1935 Arzell „Z. Z.“ Hill*
1940 Tail Dragger*
1953 Matt Abts*
1977 Nick Curran*
1982 Gregg Giarelis*
Dane Paul Russel*
Friedel Geratsch*
Happy Birthday
Tail Dragger *30.09.1940
Tail Dragger (* 30. September 1940 in Altheimer, Jefferson County, Arkansas als James Yancey Jones) ist ein US-amerikanischer Bluessänger.
Wie so viele andere Größen Chicagos wurde er im Süden der USA geboren, wo er bei seinen Großeltern aufwuchs. Obwohl er den Blues des Südens schätzte, blieb der Chicago Blues sein großes Interesse. Wenn man ihn hört, erkennt man den Einfluss, den Howlin' Wolf auf ihn ausgeübt hat[1].
1966 übersiedelte er nach Chicago, arbeitete aber zuerst als Mechaniker. Sein Durchbruch als Musiker kam, als er gemeinsam mit seinem Idol Howlin’ Wolf auftreten durfte. Wolf verpasste ihm auch seinen Künstlernamen Tail Dragger („to drag one's tail (over something)“ heißt so viel wie „bei etwas herumtrödeln“, „etwas verzögern“)[2], da er oft zu spät zu Auftritten kam. Zuvor war er als „Crawlin' James“ bekannt, da er bei seinen Auftritten oft am Boden lag.[3] Die Zusammenarbeit ermöglichte Tail Dragger den Aufbau einer Reputation unter Chicagos Blueskünstlern. Sichtbar wurde dies, als er am Beginn der 1970er-Jahre in eigenen Bands sang, zu deren Mitglieder z. B. Willie Kent, Hubert Sumlin, Carey Bell, Mack Simmons, Big Leon Brooks und Eddie Shaw zählten.
1993 erschoss er bei einem Streit, bei dem es angeblich um Gagen ging,[4] seinen Musikerkollegen Beanie Joe Houston. Jones behauptete, er hätte in Notwehr gehandelt, aber er wurde wegen fahrlässiger Tötung für 17 Monate eingesperrt.
Obwohl er seit seinem Eintreffen in Chicago ein Fixpunkt der Clubszene war und er verschiedene Singles veröffentlicht hatte, nahm er erst 1996 sein erstes Album, Crawlin' Kingsnake St. George, auf. American People, seine zweites Album wurde 1989 von Delmark veröffentlicht. Delmark veröffentlichte auch 2005 eine DVD, My Head Is Bald: Live at Vern's Friendly Lounge, 2009 wurde Live at Rooster's Lounge als DVD und Audio-CD veröffentlicht, die DVD erhielt den Living Blues Award 2010 als beste DVD des Jahres.
JAMES YANCY JONES, known as THE TAIL DRAGGER, is a long-time disciple of Howlin' Wolf; in fact, the Wolf gave James the moniker "Tail Dragger" emanating from one of the Wolf's now-classic songs. The Tail Dragger followed Wolf from club- to-club, watching and getting pointers from the larger-then-life Howlin' Wolf for more than 20 years. The Wolf allowed
"The Dragger" to perform his blues while Wolf took a break on weekend shows. Soon "The Dragger" was playing his own numerous club dates on the West and South Sides of Chicago.
TAIL DRAGGER is from Altheimer, Arkansas and during his formative years he saw Sonny Boy Williamson and Boyd Gilmore perform at house parties and country suppers. Dragger soon heard the records of Jimmy Reed, Muddy Waters and Elmore James and his musical tastes were set in stone.
Tail Dragger remains intensely loyal to his early influences. The Tail Dragger, by his own admission, sings only lowdown blues. "Lowdown blues is all I like...All I feel...and I sing what I feel," flatly states The Dragger. "Its's like I get into a trance when I sing the blues, I forget about everything else. Nothing else matters," concludes The Tail Dragger.
Matt Abts (born September 30, 1953) is a Grammy Award-nominated American drummer[1] best known as a member of the band Gov't Mule.
