One Of The Most Famous Songs in History is Marxist Propaganda That Involves Raping A Minor: The Story of "Mack The Knife"

"Oh, the shark bites
With his teeth, dear
And he shows them
pearly white..."

Yeah, you know it, "Mack The Knife", #3 on Billboard's Top 100 Songs ever. You've heard it a million times, from Bobby Darin's #1 hit version in 1959, to countless crooners ever since. But who first recorded it?

Feel free to smack the next smug twerp who tells you "Google is your friend." No, it's not, not always, and I couldn't find the answer to that question. I knew it was written by the great German composer/playwright/anti-capitalist team of Kurt Weill and Bertolt Brecht back in 1927 for the musical "Threepenny Opera," but that's well known. Heck, that Weimer-era Berlin cabaret style is probably more popular now then it was in the 1920s.  Tom Waits, Amanda Palmer, The Tiger Lillies, and numerous other alt/dark-cabaret performers owe much of their careers to it, and countless jazz, pop, and theater singers have been performing these songs for decades. (That's an original German 1929 poster to the right.)

So you'd think the question of who made the first recording of "Mack The Knife" would be a pretty basic one. But it gets confusing early on.  For one thing, the song wasn't even originally entitled "Mack The Knife." Nope, it was called "Moritat," a term from German folklore meaning a bad-man ballad, similar to Old Western songs about bandits and outlaws. It then became popularly known as "Die Moritat von Mackie Messer (The Ballad of Mack the Knife)." In the Fifties, it finally became known as "Mack The Knife" when it was discovered by the American jazz and theater world.

So who did it first? I went to the source, and asked the Kurt Weill Foundation, but even spokesperson Dave Stein isn't certain. He wrote me:

"I'm not absolutely sure, but it seems pretty clear that the first recording of the "Moritat" was made in December 1928 by Harald Paulsen, who played Macheath in the original production of the Threepenny Opera. Brecht himself also recorded the song early on, but my sources say that was made a few months later, in May 1929. It's odd that the standard Brecht biographies and chronologies we have here seem to make no mention of this recording, which you would expect to be a little more noteworthy. Paulsen's recording is available on a recently reissued Capriccio 2-CD set

"Die Dreigroschenoper: Historische Originalaufnahmen" (C 5061, reissued 2011, originally released on CD in 1990).

I should point out that the "Moritat" was not the biggest hit from the show in Weimar Germany; it did not become the hit song from Threepenny until much later, when Louis Armstrong's 1955 recording paved the way for so many successors."

Needless to say, Paulsen's and Brecht's versions sound little like the ones you know. With their German lyrics, oom-pah sound, and different vocal phrasing, they almost sound like different songs altogether from the later finger-snappin' remakes. They do sound great, tho - I'd take Brechts' version over many of the later, more famous recordings.

And then there's the matter of the lyrics. The famous versions from the '50s and afterwords usually use Marc Blitzstein's somewhat sanitized translation. The eye-opening original lyrics feature such lines as "And the minor-aged widow/ Whose name everyone knows/ Woke up and was violated/ Mack, what was your price?" Yikes, that's getting a bit rape-y, isn't it? Macheath wasn't just some loveable Rat-Pack type rogue, but a genuinely Bad Dude. In the eyes of Brecht and Weill, Mack was a symbol of unrestrained capitalism. This context disappeared, of course, after the off-Broadway 1954 revival of "Threepenny" became such a huge success using Blitzstein's translation. My mom even attended a performance! And I have a copy of the hit cast album, featuring a young pre-sitcom star Bea Aurthur, then still known as "Beatrice." (Hey trivia fans! A pre-Law and Order Jerry Orbach would eventually play Mack in the same production.) Darin did his version based on the Blitzstein revival, and here we are.

