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ODD PERSONS The Odd Persons

The Odd Persons
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1-CD Digipak (6-coated) with 32-page booklet, 22 titles. Playtime approx. 58 mns. Smash!... more

ODD PERSONS: The Odd Persons

1-CD Digipak (6-coated) with 32-page booklet, 22 titles. Playtime approx. 58 mns.

Smash! Boom! Bang!
Beat in Germany
The 60s Anthology

The ODD PERSONS or DIETMAR & the BEAT BOYS
"I have no regrets," Walter Ortel says today. "In retrospect, time was more important than anything that followed." Ingo Cramer is completely different, he doesn't like to be remembered, and if you ask him about his activities in a beat band, he devalues them. After all, Star Club Records producer Siggi E. Loch has chosen him as guitarist in his German dream band.

Today, Cramer's spare time is too valuable to answer insignificant questions about his history, but he has always been a very special man. Walter Ortel: "He always wanted to spice things up a bit, with refined harmonic sequences. Then we shouted to him, 'Man, Ingo, now let's shred the guitar!'" Ingo Cramer: "I wanted to do more demanding things, not just show off and wiggle my head. But there was no consensus in the band." Peter Fehlberg: "So Ingo stood on stage like a pillar of salt. Although he plucked a hot bowel. The band then thought, maybe that's what he'll get when he's standing there with a Loriot face. It became a kind of trademark, one placed like a statue while the others tear out the jacket lining."

With the success of Rock 'n' Roll and bands like Edgar & The Breathless or Rebel Guys, other Berlin guys also wanted to get the rind cracked and dust off the prettiest girls. In 1962 Frank (surname unknown), equipped with a big marching drum, and Walter Ortel, not clumsy on the piano, got together to pull real rock 'n' roll off the leather. Heavily impressed by Jerry Lee Lewis, they had started to hit their fingers bloody on the keyboard. Fats Domino went off their hands well. Walter had a classical education, which didn't break his Rock 'n' Roll obsession, but in the eyes of Ingo Cramer he was a little higher in the band hierarchy than the common Plebs.

In pairs a band is only poorly equipped, so Peter Fehlberg came with a Strippenbass, also called Teekiste. The Beat Boys. To give the band the right optical rock 'n' roll touch - which a tea chest could hardly do - Peter bought something electric, a Framus bass. And with this bass, there's a reason.

Paul McCartney once sold his pre violin Framus bass to a Berlin rock 'n' roll musician named Peter, and Fehlberg also bought his Framus bass from a Peter: from Peter Blaar (Edgar & The Breathless). When Peter Fehlberg decided to make his career with the police higher than that of a Rock 'n' Roller, another bass player was needed, and another Peter was at his service: Peter Pfaar. Of course he also took over the said Framus bass from Peter Fehlberg, and the instrument served him faithfully - until his wife sat on it, and so the Framus bass was literally in his ass.

Together with Pfaar Dietmar Schütze (†) came as a singer. Armed with a guitar, he had previously been a solo entertainer at the relevant pubs in Berlin, where he had made the public insecure - with schmaltzy stuff. Together with Schütze came the distinguished Ingo Cramer, and because his father plucked the guitar in the RIAS dance orchestra, his filius was also very familiar with this instrument; so the Beat Boys had a decent guitarist. Dietmar and the Beat Boys was now the banner under which they sailed. And as such, they made the rounds in youth centers and took part in the canter to the Star-Club Band Competition in the Deutschlandhalle Berlin (February 22, 1964). When you crossed the finish line, you were number 3.

It took barely a year, and Dietmar and the Beat Boys set off for Hamburg to bring a personal musical greeting to the Star Club. Walter Ortel: "After Johnny Weissmüller had seen us at the Star-Club Kapellenwettbewerb [1 January to 3 January 1965], he thought we were good enough to be regularly engaged in the Star-Club." With Johnny Weissmüller he naturally meant Manfred Weißleder, the manager of various Hamburg chapels and Star Club owners.

