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Reinhard Mey Alles was ich habe - Die 16 großen Chansons

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(1988/INTERCORD) 16 tracks 1969-72 more

Reinhard Mey: Alles was ich habe - Die 16 großen Chansons

(1988/INTERCORD) 16 tracks 1969-72

Article properties: Reinhard Mey: Alles was ich habe - Die 16 großen Chansons

  • Interpret: Reinhard Mey

  • Album titlle: Alles was ich habe - Die 16 großen Chansons

  • Genre Schlager und Volksmusik

  • Year of publication 1988
  • Label INTERCORD

  • Artikelart CD

  • EAN: 0724382211426

  • weight in Kg 0.1
Mey, Reinhard - Alles was ich habe - Die 16 großen Chansons CD 1
01 Diplomatenjagd Reinhard Mey
02 Alles was ich habe Reinhard Mey
03 Die heisse Schlacht am kalten Büffet Reinhard Mey
04 Maskerade Reinhard Mey
05 Mädchen in den Schänken Reinhard Mey
06 Annabelle, ach Annabelle Reinhard Mey
07 Hauptbahnhof Hamm Reinhard Mey
08 Die Ballade vom Pfeifer Reinhard Mey
09 Ich wollte wie Orpheus singen Reinhard Mey
10 Vertreterbesuch Reinhard Mey
11 Ankomme Freitag, den 13. Reinhard Mey
12 Bevor ich mit den Wölfen heule Reinhard Mey
13 Der Mörder ist immer der Gärtner Reinhard Mey
14 Cantus 19b Reinhard Mey
15 Ich wollte immer schon ein Mannequin sein Reinhard Mey
16 Gute Nacht, Freunde Reinhard Mey
Rainhard Mey * December 21, 1942 Rainhard Mey * 21 December 1942 The songwriter made his... more
"Reinhard Mey"

Rainhard Mey

* December 21, 1942

Rainhard Mey * 21 December 1942 The songwriter made his debut as Rainer May on Polydor in 1965. Discovered by Polydor producer Jimmy Bowien, he takes WHEN? "Go catch the wind," a German cover of Donavan's "Catch the wind."

Reinhard Mey

Success sitting between all stools

"Reinhard Mey could be a stroke of luck in the history of German underground music - he could. But apparently he doesn't, or (which is more likely) you don't let him." So in 1972 'Sing In' criticized the musician who had been praised by the magazine 'elan' as "one of our best songwriters". Mey was a divorced ghost at an early age. The cover of the 1968 LP 'Ankomme Freitag, den 13.' emphasizes as his main concern the "critical view of his time", "even when he treats the topics with laughter", as in his successful title Diplomatenjagd. A piece that belongs to Meys satirical observations of social conditions and the adversities of everyday life, such as his single Die heiße Schlacht am kalten Büffet (The hot battle at the cold buffet). The critics early accused the musician, who was born in Berlin in 1942, of developing in a direction "at the end of which there is a chanson editing that in Germany is best associated with the name Udo Jürgens". He "sells himself under value" his singing brother Hannes Wader was quoted at that time. In his book 'Liedermacher', Thomas Rothschild even accused him of "witch-hunting in chanson form" with his song Annabelle, a musical caricature of the student movement, which appeared in the mid-seventies.

Already in the early sixties Reinhard Mey sang English, French and Spanish folklore in the trio Les Trois Affamés (The Three Starved) with Schobert Schulz and a bassist in Berlin. In 1964, at the age of 22, he came to the Waldeck for the first time. At that time he confessed that he had only five songs of his own in his repertoire. The first was Ich wollte wie Orpheus singen (I wanted to sing like Orpheus), which was only released in 1967 as the title song of his first LP. In 1965 the singer and guitarist brought out his first single, a German version of Catch The Wind, with which the Scottish bard Donovan was successful. The following year two EPs followed. From the first - 'Fred Kasulzke protestazki' - comes the title Bauer, ich bitt' euch, with whose lyrics one could believe that Bertolt Brecht's thesis "Erst kommt das Fressen, dann kommt die Moral" was the inspiration. The title Mädchen in den Schänken was mistakenly first published as Die Ballade der guten Lehre on the singer-songwriter compilation 'Makaber macht lustig'. On a later book club LP this error was corrected.

Meys quick and big success brought him a record deal with Intercord, where they, as 'Sing In' wrote, mixed his "simple guitar sound with choir and sweet arrangements". However, the musician was given the benefit of one thing: "His songs, which are still well written, cannot be killed by the nasty arrangements". To this day - almost three dozen albums later - Reinhard Mey is still sitting between two stools with his songs, as the Munzinger Pop-Archiv International says: "As a pop singer he did not see himself as a singer at all, but as an author of thoughtful, serious lyrics, as a songwriter. But in their environment his songs often appear as unusually adapted, yes: trivializing. On the other hand, Mey seemed to address the needs of those listeners for whom the ideal singer-songwriter was too bourgeois, too far away from their lives, but who expected more reflection than the average hit could offer. This often silent majority enabled the Berlin singer to achieve an extraordinary success that lasted for decades." Mey hasn't lost the friendship and recognition of early companions like Hannes Wader or Konstantin Wecker anyway. In 2002 he was on stage with these two on Hannes Wader's 60th birthday and shortly afterwards again at the great peace demonstration in Berlin in the run-up to the Iraq war.
www.reinhard-mey.de


Extract from
Various - songwriter in Germany
Vol.1, For whom we sing (3-CD)
/various-songwriter-in-Germany-vol.1-for-who-who-we-sing-3-cd.html

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Tracklist
Mey, Reinhard - Alles was ich habe - Die 16 großen Chansons CD 1
01 Diplomatenjagd
02 Alles was ich habe
03 Die heisse Schlacht am kalten Büffet
04 Maskerade
05 Mädchen in den Schänken
06 Annabelle, ach Annabelle
07 Hauptbahnhof Hamm
08 Die Ballade vom Pfeifer
09 Ich wollte wie Orpheus singen
10 Vertreterbesuch
11 Ankomme Freitag, den 13.
12 Bevor ich mit den Wölfen heule
13 Der Mörder ist immer der Gärtner
14 Cantus 19b
15 Ich wollte immer schon ein Mannequin sein
16 Gute Nacht, Freunde