Ja, zeit für mehr Klaus! This time with a few traditional German folk tunes, und ohne bart! There's not much to say about this one except just to dress up into your lederhosen, grab a stein of bier und erhalten tanzen!
This certainly stirs my right hand into action (how else do I operate the stylus?) but I have to wonder how Klaus felt about such imagery adorning the cover of his work. He strikes me as a no nonsense kind of guy, and he may not have approved of this sort of titillation.
Straight after recovering from this shocking image, I had a look at the back of the cover; finding that decency had triumphed with a tasteful shot of the man himself, and not a rear view of this young lady. She's probably in her seventies now.
Next up, Klaus gives us a 70s pop treat featuring Sweet's Teenage Rampage, Suzi Quatro's Devil Gate Drive and er, Amazing Grace on the B-side - he was never one to squander the energy.
The cover comes from an era where scantily clad ladies adorned LPs, in an effort to make us part with our cash (as if the contents were not scintillating enough). However if you think this is racy, wait until the next one - phwoar!
This stern Teutonic stare might be more at home coming from a doctor telling us that we have cancer, but that's Klaus. His covers on this record, such as those of Felicidad, Super Trouper and the unforgettable Wenn Ich Dich Nicht Hätte draw out the unremitting professionalism of the man. How else can he hold a candle to such classics?
Only true dedication and attention to detail can produce a record such as this, and I think that the resultant physical exhaustion would make the best of us look a little enigmatic.
As you may be aware, February is World Wunderlich month. So to celebrate, I'll be uploading nothing but the mighty Klaus until March, which of course heralds James Last fornight and then Dennis Hayward week etc.
World Wunderlich month was created to raise awareness of Klaus' fine work which all too often is confined to the boots of cars while being transported to car boot sales, and then back again. Except for these examples, which were purchased for pennies by this perusing punter (ie. me).
It is notable that Klaus is one of the best organ-based imitators, and I'm sure that by next month you'll be ready to March (hehe) right out and buy a back catalogue of your own. I don't actually own all of his records as I fear that by doing so I would have no reason to live any more; it would all be downhill from there with nothing to look forward to.
As a little change, here's the (in)famous work of Peter Cook and Dudley Moore, known in this instance as 'Derek & Clive' - they went out of their way to be offensive, and so if you are easily offended please listen to this as you need to toughen up a bit.
For instance, the record 'Come Again' starts with the duo calling us cunts. On 'Ad Nauseam' Clive explains how the dead Pope John Paul gave him an erection, and the 'Live' album opens with Clive's tale of removing lobsters from Jayne Mansfield's arsehole.
My records are well-used and scratchy so these copies are taken from other 'cleaner' sources.
Given that these are instrumentals, the idea of singing along loses its allure somewhat, they've not even supplied the words! This is an outrage!
However, the reedy charm of these accordion-infested tunes goes some way to calm us, as well as the medley format which bestows its own special influence upon our frayed nerves. There are only a couple of tracks here which aren't medleys, including the great 'Rivers of Babylon'. The Diamond Accordion band was obviously aware that to place that classic within a medley would have undone all their good work and caused considerable consternation to its placid audience.
In 1976, Geoff Love decided to board the disco bandwagon and do some of his special work on a selection of tracks, jamming in as many disco cliches as he could. Large amounts of hi-hats were worn out and never was a violin glissando missed.
This record has just been released from a 40 year quarantine as, for reasons of national security, it was found to have far exceeded the excitement quotas laid down by the 1973 UN Boogie Summit, held in Bolivia. The fear of potential insurrection and political instability caused by listeners to this record "feeling excessively groovy" was enough to cause both Western governments and those behind the Iron Curtain to take action against Geoff Love and the label, MFP.
Although the back cover has a stamp from the original outlet stating
'Not Exchangeable', this record is definitely a keeper. And it's not just because of the girl on the front (I bet she's feeling a draft!)..
Many a tune is
treated to some military spit and polish; for instance 'Tea for Two'
which is interspersed with marching band drums aplenty, Tom Jones' 'I
Did What I Did for Maria' getting the drill treatment and the unlikely
'Chirpy Chirpy, Cheep Cheep' which is reinforced by the er,
Also including Moorhouse's own 'Funky Fever' which is a veritable aural invasion in its own right.
Sensing that he was on to a good thing, Dennis decided to produce More Happy Dancing for his bloodthirsty gang to foist on the unsuspecting. However, it seems that his music is an aquired taste, and he had no problem selling vast numbers of units this time. Big Ron had to go back to his former job of driving an ice cream van, and Ernie decided to retire in order to spend more time with his wife, Gladys, and his grandchildren.
Now that we've stopped opening Christmas presents (and credit card statements), it's time to get back to the Teacore briefly; this time courtesy of Dennis Hayward and his 'organisation'.
Faced with dwindling record sales back in the 80s due to the success of Des O'Connor and Foster and Allen, Dennis formed this band of brigands to encourage local shops and businesses to sample his wares. When visited by 'Big Roy' - the tall one - they could choose whether to 'rent' this record at a vastly inflated price or 'things might get broken'.
They would then have to play the record constantly, and Ernie (on the right) would often show up to ensure this was the case. Don't be fooled by his amiable disposition on the cover; if faced with the sound of any other music he would immediately launch a furious attack and show them their own entrails.
The naked aggression of Dennis and his 'organisation' really comes through at the end of the song
'Lambeth Walk' when they shout 'Oi!' in unison - a sound known to bring all and sundry to their knees in terror.