Samstag, 12. Dezember 2020

Konstantin Wecker - Live in München (1981)

Konstantin Wecker is a household name in Germany. He is probably the country's best-kept secret to the rest of the world. For over 25 years Wecker's music has made an impact, both socially and artistically, as part of the Liedermacher genre. Liedermacher (literally, "song-maker") was born out of the 1968 student uprisings in Germany and is comparable to Nueva Canciòn of Latin America, the Chanson of France and Québec, and in some ways even the protest songs of American folk music. It is a genre with a broad range of interpretation, including all musical styles, but with one underlying similarity -- lyrics which are strong, and convey a message, usually a political one.

In Wecker's case, his art blends a powerful vocal style, with an original blend of classical, jazz, and rock. His piano is the trademark of his sound, as are his words, which are intense, carefully crafted poems which have always reflected the social and political issues important to Wecker, and reflective of the times in which he lives.

Konstantin Wecker came into the world on June the first, 1947 in Munich. He was raised and nurtured towards music in part thanks to his father, Alexander, a strong opera enthusiast. In his youth Wecker dabbled on guitar, violin, and eventually found his way to the piano, which has since become his main instrument. His interest in music, as well as the works of great intellectuals such as Nietsche and Goethe, led him to pursue piano, voice, and philosophy at the University of Munich.

He left university after four years of study in 1970, without taking a degree. Wecker continued to pursue his music while working at odd jobs -- everything from selling insurance to working in pornographic films! In 1972, his first album Die Sadopoetischen Gesange des Konstantin Amadeus Wecker (The Sadopoetical Songs of Konstantin Amadeus Wecker) was released. Someone suggested to him to add to his name "Amadeus," to make it sound more "musical." Sadopoetischen is only one of the words Wecker often creates to uniquely convey an idea which before had been untouched.

His following work continued to establish Wecker as a versatile musician, popular in intellectual circles and amongst students. 1977's Genug ist nicht genug (Enough is not enough) is one of his best-known albums, containing the song "Willy", a poem expressing many of Wecker's feelings at the time about society and justice. "Willy" was reincarnated several years ago on 1993's Uferlos (Boundless), as "Die Ballade von Antonio Amadeu Kiowa," again simply instrumentated only with piano, and presented as an elongated recitation, updated to reflect violent acts in Germany at that time towards immigrants and non-Whites. The song's namesake was a young Angolan refugee who was beaten to death by a group of skinheads.


1-1 Oamoi Von Vorn Ofanga 6:54
1-2 Fragwürdig 1:46
1-3 Endlich Wieder Unten 3:51
1-4 Und Doch Läßt Etwas Kirschen Blühen Im April 1:23
1-5 Warum Sie Geht 3:09
1-6 Wenn Man Darüber Rausschauen Könnte 1:39
1-7 Genug Ist Nicht Genug 4:52
1-8 Nächtens 5:58
1-9 Fragwürdig 3:20
1-10 Wenn Der Sommer Nicht Mehr Weit Ist 4:31
1-11 Text Zum Thema Sucht 5:17
1-12 Der Schutzengel 4:30
1-13 Der Dumme Bub 3:34
1-14 Statistisch Erwiesen 2:01
1-15 Vater, Laß Mi Raus 3:45
1-16 Tod Eines Familienvaters 2:40
1-17 Manchmal Weine Ich Sehr 3:43
1-18 Es Sind Nicht Immer Die Lauten Stark 2:26
1-19 Wer Nicht Genießt Ist Ungenießbar 3:03

2-1 Fragwürdig 1:56
2-2 Liebesflug 3:15
2-3 Schafft Huren, Diebe, Ketzer Her 3:35
2-4 Vaterland 4:27
2-5 Weckerleuchten 3:50
2-6 Lang Mi Ned O 6:04
2-7 In Diesen Nächten 6:27
2-8 Zwischenräume 4:25
2-9 Bleib Nicht Liegen 3:47
2-10 Frieren 6:12
2-11 Lauscher Hinterm Baum 3:59
2-12 Der Alte Kaiser 5:24
2-13 Susi, Oh Susi 5:38
2-14 Du Bist So Häßlich 4:26
2-15 Heut Schaun Die Madln Wia Äpfel Aus 3:45
2-16 Liebes Leben 0:52
2-17 Zirkus 2:14
2-18 Verabschiedung 0:34

Konstantin Wecker - Live in München (1981)
(320 kbps, cover art included)

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