like something Springsteen would do. BAP have released 17 studio albums, eight live recordings and three compilations to date – more than enough fodder for another playlist, so let’s get to it. Unlike the first chronological playlist I published here, this time, I’m going randomly.
Let’s kick it off with a nice blues rocker called Diego Paz Wohr Nüngzehn (Diego Paz was 19). Co-written by then-guitarist Helmut Krumminga and Niedecken, the tune has a cool ZZ TopLa Grange vibe. It appeared on BAP’s 15th studio album Radio Pandora from May 2008.
The next song takes us all the way back to 1980 and Affjetaut (defrosted), BAP’s sophomore release. Here’s the opener Ne schöne Jrooß (greetings) co-written by Niedecken and Klaus Heuser, who had joined the band as their lead guitarist prior to the recording sessions and would become Niedecken’s key musical partner until his departure in 1999. While perhaps not surprisingly the sound is a bit dated, I still dig that tune.
In August 1996, BAP released their 10th studio album Amerika (America), one of my favorites. Here’s the great opener Nix Wie Bessher (nothing like it used to be), another Niedecken-Heuser co-write. As you can hear, BAP’s sound had significantly matured by then.
Time Is Cash, Time Is Money, a humorous take on organized vacation travel, appeared on the band’s sixth studio record Ahl Männer, Aalglatt (old slick guys). The song was co-written by Niedecken and producer Reinhold Mack. Mack had produced, co-produced and sound-engineered for Queen, Billy Squier and E.L.O. According to Wikipedia, it was the first time BAP relied on a “professional” producer – I assume by this they mean somebody who had worked with international acts.
Next up: Do Kanns Zaubere (you can do magic), one of my favorite BAP ballads, and yet another co-write by Niedecken and Heuser. The tune is from their fourth studio album Vun Drinne Noh Drusse (from the inside to the outside) released in August 1982.
Over their long history, BAP have released a number of songs addressing social and political issues, including racism/hostility against foreigners and nationalism – sadly topics I never thought would remain as relevant as they are today in the 21st Century. Here’s Denn Mer Sinn Widder Wer (Coz we’re great again – sound fucking familiar?) The track appeared on BAP’s eighth studio album X Für ‘e U (an “x” for a “u”) released in October 1990 in the wake of Germany’s reunification. And, yes, in case you wondered, Niedecken and Heuser teamed up for this tune as well. The clip I found is not an official video but was put together by the guy who uploaded it YouTube.
How ’bout Shoeshine? Ask and you shall receive. This great song, written by Niedecken, is from BAP’s 13th studio album Aff Un Zo (every now and then) from June 2001. It was an important record for the band after the departure of longtime members Heuser and keyboarder Alexander Büchel. The only YouTube clip of the tune I could find is this version from the 2014 unplugged live album Das Märchen Vom Gezogenen Stecker – Live (the tale of the pulled plug – live). While it’s a bit different from the studio recording, I think it’s actually pretty cool.
A BAP playlist without a tune from their aforementioned breakthrough album would be incomplete. Since I previously featured what is perhaps their best-known song Verdamp Lang Her (such a long time ago), I’m going with the road tune Frau, Ich Freu Mich (Can’t wait to see you, baby). Given this record appeared in 1981, guess who co-wrote the rocker? Yep, Niedecken and Heuser had done it again!
For the next tune, let’s jump all the way forward to BAP’s most recent studio release, Lebenslänglich (for a lifetime), which appeared in early 2016: Et Ess Lang Her (long ago). The song was co-written by Niedecken and keyboarder Michael Nass. I dig the beautiful acoustic roots sound, which reminds me a bit of John Mellencamp.
The last tune I’d like to highlight is from Halv Su Wild (not a big deal) another of my favorite BAP albums. It is from their 16th and the last studio record to date released under the name BAP. It also marked the final album with longtime drummer Jürgen Zöller (1987-2014) and Helmut Krumminga, who had been the band’s lead guitarist from 1999 until 2014. Here’s a live version of Et Levve Ess En Autobahn (life is a highway), which apparently was captured during an open-air gig in Germany in 2012. Written by Niedecken, it’s an autobiographic song about the band’s long history.