Abts attended high school in Panama where he started playing music. After moving to Virginia, he played in local bands for eight years and then moved to Florida. There he played in and recorded an album with Chuck & John and the News, a local bar band from Bradenton, during the early 1980s. In 1984, he took on the role of drummer for Dickey Betts and Chuck Leavell. Abts recorded Pattern Disruptive with the Dickey Betts Band in 1988 which also included guitarist/vocalist, Warren Haynes. Abts joined Haynes and Allen Woody who had both been musicians with The Allman Brothers Band to form Gov't Mule in 1994.[2]
Abts has also played in the Pink Floyd tribute band Blue Floyd which was known for its blues versions of Pink Floyd songs,[3] and with bassist Jorgen Carlsson in Planet of the Abts, a 2011 offshoot of Gov't Mule.[4]
Abts attended high school in Panama where he started playing music. After moving to Virginia, he played in local bands for eight years and then moved to Florida. There he played in and recorded an album with Chuck & John and the News, a local bar band from Bradenton, during the early 1980s. In 1984, he took on the role of drummer for Dickey Betts and Chuck Leavell. Abts recorded Pattern Disruptive with the Dickey Betts Band in 1988 which also included guitarist/vocalist, Warren Haynes. Abts joined Haynes and Allen Woody who had both been musicians with The Allman Brothers Band to form Gov't Mule in 1994.[2]
Abts has also played in the Pink Floyd tribute band Blue Floyd which was known for its blues versions of Pink Floyd songs,[3] and with bassist Jorgen Carlsson in Planet of the Abts, a 2011 offshoot of Gov't Mule.[4]
Nick Curran *30.09.1977
Nick Curran was born in Biddeford, Maine, United States, and grew up in nearby Sanford.[citation needed]
Nick began playing drums at the age of 3, showing an amazing ability to keep time even at such a young age. It was a daily ritual for him. He would turn on his radio and play along with the music. At the age of 9, he began playing guitar. He pretty much just knew how to play it from the time he opened the box. When asked by his mother where he learned how to play without having had any formal lessons, he replied, "I've just got the feelin', Mum."
At age 15, Nick played guitar and harp in his father's band, Mike Curran and the Tremors, and at the age of 17 played drums, again along side his father, guitarist Michael Curran, in a band called The Upsetters based out of Portland, Maine. That same year, he also formed the Rockabilly band Nick Danger and the Sideburners, frequently playing at a number of clubs in the Portland, Maine area. At 18, Nick auditioned for James Montgomery.
Career
Curran began his professional career at age nineteen, leaving Maine to tour with Ronnie Dawson, "The Blonde Bomber". Although Dawson was primarily a rockabilly musician, many blues and punk fans appreciated his performances. He taught Curran not to get pigeonholed. Curran toured next with Texas rockabilly doyenne Kim Lenz, moving to Dallas to join her backup band the Jaguars for two years, and performing on Lenz’s recording, The One And Only. Curran would stay with the Jaguars for two years. He is also featured on Lenz’s next CD, It’s All True, and toured with her in the summer of 2009.[citation needed]
In 1999 the Texas Jamboree label issued Curran’s debut solo recording, Fixin' Your Head. As he would do on all future CDs, Curran used vintage recording equipment to achieve the feel and sound of old 45s and 78s, and the LPs of the 1950s. To support the recording he formed the band, Nick Curran & the Nitelifes.
From 2004 to 2007 Curran played with The Fabulous Thunderbirds appearing on their 2005 recording, Painted On. Also during that time, Curran and bassist Ronnie James started the punk band Deguello, saying that it “sounded as if Little Richard sang with The Ramones.”
In 2008 Curran formed The Attitudes with Nick, singing and playing drums standing up, and with guitarist CoffeeBoy Johnson. "This band is like when you and your buddy wanted to have a band in high school and there was no bass player. We just play what ever we wanted to," according to CoffeeBoy Johnson. Their set consisted of covers of The Misfits, The Ramones, Howlin' Wolf, Jimmy Reed, Muddy Waters and Little Richard. "We wanted to give the black keys a run for their money."
Curran performed four songs in a scene in the 2008 HBO Series, True Blood, based on The Southern Vampire Mysteries by Charlaine Harris, which explores the co-existence of humans and vampires.
