Nachdem meine afrikanischen Freunde meine Musiktruhe zu einem Schiff aus Ghana getragen hatten, damit sie auch in Accra meine Schallplatten hören können, … Victoria sagte noch kurz „hallo, wir tragen das jetzt weg, laden dich aber gern mal nach Ghana ein“ … ich hatte daran im Elternhaus nach Schallplatten Gitarre geübt, bis Vater extra aufstand, um mir das üben zu verbieten... also nun auch: baute ich hier in diese Box super coole Fender Lautsprecher ein, die ich im Hamburger Steinway Musik- Haus kaufte, und nannte mich SCHRILLO ZICKZACKSCHRECK.
Vielleicht eine Anregung für Alfred Hilsberg, der später mein ZICKZACKSCHRECK
auf Plattenlabel verklebte. Als Bonus lässt sich mein Schallplattenspieler an die Box hängen, von dem ich eine siebenfache Ausführung herstellte. Erstes Beispiel kann HIER angeklickt werden, bitte. War eine relativ gute Zeit mit Tim Garbaden und Peter Schmieding. Wir gaben Konzerte in Lübeck und anderswo. Ein besserer Peter ist Schmieding, als mein dummer Bruder Peter, den Mutter nach ihrem Vater benannte und der zu einem Monster ausgewachsen war. Ihm tat es nicht mal leid, dass er mir mein Haus weggenommen hat, er redete Mutter ein, ich "hätte es sowieso nicht halten können". Allerdings schielte schon damals der Nachbar Rubbel darauf, mit unserem Haus sein Anwesen zu vergrößern, ein Wunsch, den mein Bruder ihm erfüllte. Mutter schenkte meinem Bruder alles glattweg, so dass er sich keine Sorgen machen und mir nichts abgeben musste. Ihr wolltet doch schon immer gerne wissen, wie Kunst eigentlich entsteht, oder? By the way, mein Fanti Name in Ghana lautet PATAKU, seht das in der Übersetzung unter Wolf nach. Da wird Aso genannt, denn PATAKU ist ein Glückwunsch, und Aso gleich ICH VERSTEHE. Schon mal japanische Sprache probiert? Da bedeutet 分かりました, oder ganz kurz mal そうです (das stimmt)🏯
Erz story for wahwah records FROM Ver.XXix 26.11.2013 Chapter 2: What is this karma about?
My family had a wonderful oldtimer automobile, type FORD EIFEL, a dark blue cabrio with the open roof, what could be totally open in sunny weather. My father as a motor nerd put the machine into pieces and screwed this together again.
He was so proud when the motor ran again instantly, so he could start with electric ignition, and must not put the iron drill into the front to start the machine. When he let me sit in front and we had a longer trip like to the North sea or East Sea - both approximately in a nearly same distance from Hamburg - and we came back by night, he used to click on the far distance lights, and a very deep impression was the blue control lamp on the front panel: this special blue follows me, until it came back in my guitar control pads and my computers. What a wonderful mystique color! This gets me my first psychedelic ideas.
Preparing what I called my EARTH DRAWINGS.
I invented a special EARTH WRITER* for this task. The form allowed me to hold it with a smooth grip and one round end in my palm, while the writing end was thin and hard to make many sketches on the earth. Sometimes our whole yard was full of my sketches, until my grandfather took his rake and building in his rake’s progress a complete new structure all over the yard. So on the weekends our yard looked like a japanese ZEN GARDEN. Another art work made silence over drawings.
A (枯山水 karesansui) or "dry landscape" garden around our house.
Drawing ideas and plans for my world of machines on the yard of my grandparents I was singing and grew plans for a big opera: one day I want to write THE LAND OF MACHINES, and it is still not forgotten. Now there are many sketches and scores in lost suitcases of mine, a surprise of intention, if the world not goes into a rubble to dissolve.
*= notice that I did not speak English that time. EARTH WRITER is a good name for my tool, but my German term was ERDSCHREIBER, what is the same and not different.
So this endless knot came back, my action, my work, my deed and later I did my sanskrit. :कर्म, of course.
Erz story for wahwah records FROM short ver.XXvi, short Ver.XXix 05-26.11.2013 part 1
The Dawn of Psychedelic. Part 1, Chapter 1: the beginning … no idols at all, but my jungle boom boom!
Real live story written by W.O.T.
Wolf g.u.i.t.a.r gang is in
zetterlink musik – WoOZ! - Musikkreis – musikstation. In the poor sun, projects and work flow (part two). Rough, unedited version shortened for wahwah supersonic records, spain when they asked for this. Paged, without classified chapter numbers. Prepared for easy reading in book form, 60 signs per line. A very funny writing style is guaranteed by this author, you will never feel boring by reading these impressions from his live story! Best thing: it is all true and based on real expierience.
Chapter 1: No Idols at all, but my djungle boom boom!
Wolf g.u.i.t.a.r gang O.T. in a concert in Northern Germany
When Wahwah records asked me to write about my music, I made the mistake to write a book. After a year I was already up to about 60 pages and more than 25 chapters, as I noticed that no one might print this book. They did not ask me for a book, just for more unreleased photos and some words about my music.
My telephone rings all the time, I don't know who it is, I did not look my email since a month. I was working at the bonus CD, what will come along with the reprint of my ZIPPO ZETTERLINK IN THE POOR SUN LP. - if not sold out here.
And while I am writing this, I let my tiny computer play the bonus CD “Катюша カチューシャ red point on G-spot”, and the more I play it, the more I like it, and I know that this work was done right. Wahwah said, it comes along with the LP, CATALOGUE NUMBER LPS151, as a real Bonus.
