Fehlfarben - Monarchie Und Alltag (Welt-Rekord 1C 064-46 150) (GER 1980) (Vinyl 24-96 & 16-44.1)

Info:

Fehlfarben - Monarchie Und Alltag

Label: Welt-Rekord, EMI Electrola
Catalog#: 1C 064-46 150
Format: Vinyl, LP, Album
Country: Germany
Released: 1980
Genre: Rock
Style: New Wave

Tracklist:

A1 Hier Und Jetzt 2:44
A2 Grauschleier 2:25
A3 Das Sind Geschichten 3:21
A4 All That Heaven Allows 3:37
A5 Gottseidank Nicht In England 2:40
A6 Millitürk 5:22

B1 Apokalypse 3:11
B2 Ein Jahr (Es Geht Voran) 2:51
B3 Angst 2:16
B4 Das War Vor Jahren 2:35
B5 Paul Ist Tot 7:56

Credits:

Bass - Michael Kemner
Design [Cover] - Buster Desaster , Martin Bücker
Drums - Uwe Bauer
Guitar - Thomas Schwebel
Music By - F. Fenstermacher , G. Nicolaidis , M. Kemner , P. Hein , T. Schwebel , U. Bauer
Producer - Fehlfarben , Horst Luedtke
Recorded By, Mixed By - Harald Lepschies , Rolf Hanekamp
Saxophone - Frank Fenstermacher
Synthesizer - George Nicolaidis
Vocals - Peter Hein

Notes:

Comes with blue/white printed lyric/photo inner sleeve.
1980 EMI Electrola GmbH
Recorded August / September 1980 at EMI Studios Köln.

Barcode and Other Identifiers:

Other (Label Code): LC 7060
Other (Rights Society): GEMA
Matrix Number (Runout Side A): 46150-A1 GLAUBT NICHTS…
Matrix Number (Runout Side B): 46150-B1 …WIR GLAUBEN AUCH NICHTS!

Discogs Url: http://www.discogs.com/Fehlfarben-Monarchie-Und-Alltag/release/2267903
Wikiepdia Url: http://en.wikipedia.org/wiki/Monarchie_und_Alltag

Monarchie und Alltag (Monarchy and Daily Life) was the 1980 debut album of German rock band Fehlfarben, released on the Welt-rekord-label, a subsidiary of EMI. The album was not initially well-received, but developed a following over time, entering the charts seven months after its release and gradually climbing to peak at #37. The album belatedly spawned a hit single in 1982, "Ein Jahr (Es geht voran)", and certified gold in 2000, after a re-release during the post-punk revival.

The poor initial reception of the album and a scheduled lengthy tour prompted the departure of vocalist and songwriter Peter Hein, who did not return to the band until following a 2000 reunion. Guitarist Thomas Schwebel took over as lead vocalist for the tour and subsequent releases.

The album is regarded as highly influential in the Neue Deutsche Welle movement of Germany and the German punk scene. It secured a position for the band and its first lead singer as prominent figures in the German punk movement.

The album was not critically well received on its release, but in spite of line-up changes the band managed to increase public interest over time through live performance and the release of new material.[1] Months after its October 1980 release, in May of 1981, the album entered the German album charts where it gradually climbed to #37,[1][2] only earning gold status in 2000 after a reissue coincident with the post-punk revival[3][1]. Over time, however, the album has developed a tremendous reputation.[4] Die Zeit described the album as a "revolutionary monument".[5] Telepolis described it as "an unsurpassed masterpiece".[6] It has been variously termed "a cornerstone of modern German rock",[1] "the most important German punk album",[7] and "the best German-language album overall".[8][9] Bayerischer Rundfunk states that the group and the album were the "epicenter of the German punkscene in the early 1980s" and that with the release of Monarchie und Alltag the band became "the first volume in the German new wave".[10]

At the time of release, the album did not secure any hit singles, but two years after the album was released label EMI issued "Ein Jahr (Es geht voran)" to capitalize on the rising popularity of the German new wave (Neue Deutsche Welle) movement. The song reached the top 20 in the charts.[1]

According to Der Tagesspiegel, the album has lost nothing of its appeal over the years, to those who were punk at the time or even those who were not yet born, as it retains its forcefulness, directness and relevance.

The band was formed from two former members of foundational German punk band Charley's Girls—Peter Hein and Markus Oehlen—who had gone on to play in the influential punk group Mittagspause.[1] The pair decided to form a post-punk band with other prominent members of the Düsseldorf punk community: Thomas Schwebel, Michael Kemner, Frank Fenstermacher and Uwe Bauer. Influenced by the ska-punk music of London, they brought their interpretation of the style to live performances in Germany and to a 7" single released on their own independent label, Welt-Rekord-Label. In summer of 1980, the band's label was purchased by EMI, who gave them studio space to record Monarchie und Alltag, which was released in October of that year.