All of which got me thinking...I bet many of you remember the 1985 album "Lost In The Stars - the Music of Kurt Weill."  With it's fresh re-workings of numerous Weill classics and it's all-star cast, it was pretty popular in the college/public radio scene of the '80s. I liked Slapp Happy/Henry Cow singer Dagmar Krause's track so much, I then bought her "Supply & Demand" German cabaret covers record. Producer Hal Wilner, on this and other albums he organized, actually made the dreaded 'tribute album' seem like a great idea.

"Lost In The Stars - the Music of Kurt Weill" 

I added the two previously-described earliest known versions of "Moritat" to the file.

Get the artwork/liner notes to "Lost in The Stars" HERE.

1. Mahagonny Songspiel (Intro) - Steve Weisberg

2. 'The Ballad Of Mac The Knife' - Sting/Dominc Muldowney

3. 'The Cannon Song' - Stan Ridgway, The Fowler Brothers [Bruce Fowler of Captain Beefheart's late-period Magic Band?]

4. 'Ballad Of The Soldier's Wife' - Marianne Faithfull

5. Johnny Johnson Medley - Van Dyke Parks

6. The Great Hall - Henry Threadgill

7. 'Alabama Song' - Ralph Schuckett, Richard Butler (of the Psychedelic Furs)

8. 'Youkali Tango' - The Armadillo String Quartet

9. 'The Little Lieutenant Of The Loving God' - John Zorn

10. Johnny's Speech - Van Dyke Parks

11. 'September Song' - Lou Reed

12. 'Lost In The Stars' - Carla Bley

13. 'What Keeps Mankind Alive?' - Tom Waits

14. Klops Lied (Meatball Song) - Elliot Sharp

15. 'Surabaya Johnny' - Dagmar Krause

16. Oh Heavenly Salvation': Hurriccane Introduction - Mark Bingham & Aaron Neville

17. Oh Heavenly Salvation: Oh Heavenly Salvation - Mark Bingham & Aaron Neville

18. 'Call From The Grave/Ballad In Which Macheath Begs All Men For Forgiveness - Todd Rundgren

19. 'Speak Low' - Charlie Haden

20. 'In No Man's Land' - Van Dyke Parks Oh, so how's Sting's version of "Moritat"? It's really good, except for the Sting part. And if you like Tom Waits' take on "What Keeps Mankind Alive?," dig William Burroughs' version:

ALBUM DU JOUR #4: POLLUTING THE MAINSTREAM

The Eagles!  Fleetwood Mac!  Styx! Marie Osmond! That's the kind of stuff I listen to now.  All that weird, experimental stuff - what was I thinking?  Writing a blog about music that so few people care about...what a sad lonely life I've been livin'...  Well, forget that, I'm gonna be NORMAL! And what a relief it is, lemme tell you - I'm gonna hang out in sports bars, watch "American Idol," stop listening to college/public radio and keep my dial set on AM talk from now on.  Hall & Oates!  Chicago!  Muthafuckin' ABBA!  Hell yeah, where's my pink Izod shirt and penny loafers?!

This playlist is no joke.  All the artist represented here making crazed noise, goofball novelties, flipped-out weirdness, and self-indulgent nonsense are the very same acts who made all those familiar mainstream hits (granted, including Joey Ramone here stretches the definition of 'mainstream' a bit).  See? The Beatles weren't the only superstars to have a "Revolution No.9" in them.


UPDATE 12/2/12: Now on Zippyshare, for those of you who had trouble with Mediafire 
POLLUTING THE MAINSTREAM

I was going to go into explanations about how these oddities came to be, like how that's Robert Fripp (!) playing on the Hall & Oates, how "Mother" was the only song by the Police that I loved, etc., but I think it's best for you to just listen to this and be amazed - play it for your friends and see if they can guess who's who.