In Berlin, too, the Beat Boys now had better doors open to them, such as those of the Liverpool Hoop or the Hasenheide. Also the Hajo Bar... With advancing times, the change of direction in the hairstyle from back to front, also a readjustment of the name became necessary. The somewhat simple Dietmar And The Beat Boys had to give way to the more modern The Odd Persons.

In August 1965, The Odd Persons made another guest appearance at the Star Club. This time they were much better received than at the first guest performance. So the band was invited to make a recording. Back in Berlin, The Odd Persons went to the Audioton Studio at Ostpreußendamm in Lichterfelde to put their intention into action. The result is Star Club Records sampler contributions. 

Peter Fehlberg, meanwhile retired from the band and as a policeman on the tracks of bad boys, made the manager by the way. He provided the band with so much work that none of the members regretted the step into profit. Well, Ingo and Dietmar perhaps: the one much too sublime, as a nestling and seven years younger than Dietmar; the other, as an almost fatherly friend, much too mature to be able to derive anything other than a shake of the head from the childlike pleasure and pubertal jokes of Frank Peter Kaetzke and Walter Ortel. With Vitamin B Fehlberg managed to lure a Spanish club owner to Berlin to listen to the band. The result was an engagement in Spain for September '65. The Tropicana Club in Castelldefels near Barcelona showed the Spaniards where the Beathammer hung in Germany. One evening Salvador Dali walked in, his cheetah on a leash, and Walter Ortel was allowed to present a sculpture in the name of the house. "I didn't realize it was the great Dali. But he had a heart for bands, he had invited another Berlin band to live and experiment on his estate."

Article properties: ODD PERSONS: The Odd Persons

  • Interpret: ODD PERSONS

  • Album titlle: The Odd Persons

  • Label Bear Family Records

  • Genre Beat

  • Price code AR
  • Edition 2 Deluxe Edition
  • Artikelart CD

  • EAN: 4000127164636

  • weight in Kg 0.2
Odd Persons - The Odd Persons CD 1
01 Aqui mi nube (Get Off Of My Cloud)
02 Ojos negros (Dark Eyes)
03 Que familia más original (Shame And Scandal.)
04 Odd's Boogie
05 Watcha Gonna Do'bout It
06 Little Red Rooster
07 Hand Jive
08 I'm Crying
09 Somebody Help Me
10 Zing! Went The String Of My Heart
11 Spanish Harlem
12 I'll Go Crazy
13 Girl
14 Land Of 1000 Dances
15 Shala Lala Lee
16 Daydream
17 Here Comes The Night
18 Hey Girl
19 You Gotta Hide Your Love Away
20 Lucille
The ODD PERSONS oder DIETMAR & the BEAT BOYS "Ich bereue nichts," sagt Walter Ortel... more
"ODD PERSONS"

The ODD PERSONS oder DIETMAR & the BEAT BOYS

"Ich bereue nichts," sagt Walter Ortel heute. "Rückblickend war die Zeit wichtiger als alles, was danach kam." Ganz anders Ingo Cramer, er mag nicht erinnert werden, und wenn man ihn nach seinen Aktivitäten in einer Beatband befragt, so wertet er diese ab. Immerhin hat der Star-Club Records Produzent Siggi E. Loch ihn als Gitarristen in seine deutsche Dreamband gewählt.

Heute ist Cramer seine Freizeit zu wertvoll, um auf unbedeutende Fragen nach seiner Geschichte zu antworten, aber er war ja schon immer ein ganz Besonderer. Walter Ortel: "Der wollte die Sachen immer etwas aufpeppen, durch raffinierte Harmoniefolgen. Wir haben ihm dann zugerufen, 'Mensch, Ingo, jetzt laß doch mal die Gitarre fetzen!'" Ingo Cramer: "Ich wollte anspruchsvollere Sachen machen, nicht bloß Schau und Köpfewackeln. Da kam es aber in der Band zu keinem Konsens." Peter Fehlberg: "So stand Ingo auf der Bühne wie eine Salzsäule. Obwohl er 'nen heißen Darm gezupft hat. Die Band hat sich dann gedacht, vielleicht kommt das an, wenn er mit einem Loriot-Gesicht da rumsteht. Es wurde so eine Art Markenzeichen, einer der wie ein Statue plaziert ist, während sich die anderen das Jackenfutter rausreißen."

