Peter Kraus Die Singles Box (17x7inch, 45rpm, Box Set, Limitierte Auflage mit Original Autogramm)

Preview: Die Singles Box (17x7inch, 45rpm, Box Set, Limitierte Auflage mit Original Autogramm)

Die Singles Box (17x7inch, 45rpm, Box Set, Limitierte Auflage mit Original Autogramm)

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catalog number: 45PK1
weight in Kg 1.1

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(Bear Family Records) 34 tracks - box with 17 singles (6x picture sleeve, 11x Polydor sleeve) 8... more

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Peter Kraus: Die Singles Box (17x7inch, 45rpm, Box Set, Limitierte Auflage mit Original Autogramm)

(Bear Family Records) 34 tracks - box with 17 singles (6x picture sleeve, 11x Polydor sleeve) 8 pages booklet. Limited edition

On the booklet is an autograph from Peter Kraus (hand-signed)

Limited to 1 copy per customer/household, if you buy more than 1 you will receive a refund.

Video von Peter Kraus - Die Singles Box (17x7inch, 45rpm, Box Set, Limitierte Auflage mit Original Autogramm)

Article properties: Peter Kraus: Die Singles Box (17x7inch, 45rpm, Box Set, Limitierte Auflage mit Original Autogramm)

Interpret: Peter Kraus
Album titlle: Die Singles Box (17x7inch, 45rpm, Box Set, Limitierte Auflage mit Original Autogramm)
Genre Schlager und Volksmusik
Label Bear Family Records
Record Grading Mint (M)
Sleeve Grading Mint (M)
Geschwindigkeit 45 U/min
Vinyl record size Single (7 Inch)
Artikelart 7inch
EAN: 2500000583926
weight in Kg 1.1

Kraus, Peter - Die Singles Box (17x7inch, 45rpm, Box Set, Limitierte Auflage mit Original Autogramm) 7inch 1
01	Die Strasse der Vergessenen	NH 23376
02	Tutti Frutti	Peter Kraus
03	Susi Rock	NH 23391
04	O, wie gut	Peter Kraus
05	Ich will nicht wissen	NH 23571
06	Teddybär	Peter Kraus
07	Es fing so wunderbar an	NH 23602
08	Wenn Teenager träumen	Peter Kraus
09	Mach dich schön	NH 23643
10	Hafen Rock	Peter Kraus
11	Diana	NH 23654
12	So wie damals Baby	Peter Kraus
13	Du sollst mein Schicksal sein	NH 23684
14	I Love You Baby	Peter Kraus
15	Hula Baby	NH 23722
16	Rosmarie	Peter Kraus
17	Mit siebzehn	NH 23744
18	Du gehörst mir	Peter Kraus
19	Ich denk an dich	NH 23844
20	Sugar Baby	Peter Kraus
21	Honey Baby (du passt so gut zu mir)	NH 23904
22	Come On And Swing (studio)	Peter Kraus
23	Kitty Kat	NH 23957
24	Havannah Love	Peter Kraus
25	Hey du bist okay	24069
26	Wunderbar wie du	Peter Kraus
27	Ich bin ja so allein	NH 24099
28	Tiger	Peter Kraus
29	Doll Doll Dolly	NH 24176
30	Susi sagt es Gabi	Peter Kraus
31	Wenn sie dich allein lässt	NH 24209
32	Alle Mädchen wollen küssen	Peter Kraus
33	Das Fräulein Gerda	unveröffentlicht
34	Bella Bella Marie (englisch)	Peter Kraus

Peter Kraus Peter Kraus Peter Kraus - Die SinglesIf Peter Kraus has earned the... more

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"Peter Kraus"