1. Chicago "Free Form Guitar"
2. Donovan "The Intergalactic Laxative"
3. The Eagles "The Greeks Don't Want No Freaks"
4. Fleetwood Mac "Somebody's Gonna Get Their Head Kicked In"
5. Frank Sinatra "Reflections On The Future In 3 Tenses" excerpt (by Gordon Jenkins)

6. Hall & Oates "Alley Katz"
7. Heart "Hit Single"
8. Debbie Harry "In Just Spring"
9. James Brown "The Future Shock Of The World"
10. Marie Osmond "Karawane"
11. The Police "Mother"
12. Nirvana "Montage of Heck Part 1"
13. Nirvana "Montage of Heck Part 2"
14. Prince "Bob George"
15. Buddy Holly "Slippin' And Slidin' (sped-up version #1)"
16. Styx "Plexiglass Toilet"
17. Joey Ramone "The Wonderful Widow of Eighteen Springs"
18. Toto "Robot Fight"
19. Van Halen "Strung Out"
20. Willie Nelson "Cowboys are Frequently Secretly Fond of Each Other"
21. Abba "Intermezzo no.1"
22. Alice In Chains "Love Song"
23. Cat Stevens "Was Dog a Doughnut?"

What's 'Nilbog' Spelled Backwards?

LA's own Nilbog are the world's only horror-movie soundtrack cover band. Which is a cool concept, but they can also really play, they skip the cliched tunes (no "Psycho" or "Halloween" themes here), and bassist Bret is the man behind the Post-Punk Junk and Egg City Radio blogs. So good they should do real soundtracks.  Listen to 'em here..that is, if you ain't chicken:

Niblog The Band

MUSIC THAT LOOKS AS GOOD AS IT SOUNDS

"The cristal baschet is one of the most beautiful musical instruments you will ever see, made of vibrating, tuned steel, fiberglass amplification cones and wire "whiskers" that shimmy when fingers rub the glass-rod keyboard. Film composer Cliff Martinez's version, which resides in the living room of his Topanga Canyon home, is about the size of an upright piano and is as much sculpture as instrument." So says this L.A. Times article about the soundtrack to the recent neo-noir film "Drive" by former Captain Beefheart (and Red Hot Chili Peppers) drummer Martinez.

The cristal baschet, created in 1952 as a sound sculpture by Bernard and Francois Baschet, is a cousin of the glass harmonica and glass instruments we've featured here, in which the moistened fingers of the player rub the instrument, like running your fingers around the rim of a wine glass, creating a melodic humming drone. The soundtrack album is a surprise hit, bringing this odd, obscure object to mainstream ears. It's dark, moody, eerie & lovely stuff, and you can listen to it here (jump down to track 6):

Drive (Original Motion Picture Soundtrack)

STAR TREK FAN BANDS: NOT NEARLY AS BAD AS ONE WOULD THINK

(Vote for "M4M Idol"! You've got 'til Oct. 6.)

A Klingon death-metal band. Just think about the sheer awesomeness of that concept.

"Trekkies 2" is a 2004 documentary about the most extreme 'Star Trek' fans, produced and hosted by, of all people, Bing's granddaughter Denise Crosby. The soundtrack album features some funny bits of dialogue from the film, a few soundtrack cues, and lots of entertaining fan songs. Somehow Fred Schneider of the B52s ended up on here as well. Maybe he's a Trekkie? Wouldn't be too surprising.

As for the musical acts, who pretty much only perform at 'Trek'/sci-fi conventions, Warp 11 are quite good in that Descendants/Bad Religion/Green Day-style of melodic punk. "Everything I Do, I Do With William Shatner" really is as good as it's title. No Kill I: The Next Generation (yep, that's the band's name) make a great Devo-ish New Wave ruckus. Ash Productions are two charming teenage girls. Reminding us of Trek fan history, Leslie Fish does it old school: a solo acoustic "filk" (sci-fi folk) tune. And then there's death-metalers Stovokor, who not only dress up as Klingons, but they sing in the Klingon language.And if you ain't down with that, well, pally, you have landed on the wrong blog.