Mit dem Erfolg des Rock 'n' Roll und in der Folge von Bands wie Edgar & The Breathless oder Rebel Guys wollten auch andere Berliner Jungsspunde die Schwarte krachen lassen und die hübschesten Mädchen abstauben. 1962 taten sich Frank (Nachname unbekannt), ausgerüstet mit einer dicken Marschtrommel, und Walter Ortel, nicht ungeschickt auf dem Klavier, zusammen, um richtigen Rock 'n' Roll vom Leder zu ziehen. Schwer beeindruckt von Jerry Lee Lewis, waren sie angetreten, um sich die Finger auf der Tastatur blutig zu hauen. Fats Domino ging ihnen gut von der Hand. Walter hatte eine klassische Ausbildung, was seiner Rock 'n' Roll-Besessenheit aber keinen Abbruch tat, ihn dann aber in den Augen von Ingo Cramer in der Bandhierarchie etwas höher als der gemeine Plebs ansiedelte.

Zu zweit ist eine Band nur mager ausgestattet, so kam dann Peter Fehlberg mit einem Strippenbass, auch Teekiste genannt. The Beat Boys. Um der Band auch den richtigen optischen Rock 'n' Roll-Touch zu geben – was eine Teekiste ja schwerlich konnte –  erstand Peter etwas Elektrisches, einen Framus-Bass. Und mit diesem Bass hat es so seine Bewandtnis.

Paul McCartney hatte seinen prä-Geigen-Framus-Bass mal an einen Berliner Rock 'n' Roll-Musiker namens Peter verkauft, und von einem Peter kaufte auch Fehlberg seinen Framus Bass: von Peter Blaar (Edgar & The Breathless). Als sich Peter Fehlberg entschied, die Karriere bei der Polizei höher anzusiedeln als die eines Rock 'n' Rollers, wurde ein anderer Basser gebraucht, und da stand wieder ein Peter zu Diensten: Peter Pfaar. Der übernahm nun natürlich auch besagten Framus-Bass von Peter Fehlberg, und das Instrument leistete ihm treue Dienste – bis seine Frau sich draufsetzte, und so war der Framus-Bass im wahrsten Sinne des Wortes im Arsch.

Zusammen mit Pfaar kam Dietmar Schütze (†) als Sänger. Er hatte vorher, mit einer Gitarre bewaffnet, als Alleinunterhalter die einschlägigen Berliner Kneipen unsicher gemacht – mit Schnulzenkram. Zusammen mit Schütze kam der distinguierte Ingo Cramer, und weil dessen Vater die Gitarre im RIAS-Tanzorchester zupfte, war auch sein Filius mit diesem Instrument bestens vertraut; damit hatte die Beat Boys einen ordentlichen Gitarristen. Dietmar und the Beat Boys war nun das Banner, unter dem man segelte. Und als solche machte man die Runde in Jugendzentren und nahm am Aufgalopp zum Star-Club Band Wettbewerb in der Deutschlandhalle Berlin (22. Februar 1964) teil. Beim Zieleinlauf war man die Nummer 3.

Es dauerte kaum ein Jahr, und Dietmar und die Beat Boys machten sich auf nach Hamburg, um dem Star-Club einen persönlichen musikalischen Gruß zu bringen. Walter Ortel: "Nachdem Johnny Weissmüller uns beim Star-Club Kapellenwettbewerb [1. Januar bis 3. Januar 1965] gesehen hatte, befand er uns für gut genug, im Star-Club regulär engagiert zu werden." Mit Johnny Weissmüller meinte er natürlich Manfred Weißleder, den Manager verschiedener Hamburger Kapellen und Star-Club-Besitzer.