During an interview with Swiss newspaper Tagblatt, Niedecken confirmed BAP are working on a new studio album that will likely appear sometime this year, followed by a tour in 2021. Mentioning his most recent solo effort Das Familienalbum (the family album), which was recorded in New Orleans and came out in 2017, Niedecken also hinted the band’s next record is going to feature some of the same U.S. horn players. For a long-time BAP fan like myself, this does sound intriguing.
This post was inspired by a recent short trip back to Germany, the country in which I was born and lived for the first 26 years of my life. While I didn’t have time to look for new CDs by German music artists, I ended up listening to a playlist of German rock and pop songs while driving on the Autobahn from Frankfurt to the beautiful Rhine city of Bad Honnef near Bonn.
Once again, I was reminded there is some great German music out there, except it’s barely known beyond the country’s borders. To be clear, what I’m talking about is German language music, not German bands singing in English like Scorpions or electronic pioneers Kraftwerk. While I already previously posted about German music artists here and here, I thought this would be a good time for an encore. Since I left Germany more than 25 years ago, I’m not aware of any younger acts, so I’m revisiting artists I’ve known and liked for many years.
I’d like to kick things off with Wolf Maahn, a singer-songwriter, actor and producer. Born on March 25, 1955 in Berlin, Maahn got his initial start in 1976 as a founding member of the Food Band, which mixed soul, jazz, pop and rock and sang in English. His German language music debut was the album Deserteure from 1982. In 1985, he gained broad popularity as the first German act performing during Rockpalast Nacht, a recurring live six-hour concert event broadcast throughout Europe. To date, more than 20 studio, live and compilation Maahn albums have appeared. Slow-Mo In New York is his recently released latest single from an upcoming new studio album titled Break Out Of Babylon. ‘Wait a moment,’ you might think, didn’t I just note this post is about German language music? Yep, the lyrics are in German – for the most part. 🙂
Another longtime German music artist is Marius Müller-Westernhagen, also simply known as Westernhagen. The rock musician, who was born on December 6, 1948 in Düsseldorf, started his career as an actor at the age of 14. While he became interested in music during the second half of the ’60s, success didn’t come until the release of his fourth studio album Mit Pfefferminz Bin Ich Dein Prinz in 1978. Today, with 19 studio albums and various live and compilation records, Westernhagen is one of the most successful German music artists. Here’s a clip of Mit 18 from his upcoming release titled Das Pfefferminz-Experiment (Woodstock Recordings Vol. 1), scheduled for November 8. Based on what I’ve seen on the web, this appears to be a remake of the above album with new stripped down versions of the tracks. The album was recorded at Dreamland Studio in Woodstock with American musicians. This included multi-instrumentalist Larry Campbell, who has worked with the likes of Bob Dylan, Levon Helm, Sheryl Crow and Paul Simon. I have to admit the orginal Mit 18 is one of my favorite Westernhagen tunes, but after having listened to the remake a few times, I find it intriguing.
Udo Lindenberg, born on May 17, 1946 in Gronau, is a rock musician, writer and painter. He entered the music scene as a 15-year-old drummer playing in bars in Düsseldorf. In 1968, Lindenberg went to Hamburg and joined the City Preachers, Germany’s first folk-rock band. In 1969, he left and co-founded the jazz-rock formation Free Orbit. They released an album in 1970, Lindenberg’s first studio recording. Only one year later, his enponymous solo album appeared. Commerical breakthrough came with the third studio album Alles Klar Auf Der Andrea Doria. While Lindenberg has consistently recorded throughout the decades, success began to vane in the mid ’80s. Since 2008 and his 35th studio album Stark Wie Zwei, Lindenberg has experienced a late career surge. Today, the 73-year-old continues to go strong. His most recent album MTV Unplugged 2: Live vom Atlantik appeared last year. Here is Du Knallst In Mein Leben, which first appeared on Lindenberg’s 1983 studio album Odyssee. In this version, he shares vocals with German indie pop artist Deine Cousine.