After performing a solo show in November, 2008, Curran formed the rock ‘n’ roll roots band, The Lowlifes, who were critically acclaimed and became a mainstay on Little Steven's Underground Garage, earning three "Coolest Song In The World" titles with tracks from the album, Reform School Girl. Curran was also in the Austin-based punk/rock ‘n’ roll band The Flash Boys. In 2009, Curran was diagnosed with oral cancer. As of June 2010, he had been deemed cancer free, but by April 2011 the cancer had returned and he was undergoing treatment. Curran died on October 6, 2012, at the age of 35.
http://en.wikipedia.org/wiki/Nick_Curran
▲Nick Curran and the Lowlifes - 50 minutes live - Milwaukee 50's Diner (November 2010)
Gregg Giarelis *30.09.1982
Gregg Giarelis is a singer / songwriter and guitarplayer born in Athens, Greece.
Early recordings of Chicago bluesmen heard around the house
and a deep fascination towards the guitars hanging in the living room was what triggered Gregg's interest in guitar playing and led to a further involvement with blues.
Over the years he intensified his relationship with the guitar and singing. His playing was influenced by great blues artists such as Otis Rush, Albert king, Albert Collins, Ronnie Earl, Colin James and Buddy Wittington.
Gregg's been performing frequently since 2004 as a solo artist or in
the context of blues bands and has shared the stage with great blues artists and bands such as Lucky Peterson, Michael Dotson,Eddie Taylor Jr and The Royal Southern Brotherhood.
"The boy can play the blues..." Such were Benny Turner's words to the audience after the 10 minute long jam that took place at the "Saloon" blues club in New Orleans, during Greg's recent trip to the United States.
Gregg has just finished recording his first solo album entitled "Five
years of trouble". It consists of 6 original compositions, five songs
and one instrumental track.
These songs were written during the fall of 2011 and were recorded by the end of that year. A lot of attention to detail has been paid in the album process, being recorded at top notch studios and mastered in Memphis Tennessee.
Last track of the album , was recorded in Nashville Tennessee with producer Steve Haggard of Wild Oats records and is also included in the 2012 Wild Oats sampler cd.
Gregg Giarelis Blues Ensemble Live @ Half Note
Guitar and Vocals: Gregg Giarellis
Bass:Dimitris Metaxas
Drums:Stefanos Sakellariou
Bass:Dimitris Metaxas
Drums:Stefanos Sakellariou
Arzell „Z. Z.“ Hill *30.09.1935
Arzell „Z. Z.“ Hill (* 30. September 1935 in Naples, Texas; † 27. April 1984 in Dallas, Texas) war ein US-amerikanischer Blues-Sänger.
Leben
Hill begann seine musikalische Karriere in den späten 1950er-Jahren bei einer Gospel-Gruppe namens „The Spiritual Five“. Um 1960 entwickelte er ein intensives Interesse für den Blues. Zu seinen Vorbildern zählten B. B. King, Bobby Bland und vor allem Sam Cooke. 1964 zog Hill nach Kalifornien und nahm in einem Garagen-Studio das Stück You Were Wrong auf, das sogar in die Charts kam. Danach kamen etliche Flops. In den 1970ern hatte Hill einige Hits, der bekannteste dürfte Love Is So Good When You're Stealing It (1977) sein. In den 1980ern fand Hill zurück zu den Wurzeln des Blues. Sein Album Down Home Blues (1982) – mit den Hits Down Home Blues und Somebody Else Is Steppin' In – war fast zwei Jahre lang in den Charts.
