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OUGENWEIDE Ja-Markt - Noch aber ist April

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  • BCD15974
  • 0.115
1-CD with 44-page booklet, 16 tracks. Playing time approx. 74 minutes. Awakening and change... more

OUGENWEIDE: Ja-Markt - Noch aber ist April

1-CD with 44-page booklet, 16 tracks. Playing time approx. 74 minutes.

Awakening and change

At the end of the seventies Ougenweide had become an institution: They had created their own genre with the Minne Rock, presented an excellent live album with'Ungezwungen' in 1978 and drew a kind of stylistic summary with'Ousflug' (1978). In the LP series'Liederbuch' Polydor finally dedicated a'Best Of' album to them, giving the group and their sound a firm place in the German music landscape. Actually a safe starting point to successfully continue and carefully develop the project.

Yes Market' (1980)
But obviously Ougenweide was too easy this predetermined way. Over the course of the decade, the group saw the opportunity and challenge to start something new. Sing Middle High German? Why in this modern time, in which there is so much to say! Old tunes? Why, if we can write exciting new music ourselves! So there were no medieval tones and sounds anymore, no fairy-tale-played LP covers, no lyrics written by Neidhart or Walther, and only rarely the strange sounding old instruments.

On the cover picture was an oversized barcode - just new for marking goods everywhere. He is torn apart by a likeable-looking young woman. Yes, right, it is Minne Graw, and she is not wearing a waving folklore dress, but looks like the committed student from next door.

The signal is clear: here we come to replace the world of goods with the real world. And that's not a nice, backward looking folk idyll. "Being a mythical creature is over, it's time for something to move," says one of the songs programmatically.

But April is still here' (1981)
That didn't change with the next LP. Listening to the first notes, you involuntarily ask yourself: "This is supposed to be Ougenweide? The opener Nie wieder is a great piece, produced crystal clear, bone dry and a little chilly, with a mysterious and associative text that produces images in the mind. Yes, that's exactly the sound you expect in the early 80s! But he might as well be from Spliff, the style of the band can't be felt here anymore. Even the voice amazes: No Olaf, no love! Frank Wulff is on the mic as a soloist. He's doing very well, but he's saying goodbye to the usual.

That you are dealing with Germany's former folk-rock icon can be seen in the second piece, a dance instrumental entitled Muspilli (after an old High German poem about the end of the world). Only in the following title song you really recognize the band, especially by Minnes singing: Ougenweide set to music a text by the Marburg poet Anna Rheinsberg, a wonderful poem about a neglected child in Berlin. The cheeky brat with slipped knee-high sock and much (too much?) imagination also adorns the cover of the LP. In the background the typical buffers - man with a hat, woman with a handbag - who eye the little one badly. Ougenweide set the deeply sad poem to music with a simple melody in a discreet arrangement shaped by fingerpicking guitars that radiates a slightly melancholic cheerfulness.

In general, the melancholy: In contrast to the almost nervous mood of departure of the'Ja-Markt', the thoughtful sounds predominate on the'April' album. This is also evident in the language: instead of "defend yourself," it says, still resistant, but still more poetic: "We must be a beam between our legs for this madness".

Article properties: OUGENWEIDE: Ja-Markt - Noch aber ist April

  • Interpret: OUGENWEIDE

  • Album titlle: Ja-Markt - Noch aber ist April

  • Label Bear Family Records

  • Price code AH
  • Genre Folk

  • Year of publication 2007
  • Artikelart CD

  • EAN: 4000127159748

  • weight in Kg 0.115
Ougenweide - Ja-Markt - Noch aber ist April CD 1
01 Ich bin ein Folkfreak
02 Als der Aufstand der Wehrhufer seinen...
03 Krokodile sind keine Voegel (Du kannst...)
04 Kein schoener Land
05 Ja-Markt
06 Heimat und so
07 Laune
08 Auf weichen Federn
09 Nie wieder
10 Muspilli
11 Noch aber ist April
12 Dem Stacheldraht die Stacheln klau'n
13 De Ruiter (Niederlande 17.Jhd.)
14 Senso Unico
15 Ich? Dich?
16 Knopp im Ohr
Ougenweide Medieval Music - Minne Rock From humble origins in 1969 as Hamburg-based... more
"OUGENWEIDE"

Ougenweide

Medieval Music - Minne Rock

OugenweideFrom humble origins in 1969 as Hamburg-based 'hobby musicians,' Ougenweide established themselves within less than a decade as an important creative force on the West German music scene. As a band, they were renowned for championing the impossible. Just like Britain's era-defining rock group Traffic had sung in 'Who Knows What Tomorrow May Bring,' it was plain that Ougenweide "were not like all the rest". Ougenweide's calling-card was setting old poetry to music, as befitted a group that took its name from a text by the Middle High German poet Neidhart von Reuenthal. Some lyrics they sang needed accompanying translations to render them comprehensible even for contemporary mother-tongue German audiences.