Herbert Grönemeyer is one of the most versatile German artists. The musician, producer, vocalist, composer, songwriter and actor was born on April 12, 1956 in Göttingen. After his acting role in the acclaimed 1981 motion picture Das Boot, which also became an international success, Grönemeyer increasingly focused on music. His big national breakthrough as a music artist came in 1994 with his fifth studio record Bochum. To date, Grönemeyer has released 15 studio albums, as well as various compilations and live records. With more than 18 million units, he has sold more records than any other music artist in Germany since 1975, according to Wikipedia. While Grönemeyer has written some rock-oriented songs, for the most part, I would characterize his music as straight pop. Here is the ballad Warum from his most recent album Tumult, which came out in November 2018.
If I could only select one German rock band, it would be BAP, a group around singer-songwriter Wolfgang Niedecken, which nowadays performs as Niedecken’s BAP. The band has been around with different line-ups since 1976, and I’ve followed them since the early 1980s. They perform their songs in the dialect spoken in the region of Cologne, the home town of Niedecken who remains the group’s only original member. Bob Dylan and Bruce Springsteen are among his key influences. In fact, Niedecken is also friends with the Boss and has performed with him on the same stage. Niedecken’s BAP’s most recent release is a live album, Live & Deutlich, which was released in November 2018. Here’s Nix Wie Bessher, a track that first appeared on BAP’s excellent 10th studio album Amerika from August 1996.
Sources: Wikipedia; Wolf Maahn website; Westernhagen website; Udo Lindenberg website; Herbert Grönemeyer website; BAP website; YouTube
The rock singer-songwriter has been a staple of the German music scene for more than three decades
I said it before and I say it again: Germany has more music artists to offer than the handful who have become popular internationally. While I’m not sure anybody cares, I can be stubborn to make my point, so I’m featuring another terrific singer-songwriter you probably haven’t heard of unless you grew up in Germany: Wolf Maahn. He burst on the music scene there in the mid ’80s with a great rock tune that could have been written by Bruce Springsteen. Similar to BAP, the rock band I explored two weeks ago here, most of Maahn’s sizable catalog is in German. And just like in their case, I’ve no doubt language is a significant factor explaining Maahn’s limited visibility beyond Germany’s borders.
Wolf Maahn was born in Berlin on March 25, 1955. He grew up in Munich, where he saw The Beatles as an 11-year-old in 1966. Perhaps not surprisingly, that concert left a lasting impression. “The Beatles were simply untouchable to me,” he told a German newspaper during an interview in 2001. In 1975, Maahn co-founded Food Band in Cologne, together with his brother Hans Maahn and other musicians. They released their studio debut Foodband in England in 1979. A version of that album for the German market, ingeniously titled Last Year’s Album, appeared the following year. Just like its predecessor, it featured all English music. Food Band released on more album in 1981, Rhythm ‘N’ Juice, another clever title, before they disbanded.
Following the dissolution of Food Band, Maahn launched his solo career. Former band mate, song co-writer and guitarist Axel Heilhecker joined Maahn’s backing band Deserteure (deserters). In September 1982, Wolf Maahn und die Deserteure released their studio debut Deserteure. The sophomore Bisse Und Küsse (bites And kisses) appeared the following year. The band’s national breakthrough Irgendwo In Deutschland (somewhere in Germany) was released in 1984. In 1985, Wolf Maahn und die Deserteure became the first German act to perform at Rockpalast Nacht, which was broadcast live in 17 European countries. I previously wrote about the famous music festival here, which between 1977 and 1986 drew artists like Rory Gallagher, ZZ Top, The Police and The Who. BTW, BAP performed there as well.
In 1988 after he had dissolved Deserteure two years earlier, Maahn came out with Third Language, which thus far remains the only English language album of his solo career. He has since released nine additional studio albums, four live records and one compilation. His most recent, the live album Live & Seele (live & soul), appeared in January 2017. Another notable thing about Maahn is his way to play the guitar – left handed with the strings placed in reverse order, i.e., e, b, g, D, A and E. Frankly, being a lefty is hard enough for me to imagine, but having the strings upside down is just impossible – well, evidently not. Time for some music!
I’d like to kick things off with Die Sucht Der Träumer (the addiction of the dreamers). The tune is the opener of Maahn’s second solo album, the above mentioned Bisse Und Küsse from 1983.
