Mittwoch, 15. März 2017

Franz Josef Degenhardt - Väterchen Franz (1966)

The Independent wrote in November 2011, some days after Franz Josef Degenhardt died:

"With his chanson-like songs, Franz Josef Degenhardt was so ingrained in the consciousness of German speakers that it is impossible to think of an appropriate British comparison. His eloquence, seniority and track record elevated him to quasi-Dylan status wherever German is spoken. A goodly proportion of several generations knew and could sing his songs.

Degenhardt's death made the front page of the Frankfurter Allgemeine newspaper; the day after his death, his fellow Liedermacher [song-maker] Wolf Biermann turned 75; only Biermann matches Degenhardt in status. A hero of the counter-culture, Degenhardt waged what was termed "Klassenkampf mit Klampfe" ["class war with guitar"]. At points between 1965 and 1974 it seemed as if a whole generation of politically aware German youth was studiously absorbing, dissecting and drawing succour from his every word. Albums such as "Spiel nicht mit den Schmuddelkindern" ("Don't play with the grubby children", 1965) and "Väterchen Franz" ("Little Father Franz", 1967) – the latter one of many with exquisite artwork by his sister-in-law Gertrude Degenhardt – were obligatory listening for anyone with a left or liberal leaning. As an individual, I can attest that he was unfailingly courteous and approachable.

Born in 1931, after graduating in law, he took up a post at the Institute for European Law in Saarbrücken in 1961. He became a Doctor of Jurisprudence in 1966. Defending social democrats, communists and, in 1972-73, members of the Baader Meinhof gang, did not endear him to conservative West Germans.

His legal mind and training equipped him to hit home with precision in song; his writing was direct and demotic, ironical and barbed, his songs literate and literary. He admitted that, as the family breadwinner, the need to augment his salary motivated his early songs, and by the early 1960s he was making money. By 1963 his first album "Zwischen Null Uhr und Mitternacht" ("Between zero hour and midnight") was delivering squibs with a chansonnier élan that would have done Brassens and Brel proud.

He became a stalwart of the Burg Waldeck Festivals, the shoaling ground of politically engaged singers, appearing every year between 1964 and 1969. With typical flair, in 1968 he turned his back on what David Robb, in his book "Protest Song in East and West Germany since the 1960s" (2007) calls the "liberal bourgeois circles" that had taken him to heart. His manifesto was contained in the elegant simplicity of "Zwischentöne sind bloss Krampf im Klassenkampf" ("Nuances are just convulsions in the class war") – a counterblast, he sings, to people, telling him, "You only paint in black and white".

By 1975 it was estimated that he had sold 400,000 albums in West Germany, an extraordinary feat for a nation attuned to sentimental or boom-bang-a-bang Schlager, dodgy Volksmusik, second-rate beat music and James Last instrumentals. It was doubly impressive because, as part of the "68er-Bewegung" [1968 Movement], he targeted West Germany's pernicious "Berufsverbot" ("banning from a profession") system which chiefly barred those with radical views from working for the government. Displays of wry humour were as likely as his rolled rrr's. Inevitably, his work also appeared on East Germany's state-controlled Amiga record label, alongside the likes of Billy Bragg, Dick Gaughan, Ravi Shankar and Phil Collins.

He also wrote prose including the novels "Zündschnüre" ("Fuses", 1973) about the pre- and post-Nazi-era, the anti-fascist "Edelweisspiraten" ("Edelweiss pirates") and, closer to home, "Der Liedermacher" (1982). Fictions fed or bled into swathes of his songs. The lengthy title song of the magisterial "Café nach dem Fall" (2000) remains a masterpiece, an alternative "Desolation Row" confabulation with interjections about Bach, the Rolling Stones, smoking crack, Rudi Dutschke, Auschwitz and more.

His sons Jan and Kai continue the family trade of Liedermacher."

The album "Väterchen Franz" was released in 1966 on Polydor.


A1 Horst Schmandhoff
A2 Tante Th'rese
A3 Spaziergang
A4 In Den Guten Alten Zeiten
A5 Umleitung
B1 Tonio Schiavo
B2 Santacher
B3 Adieu, Kumpanen
B4 Väterchen Franz
B5 Feierabend

Franz Josef Degenhardt - Väterchen Franz (1966)
(192 kbps, front & back cover included)

2 Kommentare:

Anonym hat gesagt…

Thx for another FJD - Have you got by any chance something from Dieter Süverkrüp? Keep up the good work - big hands !!!

zero hat gesagt…

You are welcome. Yes, some works of Dieter Süverkrüp are in the pipeline. Hope to find time for posting in the next days. Greetings!

Kommentar veröffentlichen