Z. Z. Hill starb 1984 an einem Herzinfarkt.
Arzell Hill (September 30, 1935 – April 27, 1984),[1] known as Z. Z. Hill (pronounced "Zee Zee...") was an American blues singer best known for his recordings in the 1970s and early 1980s, including his 1982 album for Malaco Records, Down Home, which stayed on the Billboard soul album chart for nearly two years.[1] The track "Down Home Blues" has been called the best-known blues song of the 1980s.[2] According to the Texas State Historical Association, Hill "devised a combination of blues and contemporary soul styling and helped to restore the blues to modern black consciousness."[3]
Life
Born in Naples, Texas, Hill began his singing career in the late 1950s as part of a gospel group called The Spiritual Five, touring Texas. He was influenced by Sam Cooke, B. B. King, and Bobby "Blue" Bland, and began performing his own songs and others in clubs in and around Dallas, including spells fronting bands led by Bo Thomas and Frank Shelton. He took his stage name in emulation of B. B. King.[1][3]
Encouraged by Otis Redding who had seen him perform, he joined his older brother, budding record producer Matt Hill, in Los Angeles in 1963, and released his first single, "You Were Wrong", on the family's own M.H. label. It spent one week at no.100 on the Billboard Hot 100 in 1964, and Hill was quickly signed by Kent Records.[1] Most of his records for Kent were written or co-written by Hill, and arranged by leading saxophonist Maxwell Davis. None charted, but in retrospect many, such as "I Need Someone (To Love Me)", are now viewed with high regard by soul fans.[4][5]
After leaving Kent in 1968, he recorded briefly for Phil Walden's Macon, Georgia based Capricorn label, but after a disagreement with Walden his recording contract was bought by Jerry "Swamp Dogg" Williams' Mankind label, where Hill finally fulfilled his end of the deal. He returned to California to record for his brother's Hill label, and the song "Don't Make Me Pay For His Mistakes", co-produced by Matt Hill and Miles Grayson, became his biggest pop hit, reaching no.62 on the Hot 100. The Kent label reissued his 1964 recording of "I Need Someone", which also charted. Williams also recorded Hill in Muscle Shoals, Alabama in 1971, resulting in several R&B hits including "Chokin' Kind" and "It Ain't No Use", as well as the LP The Brand New Z. Z. Hill.[6][7]
With his brother's help, Hill then signed to United Artists, where he was aided by arrangements and compositions by established R&B talents including Lamont Dozier and Allen Toussaint, and released several singles that made the R&B chart in the mid 1970s. After his brother Matt's sudden death from a heart attack, Z. Z. Hill left United Artists and signed with Columbia Records, recording two albums and several singles in New York, including "Love Is So Good When You're Stealing It", which spent 18 weeks on the Billboard R&B chart in the summer of 1977.[1]
In 1979 he left Columbia and returned south, signing for Malaco Records, a move which, according to Allmusic writer Bill Dahl, "managed to resuscitate both his own semi-flagging career and the entire [blues] genre at large".[1] His first hit for the label was his recording of songwriter George Jackson's "Cheating In The Next Room," which was released in early 1982 and broke into the R&B top 20, spending a total of 20 weeks on the chart. He had a number of best-selling albums on Malaco, the biggest one being Down Home, which stayed on Billboard's soul album chart for nearly two years; the song "Down Home Blues", again written by Jackson, was later recorded by label-mate Denise LaSalle.[1] Hill's next album, The Rhythm & The Blues in 1982, was also received with critical acclaim, and its success contributed to the subsequent boom in blues music, much of it recorded by the Malaco label.[1][3][7]
While touring in February 1984, Hill was involved in a car accident. Although he continued to perform, he died two months later at the age of 48, from a heart attack arising from a blood clot formed after the accident.[2][3][8]
Hill's song, "That Ain't the Way You Make Love", was sampled by Madvillain in their track, "Fancy Clown".