Fieber (fever) is from the breakthrough Irgendwo In Deutschland. The album gained further popularity in the wake of Maahn’s performance at Rockpalast and remained in the German LP charts for nine months. Fieber, the tune with the Springsteen vibe I noted in the introduction, became a major hit.
Another great tune is Ich Wart’ Auf Dich (I’m waiting for you). Maahn recorded it for Kleine Helden (little heroes), the follow-on to Irgendwo In Deutschland released in 1986. Here is an extended version, or “maxi” as they called it in Germany at the time.
Next up: The title track of the Third Language album from 1988. It has a similar vibe to Ich Wart’ Auf Dich.
In 1991, Wolf Maahn released his seventh solo album Maahnsinn. The title’s similarity to the German word “Wahnsinn” (madness) is probably not a coincidence. Here’s Wenn Der Regen Kommt (when the rain is coming).
In Deinem Bett (in your bed) is a tune from Soul Maahn, Maahn’s 10th studio release from 1999.
In 2004, Wolf Maahn released his 11th studio album, Zauberstrassen (magic streets). Here is the catchy Schatzjäger (treasure hunter).
Kind Der Sterne (child of the stars) was a single from 2007. The song was also included on Maahn’s double live album Direkt Ins Blut 2 (directly into the bloodstream 2) – (Un)plugged, which appeared the same year.
March 2010 saw Maahn’s 12th studio release Vereinigte Staaten (United States). It was the first full album with all new material since Zauberstrassen. Here is the groovy Kannst Du Sehen (can you see) – love that tune!
The last track I’d like to highlight is from Wolf Maahn’s most recent studio release Sensible Daten (sensitive data), which came out in September 2015: Zoll Achtung! (attention customs!), another groovy tune.
After a 40-year-plus career (including Food Band), Wolf Maahn continues to do what a full bread music artist does: Rock on! His tour calendar for the remainder of the year shows a bunch of upcoming gigs in Germany solo and together with a backing band. In addition to being a music artist, the versatile Maahn has also worked as a producer, film score composer and actor over the years. While at age 63 it’s fair to say he’s a mature rocker, I don’t get the impression Maahn is thinking retirement any time soon. After all, compared to Paul McCartney and Mick Jagger, he’s still a baby!
For more than 40 years, BAP has been one of the most successful rock bands in Germany
While in the U.S. and other countries Rammstein, Scorpions and Kraftwerk may be the best known German bands, Germany has much more to offer. A great example is BAP, a band that has been popular there for 40-plus years but isn’t known much beyond Germany and some of its immediate neighbor countries. They also happen to be one of my long-time favorite German rock bands. BTW, I also like the Scorpions. Since unlike the English-singing German hard rockers BAP performs most of their songs in a German dialect, I’m under no illusion that winning over non-German speaking readers is likely going to be a long shot at best. Nevertheless, I decided to put together this post and playlist, if only to prove that German contemporary music is more than heavy rock and electronic music.
The origins of BAP go back to 1976, when singer-songwriter Wolfgang Niedecken formed an acoustic trio with guitarist Hans Heres and percussionist Afro Bauermann, and they started playing in the West German city of Cologne. Prior to that, Niedecken already had gained some local prominence as a solo artist performing Bob Dylan songs and as a painter. Dylan is one of his key music influences, along with Bruce Springsteen, The Kinks and The Rolling Stones. In fact, Niedecken is friends with the Boss who occasionally has invited him on stage to play a song during Springsteen gigs in Germany.
In November 1979, the band that by then had grown to a six-piece recorded their debut studio album Wolfgang Niedecken’s BAP rockt andere kölsche Leeder. In English this means something like “Wolfgang Niedecken’s BAP rocks other Kölsch songs.” The remainder of this post includes rough translations of song and album titles in parentheses. Kölsch is a German dialect spoken in the city of Cologne and surrounding areas. To this day, most BAP songs are performed in that dialect, with band leader and lead vocalist Niedecken remaining as the only original member. As somebody who grew up not far from Cologne, I can’t deny this dialect sounds charming to me and has a certain sentimental value.