Peter Kraus

Peter Kraus - Die SinglesIf Peter Kraus has earned the reputation of a rock'n' roll singer, it goes back especially to the years 1957 and 1958. When Elvis Presley just left show business to drive tanks in Germany, Polydor producer Gerhard Mendelson plundered the Presley catalogue to establish his pupil Kraus - and later Ted Herold - in the hit market. Gerhard 'Mosche' Mendelson (1913 - 14 March 1976) from Berlin, Austria, had now set himself the task of launching young stars in his Vienna studio in addition to looking after Austrian pop singers. The current US charts offered an excellent area for local producers who wanted to poach in foreign territories. In addition to Presley, Gene Vincent, Jackie Wilson, Buddy Knox, Paul Anka and others had provided plenty of templates. There was a market for these records with copies of American titles. Example Peter Kraus: Liebelei (Butterfly), Teddy Bear (Teddy Bear), Make yourself beautiful (Treat Me Nice), Hafen-Rock (Jailhouse Rock), Just like back then (Since I Met You Baby), Rosmarie (Reet Petite), Hula Baby (Hula Love). The closest to Peter Kraus was actually the Canadian child star Paul Anka, whose Diana he also sang after.

Peter Kraus - Die Singles

Anka was no more a rock'n' roll singer than Kraus, in whose interpretation everything always became a hit. After all, pop culture reached the previously immune strata of German society through him, albeit with a restrained dynamic. "Rock'n' Roll in homoeopathic dilution", the WDR amused itself in a retrospective television program about this music, which however led to the fact that rock'n' roll was gradually no longer used as a swearword in the Federal Republic. The term was even used in German: "Peter Kraus playing rock scooter". And they showed understanding for the youth represented by Peter Kraus. The'New Leaf': "He is as modern as his whole generation, who grew up in breeches instead of the uniforms of the air force helpers". Fashion played an important role in pop culture from the outset. Leather jackets and jeans were not only clothes, but symbols with which one could already show oneself externally as inappropriate. But to dismiss rock'n' roll now only as fashion, as happened in the media of the Federal Republic, corresponded to the desire to get the misunderstood phenomenon under control.

Peter Kraus - Die SinglesThen it belonged to depict dance steps to rock'n' roll in magazines. And that included a fast-moving teen fashion. Film actors such as Marlon Brando and James Dean set an example by making the T-shirt socially acceptable. Brando had already shown it in'Endstation Sehnsucht'. In'The Savage' he made it the symbol of the rebel. And in'for they know not what they do' James Dean did it like him by casually wearing a leather jacket over the white shirt. There were consequences: In'Bravo' a James Dean jacket was advertised ("He preferred to wear the combined leather cardigan in Hollywood cut. He sometimes dipped them in cognac"), and a sweater called'Peter-Kraus-Coll' was added for pop fans. The rock'n' roll seemed to be a step in the right direction for Peter Kraus because he had made a name for himself in this field two years earlier. With his Elvis and Bill Haley songs rehearsed at home, he had performed in 1956 in front of a full hall in a competition of the Munich'Abendzeitung'.

Peter Kraus - Die Singles

He had already pra

cticed for the performance with Hugo Strasser, whose orchestra accompanied him that evening. This is how the result was programmed. Peter Kraus gave the rock'n' roll star on stage. And the crowd raged. Three times he had to repeat the Rock-A-Beatin boogie. The whole thing had been announced as a jazz concert in the Deutsches Museum - and so he was initially sold in the media as a jazz musician. The'Neue Blatt' soon wrote: "His career as a German jazz singer is unparalleled." Part of his image was that he was described in the same article as a "likeable boy". This arrived. But Peter Kraus certainly didn't mind that the'Frankfurter Abendpost' called him the'Rock'n' Roll singer no.' and pronounced him the'German Presley'. So it made sense to record the successful Presley title Treat Me Nice (from the film'Jailhouse Rock') in the original arrangement with Peter Kraus-O-tone.

What was lost was not only the dynamics of RCA recording. Lyricist Peter Mösser also left nothing of the meaning of the song. Instead of asking his mistress to treat him nicely and to remain loyal to him, it's now, as so often in the Schlager der Zeit, all about going dancing together again. And about teenage fashion - Make yourself beautiful: "Take the blue dress, because it suits you so well, and with it the cute little cheeky yellow hat." The ladies' hat really belonged to the - elderly

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