Life
Born in Naples, Texas, Hill began his singing career in the late 1950s as part of a gospel group called The Spiritual Five, touring Texas. He was influenced by Sam Cooke, B. B. King, and Bobby "Blue" Bland, and began performing his own songs and others in clubs in and around Dallas, including spells fronting bands led by Bo Thomas and Frank Shelton. He took his stage name in emulation of B. B. King.[1][3]
Encouraged by Otis Redding who had seen him perform, he joined his older brother, budding record producer Matt Hill, in Los Angeles in 1963, and released his first single, "You Were Wrong", on the family's own M.H. label. It spent one week at no.100 on the Billboard Hot 100 in 1964, and Hill was quickly signed by Kent Records.[1] Most of his records for Kent were written or co-written by Hill, and arranged by leading saxophonist Maxwell Davis. None charted, but in retrospect many, such as "I Need Someone (To Love Me)", are now viewed with high regard by soul fans.[4][5]
After leaving Kent in 1968, he recorded briefly for Phil Walden's Macon, Georgia based Capricorn label, but after a disagreement with Walden his recording contract was bought by Jerry "Swamp Dogg" Williams' Mankind label, where Hill finally fulfilled his end of the deal. He returned to California to record for his brother's Hill label, and the song "Don't Make Me Pay For His Mistakes", co-produced by Matt Hill and Miles Grayson, became his biggest pop hit, reaching no.62 on the Hot 100. The Kent label reissued his 1964 recording of "I Need Someone", which also charted. Williams also recorded Hill in Muscle Shoals, Alabama in 1971, resulting in several R&B hits including "Chokin' Kind" and "It Ain't No Use", as well as the LP The Brand New Z. Z. Hill.[6][7]
With his brother's help, Hill then signed to United Artists, where he was aided by arrangements and compositions by established R&B talents including Lamont Dozier and Allen Toussaint, and released several singles that made the R&B chart in the mid 1970s. After his brother Matt's sudden death from a heart attack, Z. Z. Hill left United Artists and signed with Columbia Records, recording two albums and several singles in New York, including "Love Is So Good When You're Stealing It", which spent 18 weeks on the Billboard R&B chart in the summer of 1977.[1]
In 1979 he left Columbia and returned south, signing for Malaco Records, a move which, according to Allmusic writer Bill Dahl, "managed to resuscitate both his own semi-flagging career and the entire [blues] genre at large".[1] His first hit for the label was his recording of songwriter George Jackson's "Cheating In The Next Room," which was released in early 1982 and broke into the R&B top 20, spending a total of 20 weeks on the chart. He had a number of best-selling albums on Malaco, the biggest one being Down Home, which stayed on Billboard's soul album chart for nearly two years; the song "Down Home Blues", again written by Jackson, was later recorded by label-mate Denise LaSalle.[1] Hill's next album, The Rhythm & The Blues in 1982, was also received with critical acclaim, and its success contributed to the subsequent boom in blues music, much of it recorded by the Malaco label.[1][3][7]
While touring in February 1984, Hill was involved in a car accident. Although he continued to perform, he died two months later at the age of 48, from a heart attack arising from a blood clot formed after the accident.[2][3][8]
Hill's song, "That Ain't the Way You Make Love", was sampled by Madvillain in their track, "Fancy Clown".
DOWN HOME BLUES - ZZ Hill
https://www.youtube.com/watch?v=92SaO6a4XB8
https://www.facebook.com/dane.p.russell/about
Dane Paul Russel *30.09.
https://www.facebook.com/dane.p.russell/about
Since playing with with Black Top recording artist Bobby Parker Paul and band have toured the US, Europe and Canada.
Most recently they did >Montreux Jazz Festival sharing the stage with Carlos Santana. Although you will still see them with Bobby...
The Dane Paul Russell band is back! The blues he speaks of isn’t something that comes out of your speakers or hear in a club, it’s the type that you feel in your soul, the type that you live through.
Most recently they did >Montreux Jazz Festival sharing the stage with Carlos Santana. Although you will still see them with Bobby...
The Dane Paul Russell band is back! The blues he speaks of isn’t something that comes out of your speakers or hear in a club, it’s the type that you feel in your soul, the type that you live through.
Bobby Parker with Leo Valvasorri
Parker's band members are:
Andrew Padula -- Bass Guitar
Dion Clay - Drums
Dane Paul Russell - Harmonica
Stephen Charles Cecil - Keyboards
Parker's band members are:
Andrew Padula -- Bass Guitar
Dion Clay - Drums
Dane Paul Russell - Harmonica
Stephen Charles Cecil - Keyboards
Friedel Geratsch *30.09.
Friedel Geratsch (* 30. September 1951 als Friedrich Ernst Geratsch) ist ein deutscher Musiker. Er ist Gründer und Sänger der NDW-Band Geier Sturzflug.