Auch in Berlin standen den Beat Boys nun bessere Türen offen, etwa die des Liverpool Hoop oder der Hasenheide. Auch die Hajo Bar... Mit fortschreitenden Zeiten, dem Richtungswechsel in der Frisur von hinten nach vorn, wurde auch eine Nachjustierung des Namens nötig. Das etwas einfältige Dietmar And The Beat Boys musste dem moderneren The Odd Persons weichen.

Im August 1965 gastierten The Odd Persons erneut im Star-Club. Diesmal kamen sie wesentlich besser an als beim ersten Gastspiel. So wurde die Band eingeladen, eine Plattenaufnahme zu machen. Zurück in Berlin,  begaben sich The Odd Persons ins Audioton Studio am Ostpreußendamm in Lichterfelde, um die Absicht in die Tat umzusetzen. Als Resultat stehen Star-Club-Records-Sampler-Beiträge zu Buche.

Peter Fehlberg, mittlerweile aus der Band ausgeschieden und als Polizist auf den Spuren böser Buben, machte nebenbei den Manager. Er verschaffte der Band so viel Arbeit, daß keines der Mitglieder den Schritt ins Profitum bereute. Na ja, Ingo und Dietmar vielleicht: der eine viel zu erhaben, als Nesthäkchen und sieben Jahre jünger als Dietmar; der wiederum als fast väterlicher Freund viel zu erwachsen, um dem kindlichen Vergnügen und den pubertären Späßen des Frank Peter Kaetzke und Walter Ortel was anderes als ein Kopfschütteln abgewinnen zu können. Fehlberg schaffte es mit Vitamin B, einen spanischen Clubbesitzer nach Berlin zu locken, um sich die Band mal anzuhören. Resultat war ein Engagement in Spanien für September '65. Im Tropicana Club in Castelldefels bei Barcelona zeigte man den Spaniern, wo in Deutschland der Beathammer hing. Eines Abends kam Salvador Dali reinspaziert, seinen Gepard an der Leine, und Walter Ortel durfte im Namen des Hauses eine Skulptur überreichen. "Es ist mir gar nicht bewußt gewesen, daß das der groooße Dali war. Aber er hatte ein Herz für Bands, eine andere Berliner Band hatte er eingeladen,auf seinem Anwesen zu wohnen und dort zu experimentieren."

Für die Spanier, sehr konservativ, noch stark vom Faschismus geprägt und schrecklich spießig, waren The Odd Personen unvergleichliche Exoten. Walter Ortel: "Manche kamen und wollten nur mal unsere Haare berühren." Und weil's so gut lief, war es Peter Fehlberg möglich, auch die Gloomy Moon Singers (heute noch bekannt durch ihr prominentestes Mitglied Frank Zander) nach Spanien zu vermitteln. Destination: Tropicana Castelldefels. Aber nicht, bevor The Odd Persons in höhere spanische Sphären aufgestiegen waren.

In Barcelona räumten die Berliner Buben kräftig ab...

ODD PERSONS The Odd Persons
Read more at: https://www.bear-family.de/odd-persons-the-odd-persons.html
Copyright © Bear Family Records

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Tracklist
Odd Persons - The Odd Persons CD 1
01 Aqui mi nube (Get Off Of My Cloud)
02 Ojos negros (Dark Eyes)
03 Que familia más original (Shame And Scandal.)
04 Odd's Boogie
05 Watcha Gonna Do'bout It
06 Little Red Rooster
07 Hand Jive
08 I'm Crying
09 Somebody Help Me
10 Zing! Went The String Of My Heart
11 Spanish Harlem
12 I'll Go Crazy
13 Girl
14 Land Of 1000 Dances
15 Shala Lala Lee
16 Daydream
17 Here Comes The Night
18 Hey Girl
19 You Gotta Hide Your Love Away
20 Lucille