Margot Eskens CD: Ob in Bombay, ob in Rio

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catalog number: BCD16138
weight in Kg 0.115

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When Margot Eskens recorded the album 'Serenade of Love' in early summer 1964, her husband... more

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Margot Eskens: Ob in Bombay, ob in Rio

When Margot Eskens recorded the album 'Serenade of Love' in early summer 1964, her husband Karl-Heinz Münchow was sitting on the producer's chair. He, who married the then very young Polydor artist in 1959, also took over the artistic direction of her career in 1964. He selects the songs for them, speaks along with the choice of the accompanying orchestras...and even writes the lyrics of some of their songs. Under the pseudonym 'Bodo Baum' he has the words to the farewell song Bald for the LP production 'Serenade of Love' as well as the lyrics for the title song, so we can see ourselves coming up with them again. The music for both songs was penned by orchestra leader Peter Laine.

When selecting the other songs of the production, Margot sings a total of 10 songs on it, which are framed by romantic instrumental pieces, Münchow relies predominantly on the proven. Beside the Benjamin Gigli success from the 40's Mama, Margot Eskens sings Evergreens like "Don't forget me, When the sun sinks behind the roofs" or "Lonely Sunday". But also the San-Remo-Canzone Al-Di-La, which the Berlin lyricist Hans Bradtke unfortunately didn't translate into love as Liebelei ist keine Liebe, is on the title list.

Mama's single release brings Margot Eskens back to the German charts. On November 14, 1964, the song was noted for the first time, climbed to number 8 and remained in the charts for 17 weeks. Margot, husband Karl-Heinz and the record company Polydor are satisfied, because after all the last Eskens hit was more than a year ago...

Flashback: On 15 June 1963, the 1963 German Schlager Festival takes place in the large hall of the Baden-Baden Kurhaus. Margot Eskens is with us. But not as an interpreter on stage, but as a spectator in the hall. Secretly, she keeps her fingers crossed for a song that she has taken to her heart the most of all twelve new performances: whether in Bombay or Rio.

But keeping the prominent visitor's fingers crossed does not help. At least not quite: unchallenged Gitte wins with her festival entry Ich will `nen Cowboy as a man with 97 points. Second place goes to Anita Traversi. She gets 66 points for the song that made Margot Eskens' heart beat faster. So high that the singer, who comes from Düren, goes to the studio Höhenberg in Cologne five days later and records just that song for her record company.

A race against time begins, because Anita Traversi also made a recording of her festival title for Ariola. In the charts, the pop race to Bombay and Rio almost goes head to head: Anita's version was first noted in the hit parade on 6 July 1963, reached 40th place and remained there for eight weeks. Margot Eskens reaches the same position exactly 14 days later and also stays eight weeks. The only, but serious difference: The record buyers clearly choose the Eskens version.

One year later, on 13 June 1964, the curtain rises once again in the Baden-Baden Kursaal for the media spectacle of the German Schlager Festival. With the ungrateful starting number 1, Margot Eskens is in the game. A journey into the past is their song, to which Jupp Schmitz wrote the music and old master Heinz Korn wrote the lyrics. But the competition is strong: Margot gets 34 points for her contribution and has to make do with 6th place.

Siw Malmkvist wins undisputedly with the Christian-Bruhn title Liebeskummer not worth it, for which she receives 187 points. Nana Mouskouri came in 2nd with 63 points for the song Wo ist das Glück (Where is happiness) composed by Barbara Kist last year, followed by Gitte, Rex Gildo, Esther & Abi Ofarim and Dorthe. Prominent spectators in the hall are the skating couple Marika Kilius and Hans-Jürgen Bäumler, who together and individually are making their first steps in the Schlager business.

An LP production like 'Serenade of Love' is no new territory for Margot Eskens, who has sung mostly singles during her career. Already in 1963, when

Polydor produced a theme record with successful French titles in German under the title 'Bonjour La France', it is on the cast list alongside Fred Bertelmann, the Günter Kallmann Choir and the Medium-Terzett. Producer Hans Bertram has reserved three songs for her, the cute Si petite and two compositions by Charles Trenet. Although the LP was produced with great effort and the music was put together with great care, it was not a great success and was soon cancelled again.

In November 1964, when Mama reached the German charts, producer Karl-Heinz Münchow, motivated by the recent success of his wife, tried to implement this success internationally. Shortly after, Margot records an English version of the Gigli classic. The backside for the planned trip over the big pond is also quickly found: From whether in Bombay, whether in Rio becomes Sail To Bombay, Sail To Rio. Both songs are based on the existing playbacks. But the expected international success does not materialize.

In the same year, she made another attempt to gain a foothold in international show business in Paris. Together with the orchestra Jacques Denjean, she sings four titles in French for an EP that also sells only moderately. But Münchow won't let up. He, the millionaire owner of a chemical factory and passionate producer, has his wife record a duet with Kurt Stelly. The young up-and-coming singer seems to be the right man to support his wife Margot vocally.

Münchow also has a corresponding title ready: A white wedding carriage, a song that was on everyone's lips in the early 1950s and in all of the radio stations' pop parades... For the necessary B-side, he selects a Margot Eskens success, which was also the focus of the 1959 single 'Unsere klingende Heiratsanzeige: Von, für und mit Margot Eskens': Mutti, Du darfst doch nicht weinen... But the sale of records proves to him that success cannot be repeated at will. Because in the meantime the beat wave has slopped over to Germany. Sensitive melodies have a hard time competing with rhythm-driven songs.