Leben und Werk
Vor seiner Zeit bei Geier Sturzflug war Friedel Geratsch als Duo „Dicke Lippe“ mit seinem Kollegen Reinhard Baierle unterwegs. Aus dieser Zeit stammt auch der Song Bruttosozialprodukt. Seine größten Erfolge mit Geier Sturzflug hatte er mit den Singles Bruttosozialprodukt (1983), Besuchen Sie Europa (1983), Pure Lust am Leben (1984) und Einsamkeit (1984). Solo veröffentlichte er 1986 die Single Zurück in die Nacht bei BMG Ariola. 1990 veröffentlichte er als Friedel G. erneut das Geier-Sturzflug-Lied Bruttosozialprodukt. 2009 wurde der Song Mehrwegflasche von Friedel Geratsch auf einer Benefiz-CD veröffentlicht.
Von 1996 bis 2010 bestanden Geier Sturzflug als Duo mit Friedel Geratsch und Carlo von Steinfurt. Friedel Geratsch engagiert sich auch immer wieder für soziale Projekte. So gingen sämtliche Einnahmen aus dem Song Käpt'n Blue Eye (2011) an das Tierrefugium Hanau. Außerdem schrieb er Lieder für Die Strandjungs, Die Moonbeats, Juliane Werding, Markus, Mike Krüger und weitere Künstler. Auch für die TV-Serie Moskito schrieb und sang er mehrere Songs.
Leben und Werk
Vor seiner Zeit bei Geier Sturzflug war Friedel Geratsch als Duo „Dicke Lippe“ mit seinem Kollegen Reinhard Baierle unterwegs. Aus dieser Zeit stammt auch der Song Bruttosozialprodukt. Seine größten Erfolge mit Geier Sturzflug hatte er mit den Singles Bruttosozialprodukt (1983), Besuchen Sie Europa (1983), Pure Lust am Leben (1984) und Einsamkeit (1984). Solo veröffentlichte er 1986 die Single Zurück in die Nacht bei BMG Ariola. 1990 veröffentlichte er als Friedel G. erneut das Geier-Sturzflug-Lied Bruttosozialprodukt. 2009 wurde der Song Mehrwegflasche von Friedel Geratsch auf einer Benefiz-CD veröffentlicht.
Von 1996 bis 2010 bestanden Geier Sturzflug als Duo mit Friedel Geratsch und Carlo von Steinfurt. Friedel Geratsch engagiert sich auch immer wieder für soziale Projekte. So gingen sämtliche Einnahmen aus dem Song Käpt'n Blue Eye (2011) an das Tierrefugium Hanau. Außerdem schrieb er Lieder für Die Strandjungs, Die Moonbeats, Juliane Werding, Markus, Mike Krüger und weitere Künstler. Auch für die TV-Serie Moskito schrieb und sang er mehrere Songs.