Although many of the band's members had a hand in composing material, much of the album was penned by vocalist Peter Hein during free time at his job at Xerox.[12] Der Spiegel credits the best compositions of the album to Hein and guitarist Thomas Schwebel, who wrote the iconic song of the German "No-Future" generation, "Paul Ist Tot" ("Paul is Dead"), one refrain of which translates, "What I want, I cannot get. And what I can get, I don't like."[13] The album, at the cutting edge of musical styles,[14] pushed Fehlfarben to the forefront of the German punk movement and made Peter Hein its point figure, even though he had quit the band three days before the lengthy Monarchie und Alltag tour to dedicate himself to his job at Xerox.[15]

In an interview years later with die tageszeitung, Hein indicated that he found the then-security of his job preferable to the stressful life of a musician on the road and that returning to work felt almost like a vacation.[16] It was a decision that puzzled the press at the time. Questioned about his work ethic in that interview, Hein stated that he was puzzled by the "arrogance" of those who looked down on the working class.[17]

The band continued performing with Schwebel on vocals and releasing albums after Hein's departure, but reunited with its first vocalist in 2000 after the belated receipt of a gold record for the album. wikipedia

Biography

by Jason Birchmeier

Monarchie und Alltag, the 1980 debut album by Die Fehlfarben, is one of the key releases of the Neue Deutsche Welle (NDW), the German equivalent of new wave. Die Fehlfarben were never quite the same after Monarchie und Alltag – constant lineup shuffling, intermittent streaks of band activity – and though the album fell upon deaf ears initially, it grew in stature over the years and rightly became recognized as a cornerstone of modern German rock, earning a deluxe reissue in 2000. Renowned for decades, the band nonetheless only ever scored one proper hit, "Ein Jahr (Es Geht Voran)," a song from Monarchie und Alltag that became a surprise Top 20 smash belatedly in 1982, after EMI reissued it as a single during the height of the Neue Deutsche Welle. The roots of Fehlfarben reach back to the dawn of German punk in 1977. Formed by members of the Düsseldorf punk scene, the band began as a ska outfit à la 2 Tone, evolved to post-punk for Monarchie und Alltag, and then drifted toward new wave over the course of the early '80s before going on hiatus in 1985, by which time only one original member remained in the lineup. Beginning in 1991, Die Fehlfarben reunited with increasing frequency, relishing the critical re-evaluation of their contribution to modern German rock. It may have taken 20 years, but a consensus appreciation for the trailblazing of Die Fehlfarben, particularly on Monarchie und Alltag, did come, better late than never.

In 1979 Die Fehlfarben were formed in Düsseldorf from the ashes of Mittagspause, an influential punk band comprised of Peter Hein (vocals), Franz Bielmeier (guitar), and Markus Oehlen (drums). The trio had previously established themselves in 1977 as Germany's first punk band, Charley's Girls, as documented in the 22-minute documentary film Charley's Girls (2005), which chronicles the burgeoning Düsseldorf punk scene surrounding the club Ratinger Hof circa 1977-1979. When Mittagspause split in 1979, Bielmeier – already a central figure in the Düsseldorf punk scene, with the first German punk fanzine to his credit, The Ostrich – went on to form an independent record label, Rondo-Label, which he maintained until 1981. Hein and Oehlen, on the other hand, went on to form Die Fehlfarben, a post-punk band, with some fellow musicians from the Düsseldorf punk scene: Thomas Schwebel (guitar), who had played with Mittagspause for a while, as well as the band S.Y.P.H.; Michael Kemner (bass), formerly of the D.A.F. collective; Frank Fenstermacher (saxophone); and Uwe Bauer (drums), who like Schwebel had also played with Mittagspause for a while.

The idea for the band arose during a November 1979 trip to England, where Hein, Schwebel, Bauer, and Oehlen were greatly inspired by the 2 Tone style of ska-punk that was then taking London by storm. They decided to bring this style of music back with them to Germany. So they formed Die Fehlfarben upon their return and cut a double-sided 7" ska-punk single, Abenteuer und Freiheit ("Abenteuer und Freiheit" b/w "Große Liebe"), releasing it in December on their own independent label, Welt-Rekord-Label. The band name ("Fehlfarben" roughly translates to "wrong colors" or, more accurately, "erroneous colors" in English) was informed as much by the 2 Tone graphic style (for instance, the cover art of Abenteuer und Freiheit was an homage to the black-and-white checkers of 2 Tone) as it was by the trade of Hein, who worked for Xerox. In January 1980, after a few weeks of rehearsal, the band made its live debut in Mannheim, even going so far as dressing in authentic ska-punk fashion, that is, in suits. Further shows followed that spring, and new songs were written and performed along the way, with the band quickly broadening its style and moving away from the ska motifs. In July Die Fehlfarben were approached by EMI, which wanted to buy the rights to Welt-Rekord-Label and sign the band to a recording contract. While this was clearly verboten for a punk band – for EMI was one of the major labels, against which punk was rebelling, in theory at least – the guys went ahead with the deal anyhow and in turn were treated to a first-class recording studio.

The result of these late-summer recording sessions at the EMI studios was Monarchie und Alltag (1980), the band's full-length debut, released in October. (The Fehlfarben lineup had been shuffled a little by this point, with Bauer remaining as the sole drummer and George Nicolaidis and Kurt Dahlke, the latter also known as Der Pyrolator, credited for synthesizers.) Critical opinion of the album was almost universally negative upon its release, and the punk establishment remained sour about the EMI deal. Too, the album sold poorly, despite the major-label support. allmusicguide

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