There is still an amount of first authentic psychedelic music, the thing I started in after school concerts. On my reprint LP you see some chinese signs. Without having idols you get on faster to develop very special music. I only took things I never heard before to make it recognize to listeners. When all of my fellow musicians hunting for success, by copying their idols, I was blamed by them doing my own speedy things. When my fellow musicians try to copy what they heard, I put a mix of language into my songs. So I claim that I am – maybe still – the first one who put Chinese and Japanese into my songs. But every idea flashes back, so the stone roses tried some Japanese decades later.
For me it is very important, if a composition linked with words, words should have everything you can put into it.
No one wants to know what kind of quarrels I have to stand through with all my associate people around me for the survival of art works. There was not time enough for a careful look at my performance photos and the mass of drawings I did. It is no space left for working, so I made this artwork of crowded mass, my black matter, this black matter I have to rediscover in flow with the maybe coming works to publish.
I started to build my first guitar – from a cigar box with four nylon strings. Equipped with some strings, and a fretboard with wild shape .... Slowly my father recognized that his son tried to sing something out of a strange fantasy with a pling pling from his self-build guitar. Maybe he felt pity, but not too much, because one day he asked me, that he saw a guitar in a music shop in Stade. That is a town smaller than Hamburg.
I know, many people did this, and others had a real guitar from their first beginning. One was Bo Diddeley. His self constructed rectangle guitar was fascinating, and much more intriguing where his rhythms. I was so fond of his rhythm in not fade away (what Buddy Holly took after a first Bo Diddely recording) that I got inspired to play a similar rhythm in my German song Ein Schöner Tag.A rhythm, a shape, but no Idols. Visiting Willie Dixon, Howling Wolf, Andres Segovia, Oskar Kokoschka- they are so different and no Idols for me. But great teachers. For me more like a scientist would say, research people. For me it is so great to know these people lively and to see their habits are true and not arrogant at all. And - there is B.B.King, who has my record "Zippo Zetterlink in the poor sun" and wrote a letter for thanks. Canned Heat took my record home and I got some tour experience with them. Bob Hite, a very friendy bear, drove this band on. But what I did with my guitar I always was teaching me myself, inventing the things I need.
... and next came out, my fingers were definitely too small for this guitar's normal fretboard.
So I invented the two finger style and played my jungle boom boom, sometimes on the low strings, then on the high strings.
I got a first small chord book, and by daily grips pressing the steel strings on my fingertips there grew callouses.
The barre problem I first solved when I had the idea to put one strong finger above the weak one, pressing both, later made me different chord settings I still can use today.
If I play I need the free feel, this can be noticed by many of the audience. When the drummers won't catch up with my time change, they where not able to change the foot machine: from 4/4 to 5/4 and after 8 bars back to 4/4, they did not like that at all, so this is hard to do. You think you are in the groove and what happened now? Your right foot is not on the one anymore! It is your High Hat with your left foot on the one, with your 4/8 beat. You try to follow, but when you change to the one on the bass drum – it is too late, because now the beat changed again, so here my advice: just stay in your rhythm and you get the one for the bass drum after a few bars again. This is psychedelic, and you can try it with my recording 'Zippo Zetterlink in the poor sun' for 27 Minutes. As well on 'Electric light machine take over – not make kaputt', so first acid against contract players who smoothed what they think they heard out of psychedelic to make quantity audible ready for marketing the masses. That time the radio was open to everything. They played my record several times, but then came new regulations, money pushed to reconstruct the pyramid, radio dropped psychedelic roots. If plastic guitar on 'I deal' or silent concert at the art school where 'cool fish' with colorful outfit in the time Wernher von Braun team sends NASA Saturn rockets – he said 'destination Mars', not Moon, my 'Kind im Weltraum' was already composed years ahead. Unlucky to choose the wrong musicians, my band I had in Cologne, the producer didn't fulfill my contract. All I got from Uwe N. were some shabby answers – and zero support. So my 'child in space' was not allowed to come out. The Eagle was landing and sending this prototype to Hawkwind, and all psychedelic they converted into one industrial copy.
German writer Sigrid Bernstein, who appears as "Top Secret" in many lectures, held one audition yesterday night in the Café Lühmann, Hamburg Blankenese, with guests from the Musikkreis. Her Novel "Untergrundrauschen" was prepared for a next theater play performed by members from the Musikkreis. S.B. held a reading from another novel, titled "der Parasit" from Michel Serres. Serres has his own thesis, unlike other authors about this theme. Wolf O.T. asked S.B., how this exploiting thesis from "der Parasit" must connect to her novel "Untergrundrauschen". After few provocations it came out, that another female author, her name is Ginka Steinwachs, associated "Untergrundrauschen" with "der Parasit" from Michel Serres and reasoned that artists do their work, but the talking about these works by people without any sense of humor or imagination will be destructible to these works. These people are the "parasit". Thereafter Wolf O.T. analyzed the brute form of language of authors in the 1950ties. If Marlowe or others, the Germans has these brute force of communication too. Wolf O.T. said, that it can be reviewed in the Analysis "die Sprache des Nationalsozialismus" from Victor Klemperer (LTI). In "Untergrundrauschen" S.B. formed personalities like Kreon - a modern and selfish investor, who blame and press people. She then claimed that Wolves occupied the sources, and they like to blame the sheep, who only able to drink the water far away from the source for still contaminating the water.
Photo made by Wolf g.u.i.t.a.r gang O.T. with FX GIMP’s illusion.
We can surely be courious how this new theater play will be developed at the next meeting from musikkreis on the 25th of November in the Stiftungs project "das Reh", starting at 6pm. W.O.T.
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