Starting with their third studio album für usszeschnigge! (to cut out) from 1981, the band shortened their name from Wolfgang Niedecken’s BAP to just BAP. “Bap,” which is derived from the word “papa” (as in Madonna’sPapa Don’t Preach) was the nickname for Niedecken, who used to call his father that way. The band, which went through various line-up changes over the decades, kept the name BAP until two long-time members Jürgen Zöller (drums) and Helmut Krumminga (lead guitar) left in September 2014. Following their departure, out what appears to be some frustration over yet another line-up change, Niedecken announced that going forward the band would perform under the name Niedeckens BAP and no longer have a standing line-up.
To date BAP have released 17 studio albums, seven live records and three compilations. With more than 5.9 million records sold and eleven no. 1 and 19 top 10 albums, BAP is one of the most successful German language rock bands. After their breakthrough album für usszeschnigge! from October 1981, BAP started touring throughout Germany. Eventually, they expanded to other European countries, including Austria, Switzerland, Belgium, Netherlands, Denmark and Luxembourg. In October 1987, they even went to China, playing eight dates there. Niedecken who is politically active has also performed in Nicaragua and Mozambique. Yet BAP haven’t gained a footprint beyond the above European countries, which is likely due to the language barrier. Time for some music!
The first tune I’d like to highlight is Helfe Kann Dir Keiner (nobody can help you) from BAP’s second studio album Affjetaut (defrosted). Niedecken writes all of BAP’s lyrics. Sometimes, he has taken songs written by others, such as Dylan’s Like A Rolling Stone or Death Of A Clown by The Kink’s Dave Davies and his brother Ray Davies, and translated/adapted them to Kölsch. The music is often written or co-written by other band members, in this case guitarist Klaus Heuser, who frequently assumed that role during his 19-year tenure with BAP.
Verdamp Lang Her (it’s been a long time) is one of BAP’s best known songs and remains a crowd pleaser during live shows to this day. Another Heuser/Niedecken co-write, the tune was first recorded by the band for their above mentioned studio release für usszeschnigge! The opening chord progression is the same as for Knockin’ On Heaven’s Door. Given Dylan’s influence on Niedecken, this may not be a coincidence, though I don’t know.
Next up: Alexandra, Nit Nur Do (Alexandra, you’re not the only one). Credited to Niedecken (lyrics) and BAP (music), the tune appeared on the band’s fifth studio album Zwesche Salzjebäck un Bier (between salt pretzels and beer), which appeared in May 1983.
In August 1989, BAP released their seventh studio record Da Capo. It was the first with Jürgen Zöller who replaced Pete King on drums, following his untimely death from cancer in 1987. Here is the great opener Stadt Im Niemandsland (city in no man’s land), which was co-written by Niedecken and Heuser. Check out the nice double lead guitar lines, which are bit reminiscent of Boston.
Amerika (America), another Niedecken/Heuser co-write, is the title track of BAP’s 10th studio release from August 1996. The song describes the impressions of a child witnessing the liberation of Nazi Germany by the Americans after the end of World War II. To give you a flavor, here’s a translated excerpt: So that’s how they look/check it out, there’s also a black guy among them/Look at the fellow on the tank, he’s eighteen at the most, and he liberated us/They warned us about them/Why did we believe all this crap?/These guys have been through so much/walking through mines from the [English] Channel all the way to here/It’s now nighttime where they are coming from/They are still sleeping there across the ocean/They have buildings higher than the dome [of Cologne]/ There’s jazz on the radio all day long…
The follow-on album to Amerika was Comics & Pin-Ups from January 1990. Here is the official video of Lena, a song co-written by Jens Streifling (horns, guitar) and Niedecken.
By the time BAP released their 13th studio album Aff Un Zo (every now and then) in June 2001, long-time members Klaus Heuser (guitar) and Alexander Büchel (keyboards) had left and been replaced by Helmut Krumminga and Michael Nass, respectively. Especially the departure of Heuser, who had been instrumental in writing the music for many of the band’s best known songs, marked the end of an era. But his successor, who like Heuser is a talented guitarist, quickly established himself and helped shape BAP’s sound for the next 15 years. In case you didn’t think Germans could play reggae, here’s the record’s title track.