(If rock venues in the 1970s had had the technology to simulcast subtitles while Ougenweide sang, then sizeable sections of the audience would have been happier still.) Performing Old German texts was a leap of faith. (As was the occasional Latin.) In the process, they became West Germany's quintessential 'Mittelalter-Rock' or 'medieval rock' ensemble. With only a pinch of exaggeration, their name remains shorthand for – if not the dictionary definition of – 'Mittelalter-Rock'. Between the releases of Ougenweide's self-titled debut LP in 1973 and their second LP, 'All die Weil ich mag' in 1974.

Ougenweide had consolidated and refined their musical vision. According to one story, at the time of their debut album's sessions, their producer Achim Reichel. Who went on to produce 'Ohrenschmaus' and 'Eulenspiegel' – had prevailed on them to ditch their Fairport Convention and Pentangle repertoire in favour of German-language material. It was a decisive step. In rejecting the identikit Anglo-Irishisms and Anglo-Americanisms that plagued the West German folk scene, they were breaking new ground.

Mid-Medieval Music

OugenweideThe recruitment of Minne Graw as the band's female voice and keyboardist in September 1973 – following the departure of Brigitte Blunck and Renee Kollmorgen (both of whom had sung on 'Ougenweide') – stabilized the band's personnel. Her arrival was a milestone in the band's development. She directly contributed to Ougenweide's growing popularity. Between 'All die Weil ich mag' appearing in late 1974 and the release of 'Ohrenschmaus' the next year.  Ougenweide's profile in the West German music business rose considerably. In Minne Graw, Ougenweide found a transformative vocalist for the times.

The closest West Germany ever came to Fairport Convention's Sandy Denny. Pre-'Ohrenschmaus,' several things had held them back. For one, they had yet to break out of Hamburg. In October 1974 with their second LP imminent, the Hamburg-based 'Sounds'. Frontrunner for the day's most authoritative rock music monthly (with a sprinkling of Liedermacher, counter-culture cinema and cult literature) – pointed out the one big hurdle in front of Ougenweide was the type of venues they were playing. As relative unknowns and semi-pro musicians, they were pounding the Beatschuppen (beat club) and Bierkneipe (bar) beat.

This circuit hardly suited Ougenweide's music. Its subtleties were getting lost amid the hubbub of beer-swilling, chat-up lines and the clatter of singing, ringing Mark-and-Pfennig tills. Communicating the intricacies of Walther von der Vogelweide, Neidhart von Reuenthal (an intriguing name that suggests the translation Old Nick from the Valley of Sorrows) or Merseburger magic spells (Zaubersprüche decades before Kate Bush sang her spell of Hem of anorak, stem of wallflower, hair of doormat) were doubly difficult back then.

Ougenweide's Sound

The Hamburg music scene wasn't very large. Hence, its bush telegraph functioned pretty efficiently, even though the city was a land of print. Ougenweide's Frank Wulff trained as a typesetter, for example. By the mid 1970s, 'Sounds' had become pretty much required reading, having somewhat filled the vacuum left after 'twen's' Hamburg publishers scuttled it in 1971, scandalised by that May's issue with its just-a-little-too-far coverage including the artist Ernst Jandl (onomatopoeia raised to eroticism), Hamburg-St. Pauli's Loddel (pimp) and Nutte (whore) underbelly and, appropriate bedfellow, the Rolling Stones.

In the shocked aftermath of 'twen's' demise, picture 'Sounds' as a radical alternative to the Munich edition of 'Rolling Stone' nowadays. 'Sounds' would run several items on Ougenweide during its early heyday. The main point was that it was almost impossible not to have heard their name. In Hamburg, at very least. Word was spreading.

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Tracklist
Ougenweide - Ja-Markt - Noch aber ist April CD 1
01 Ich bin ein Folkfreak
02 Als der Aufstand der Wehrhufer seinen...
03 Krokodile sind keine Voegel (Du kannst...)
04 Kein schoener Land
05 Ja-Markt
06 Heimat und so
07 Laune
08 Auf weichen Federn
09 Nie wieder
10 Muspilli
11 Noch aber ist April
12 Dem Stacheldraht die Stacheln klau'n
13 De Ruiter (Niederlande 17.Jhd.)
14 Senso Unico
15 Ich? Dich?
16 Knopp im Ohr