HORST-DIETER CZEMBOR

Swords, in March1997

Article properties: Margot Eskens: Ob in Bombay, ob in Rio

Interpret: Margot Eskens
Album titlle: Ob in Bombay, ob in Rio
Genre Schlager und Volksmusik
Label Bear Family Records
Price code AH
Artikelart CD
EAN: 4000127161383
weight in Kg 0.115

Eskens, Margot - Ob in Bombay, ob in Rio CD 1
01	Ob in Bombay, ob in Rio
02	Coeur Blesse, armes Herz
03	Mein schönster Traum
04	Glück und Tränen
05	Si Petite (deutsch)
06	Melodie von Laramie
07	Oh Smoky, Oh Smoky
08	Sole, Sole
09	Schau' mich an
10	Eine Reise in die Vergangenheit
11	Ich tausche mit keinem auf der Welt
12	Ein bisschen Seligkeit
13	Moonlight Song
14	Mama
15	Vergiss mein nicht
16	Serenade der Liebe
17	Liebelei ist leider keine Liebe
18	Wenn die Sonne hinter den Dächern versinkt
19	Eine weisse Hochzeitskutsche (& KURT STELLY)
20	Mutti, du darfst doch nicht weinen
21	Es kam der Frühling
22	Einsamer Sonntag
23	Bald schon da sehen wir uns wieder
24	Sail To Bombay, Sail To Rio (englisch)
25	Mama (englisch)
26	Si Tu M'Aimes Tant Que Ca (französisch)
27	Melancolie (französisch)
28	Quaranta Notti (französisch)
29	Ma Melodie (französisch)

Margot Eskens Margot Eskens Since Kaiser Wilhelm launched his navy, since... more

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"Margot Eskens"

Margot Eskens

Since Kaiser Wilhelm launched his navy, since children were dressed in sailor suits, since the romantic image of the sailor was promoted, there have been lots of kitsch postcards of the tearful farewell in the harbour. The hit industry of the 1950s also lived in part from the emotional district during the separation at the quay wall. When Margot Eskens dominated the radio waves in early 1957 with Cindy, oh Cindy, the Pamir still had water under the keel, and the drama of the text consisted solely of the fact that "her heart had to be sad". In Eddie Fisher's original, the sailor at sea had the part of the unfortunate. Producer Kurt Feltz, who according to his own statement just wrote the text in 20 minutes, exchanged the roles with a stroke of the pen and sent Cindy again and again - accompanied by seagulls screeching - to the harbour. In vain.

Feltz's turning manoeuvre paid off. Margot Eskens gave him a number one hit for the second time after Tiritomba. The Polydor producer had Kurt Edelhagen's orchestra play the arrangement of the Fisher song and garnished Margot Eskens' haunting voice with the voices of Johnny Dane and the comedy quartet. Dane, an Irishman, had entered the German music market via AFN Stuttgart and landed with Kurt Feltz (later he took on Tammy as a soloist). Eskens was also Feltz' creature, which he shaped according to his ideas. In 1954, 17-year-old Margot Eskens sang Moulin Rouge in front of a Cologne jury and attracted attention. Her subsequent lecture of This time it must be love, the jury member Kurt Feltz was so enthusiastic that she was selected from a total of 12000 candidates and hired by Polydor. Even if at that time it was only a training contract for 250 Marks per month and without additional remuneration for recordings, this meant a giant leap into the world of show business for the dental assistant from Düren, who was born on 12 August 1936.

At first she was allowed to sing in the background, for example with Jim, Jonny and Jonas. With Mutti, you mustn't cry, she was a surprise success as a soloist, who at the same time determined her thematically. The text by Peter Mösser, in which the tears of the mother are lamented at the daughter's wedding, was - also in the American original Mama Don't Cry At My Wedding - even at this time recognizable as kitsch. Basically, she remained the well-behaved adapted one who suggested to the audience the dream of a small house and promised: One day the prince of your dreams will come to you. Margot Eskens and Polydor went one better when they celebrated the singer's marriage with the release of a single: "Our sounding marriage announcement, by, for and with Margot Eskens". Then her fiancé Karl-Heinz Münchow asks: "Do you want to stay with me forever?" And Margot sings: "I only want to be with you, for I love you so much. That was 1959.

The partnerships she entered into in the studio, whether with René Carol or Silvio Francesco, did not make dreams come true. Even with Udo Jürgens she was paired by Kurt Feltz for Drei Takte Musik im Herzen. Her husband Karl-Heinz Münchow, a self-made man who had earned a fortune in the chemical industry, also managed her as a music producer in the 1960s. He was friends with Feltz, where he had observed in Cologne how his wife was produced. He had the idea that he could do it himself, making his hobby music a second profession. His first piece Kiss Me Quick ("No matter what the other boys think, you should just give your

self to me alone"), which he wrote himself and produced with Udo Jürgens in 1963, confirmed that the Feltz method also worked when others used it. Especially if the original had already been a hit with Elvis Presley. Münchow, however, did not save his wife from the tastelessness with Only one mother knows where Honolulu lies the crown.

Margot Eskens Cindy, Oh Cindy
Read more at: https://www.bear-family.com/eskens-margot-cindy-oh-cindy.html
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