In May 2008, Radio Pandora appeared. BAP’s 16th studio album was a major release featuring a plugged and an unplugged version. Eight of the 14 tracks on each record were different versions of the same songs, while the remaining six tunes were entirely different. Here’s a cool blues rocker from the plugged edition called Diego Paz Wohr Nüngzehn (Diego Paz was nineteen). It would make a good ZZ Top tune!
Another title track I’d like to highlight is Halv Su Wild (not a big deal). Co-written by Krumminga and Niedecken, the song appeared on BAP’s 17th studio album, the last featuring the guitarist and the band’s long-time ace drummer Jürgen Zöller. Here’s a nice live clip of the catchy rock song.
The last tune I want to highlight is from the band’s most recent 18th studio album Lebenslänglich, (sentenced to life), which came out in January 2016. Released as Niedeckens BAP, the record features Ulrich Rode as replacement for Krumminga. Sönke Reich took over on drums for Zöller. As noted on BAP’s official website, the 35-year-old from the Northern German city of Hamburg is the only member who is younger than the band. Here’s a live clip of Dä Herrjott Meint Et Joot Met Mir (god has been good to me).
In March 2016, during a short trip to Germany, I had a chance to catch BAP in the Bavarian town of Neu-Ulm during their 40th anniversary tour. With the departure of Krumminga and Zöller, I wasn’t quite sure what to expect, but it turned out to be a great show. BAP continues to rock on. Niedecken, who turned 67 in March, had a stroke in November 2011 from which he fully recovered. In addition to him, Rode and Reich, the band’s current line-up includes Werner Kopal (bass), Anne De Wolff (multi-instrumentalist) and Michael Nass (keyboards). The band is currently on a 2018 tour, which is mostly focused on Germany.
The 6-hour German TV live program featured top music artists between 1977 and 1986
Rockpalast is a live music program broadcast on the German television station Westdeutscher Rundfunk (WDR). It became particularly known for Rockpalast Nacht, a six-hour live late-night show featuring concerts from top international artists.
The inaugural Rockpalast Nacht aired on July 23 and 24, 1977. The line-up included Rory Gallagher, Little Feat and Roger McGuinn’s Thunderbyrd. Fifteen additional shows followed until the 17th and final Rockpalast Nacht on March 15 and 16, 1986. That show featured Big Country, Jackson Browne and the German rock band BAP.
The concert events were conducted at Grugahalle, a well known concert hall in the German town of Essen, and broadcast throughout Europe. The TV show was simulcast on various radio stations, so viewers could mute their TV sets and instead use their home stereos to listen to the sound for better quality.
Rockpalast Nacht mostly featured three or four rock bands. Typically, it mixed relatively unknown artists with top international acts, such as Peter Gabriel, The Police or The Who. The program helped put various music artists on the map in Europe, such as ZZ Top and Bryan Adams. Rockpalast Night gained cult status and is considered a unique program in German and European television history.
Following are clips from throughout the program’s 10-year history.
Roger McGuinn’s Thunderbyrd/Turn! Turn! Turn!, Mr. Tambourine Man & Eight Miles High (1st Rockpalast Nacht, July 23-24, 1977)
Peter Gabriel/Solsbury Hill (3rd Rockpalast Nacht, June 15-16, 1978)
ZZ Top/Dust My Broom (6th Rockpalast Nacht, April 19-20, 1980)
The Police/Message In a Bottle (7th Rockpalast Nacht, October 18-19, 1980)
The Who/Baba O’Riley (8th Rockpalast Nacht, March 28-29, 1981)
The Kinks/Add It Up (10th Rockpalast Nacht, April 3-4, 1982)
Joe Jackson/I’m the Man (12th Rockpalast Nacht, April 16-17, 1983)
Cheap Trick/Surrender (13th Rockpalast Nacht, October 15-16, 1983)
Wolf Maahn & Die Deserteure/Der Clown Hat Den Blues (15th Rockpalast Nacht, March 30-31, 1985)
BAP/Verdamp Lang Her (17th Rockpalast Nacht, March 15-16, 1986)
With the 17th Rockpalast Nacht, the program stopped in 1986. Rockpalast resumed production in 1995 and continues to air to this day, though Rockpalast Nacht remains history.