Noch nie habe ich mit einem Musiker so hart gerungen, um mit ihm seine Musik irgendwo einzuordnen. Es kostete so manchen nächtlichen Chat und mehrere Telefonate, um Friedel Geratsch ein wenig davon zu überzeugen, dass seine Musik doch Blues ist und das Album „aber geil ist es auch“ ein phantastisches Trioalbum wird. Zu dem Zeitpunkt lagen mir nämlich die ersten Cuts der CD vor und ich konnte mir gut vorstellen, dass das Endprodukt den Blues widerspiegeln wird. Weil: Den Blues gibt es nicht, nicht mal in der Heimat des Blues in den USA. Blues ist immer das, was man in Geiste des Blues draus macht und entwickelt. Sonst würden wir heute noch im Delta sitzen und alte Rootsongs aus den Pre-40ern singen. Und jetzt hat die Garage 3 mit dem Album „…aber geil ist es auch“ ein wirkliches Unikat im Geiste des Blues abgeliefert. Der Sänger Friedel Geratsch singt seine deutschen Texte mit typisch verträumten arbeiterromantischen Inhalten, die aber alle authentisch und erlebt sind. Egal, ob eiskalte Frauen oder massenweise Rotwein, Omas unendliche Lebensweisheiten der 60er oder die „Liebe meines Lebens“: Hier wird aus dem Leben geschöpft, egal ob es freundlich oder hart ist. Die Redensart unsere Eltern „Wir hatten ja nichts“ ist ein Rückblick auf die Handy- oder PC-freie Zeiten der 60er Jahre. Im Vergleich zu einem verwöhnten Kind des 21. Jahrhunderts war das Kinderleben früher noch „hart, hart, hart, aber geil ist es auch“ gewesen. Das zweite interessante Detail dieses Albums ist, dass Friedel Geratsch ausschließlich Cigar Box Guitars spielt. Diese selbstgebauten Gitarren aus Zigarrenkisten, reduzierten Hälsen und nur 4 Saiten verpassen der Band einen Sound, der mit den Mitstreitern Stephan Schott am Schlagzeug und Tom Baer als Bassist toll an einen George Thorogood erinnert: „Dreckig schnell und laut“ und „Zum rocken geboren“. Friedel Geratsch textet sich durch sein eigenes Leben, fabuliert Reime immer scharf am Schlagertext vorbei, um dem Schicksal dann doch hart zwischen die Augen zu treffen. Es gibt nicht die eine stoische Aussage, wie wir sie vom Blues kennen, um sie dann mindestens drei Mal zu wiederholen. Es wird immer eine kleine, zweistrophige Geschichtsepisode daraus gemacht und viele Episoden ergeben dann den Song. Insgesamt ein stimmiges Trioalbum mit der ganzen Bandbreite des Blues, deutschen Texten, denen ich mich seit „Könige der Welt“ nicht mehr entziehen kann und Lebensweisheiten, die man nicht mit dem Löffel frisst, sondern im Laufe eine Lebens ins sich aufsaugt. Mit den 13 Songs auf dem Album „…aber geil ist es auch“ schlägt Friedel Geratsch und seiner Garage 3 ein neues und weiteres Kapitel für sich auf.
I have never struggled so hard with a musician to file with him his music somewhere. It
took many a nightly chat and several phone calls to Friedel Geratsch to
convince some of them that his music is blues and yet the album a
fantastic trio album is "cool but it is also". At the time me that lay before the first cuts of the CD and I could well imagine that the final product will reflect the Blues.
Because: The Blues do not exist, not even in the home of the blues in the US. Blues is always what you make of it and developed in the spirit of the blues. Otherwise we would sit still in the Delta and singing old Rootsongs from the pre-40s. And now has the garage 3 with the album "... but cool, it is also" delivered a real unique in the spirit of the blues.
The singer Friedel Geratsch sings his German texts with typical dreamy
worker romantic content, but all are authentic and experienced. Whether
cold or women en masse red, grandma infinite wisdom of the 60s or the
"love of my life": here is drawn from the life, whether it is friendly
or hard. The saying our parents "We had nothing" is a throwback to the mobile phone or PC-free times of the 60s. Compared to a spoiled child of the 21st century children life that once was a "hard, hard, hard, but cool it is also" been.
The second interesting detail of this album is that Friedel Geratsch exclusively plays Cigar Box Guitars. This
self-made guitars from cigar boxes, reduced necks and only 4 strings
miss the band a sound that great reminiscent of a George Thorogood with
colleagues Stephan Schott on drums and Tom Baer as bassist: "Dirty fast
and loud" and "Born to rock" , Friedel Geratsch textet
through his own life, fabuliert rhymes always sharp on Schlager Text
over, then it hard to meet the fate between the eyes. There is not a stoic statement, as we know from the Blues, to then be repeated at least three times. There will always be a small, zweistrophige historical episode made it and many episodes then give the song.
Overall a harmonious trio album with the whole range of blues, German
lyrics, which I can not escape myself since "kings of the world" and
wisdom, which one does not eat with a spoon, but in the course of a life
to itself sucks. The 13 songs on the album "...
but cool, it is also" beats Friedel Geratsch and his garage 3 a new and
another chapter for itself on.
Aber geil ist es auch / Garage 3
Diddley Bow
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