One of the best song titles this year comes unexpected from Slut, a Southern Germany based band. They got known with their interpretations of songs from Kurt Weill and Berthold Brecht around 15 years ago. Now they released a new song from their upcoming new album after seven years of hiatus. It is nothing spectacular and perhaps one more melancholic pop-rock song but the more I listen to it I like it.
To be honest - I like the remix by their old comrade Martin Gretschmann aka Acid Pauli better. He reduces this song to a more relaxed mood.
David Bowie is one year after his death more present than long times before. You all can see it on the blogs we use to visit day by day. And also on German television. Yesterday they featured him the whole evening and I was tired but couldn't go to sleep until it was finished. A couple of hours showing the genius and his work during 40 years of his career. I am still impressed of looking back to all styles he did during his career. What I almost forgot was his affinity to Kurt Weil and Berthold Brecht. I saw a clip from their opera The Rise And Fall Of The Town Mahogany. The main song there was Alabama Song for sure and made popular by The Doors long time ago. This song is played live by Mr. Bowie in the late 70's in German television and shows him in a very good condition and it seems like he had really fun playing this song.
In addition to my yesterday's post I ought to post a story about another formidable German voice. It's about Nina Hagen the daughter of German actress Eva-Maria Hagen and screenwriter Hans Olivia. She had an education in singing in the former GDR and a big hit with Du hast den Farbfilm vergessen (You've forgotten the colour). Because her mother was engaged with east German dissident Wolf Biermann she was classified as unreliable in the meaning of Stasi. So she settled to west Berlin in 1977 and formed a band. Their first self titled record Nina Hagen Band was one of those records in these days that a lot of people could agree with. She combined the punk attitude of The Tubes (she covered their White Punks On Dope) with classical rock and reggae. and gave her the name of Godmother of Punk. What also was impressing was her voice over four octaves that made her sound so unique. Her second record wasn't bad at all but could not beat her first. After her affair with Hermann Brood and his death on drugs she drifted more and more into a weird world telling us about real existent aliens and stuff like that to turn into a serious reciter of the works of Berthold Brecht.