I don't know much about 'Trek" beyond watching the original series ("TOS" in Trek talk) as a kid, but it's inside nature is what I like about this stuff. Fan music, like song-poems, make me realize how generic most music is. Frank Sinatra couldn't have sang about "Star Trek" (or what his favorite color is, or who he supported for President) because he had a general audience, so we just got lots of love songs since, presumably, that's a human universal. So it's fascinating to me to hear people singing passionately about something very specific. They can only exist in the rarefied world of fellow fans, or, in the case of song-poems, they just put out tiny pressings of private recordings. They don't have to worry about what the music biz (even the "indie" end of it) thinks.

Trekkies 2 The Official Soundtrack

1. Since I Was Zero - Denise Crosby 2. Beam Me Up - Fred Schneider 3. The Worst Time To Call - Gabriel Koener 4. Italy Theme - Billy Sullivan 5. Channeling Roddenberry - Karl Miller 6. Red Alert - Warp 11 7. A Girl Came - Brian Dellis 8. Everything I Do, I Do With William Shatner - Warp 11 9. We're Niners - Michael Leon 10. Boldly Going - No Kill I: Deep Space Nine 11. Extremities - Gabriel Koemer 12. Vulcan Mind-Meld - No Kill I: Deep Space Nine 13. Low Frequencies - Jason Lewis 14. For The Glory Of Qo'nos - Stovokor 15. Klingon Santa Claus - Denise Crosby 16. Life In Exile - Stovokor 17. My Rank Is Commander - Renee Morrison 18. Arkansas Theme - J.J. Holiday 19. Ever Hear Of Filking? - Denise Crosby 20. The Expendable Guy (Live) - Ash Productions 21. A Typo - Kathleen Sloan 22. Banned From Argo (Live) - Leslie Fish And Friends 23. What's Normal - Dave Smith 24. No Kill I Theme Song (Live) - No Kill I 25. Auk - Jean Whitehead 26. Tranya (Live) - No Kill I 27. Remain Calm - Allen Maxwell 28. Data And The Beta (Live) - No Kill I: The Next Generation 29. Starbase Dentist - Denise Crosby 30. We Are The Borg (Live) - No Kill I: The Next Generation 31. It's Just Good - Jon Garrison 32. Germany Theme - Billy Sullivan 33. Ethan's Aliens - Ethan Philips 34. Beam Me Up (Instrumental Reprise) - Fred Schneider 35. Lame Reality - Ward Young

PYONGYANG ROCK CITY part 2

Part one of our attempt to penetrate the nearly-impenetrable culture of North Korea explored the "pop" songs of the World's Strangest Country. Today, we're getting all high-culture and whatnot, with one of the "Five Great Revolutionary Operas," "The Flower Girl."

The plot concerns a poor girl's attempt to deal with her evil landlord. Ghosts are, apparently, also involved. Supposedly written by North Korea's founder Kim Il-Jong, it was one of a series of operas "...intended to promote the communist ideology, by incorporating themes such as the class struggle against the bourgeois." Attention: cabaret singers! How catchy toe-tappers like "Covering 280 km Road after Leaving the Home Village" have not entered the standard showtune songbook, I do not know.

Mansudae Art Troupe: "The Flower Girl"

I guess I was expecting this to be more folkloric, like Chinese opera with it's clanging percussion and shrill vocals. It actually sounds pretty Broadway, all melodramatic string orchestrations and emotional music-theater vocals. Not nearly as relentlessly peppy as the pop songs. Goes down smooth, as good propaganda should.

Recently, She Walks Softly posted some amazing photos, and a link to a documentary shot surreptitiously in North Korea. Truly, some must-see viewing.

Thanks again to kitschstortion!

R.I.P.: DOLORES FULLER

"Dolores Fuller, the onetime actress-girlfriend of cross-dressing schlock movie director Ed Wood who co-starred with Wood in his low-budget 1950s cult classic "Glen or Glenda," has died. She was 88.

Fuller, whose show business career included writing the lyrics to a dozen Elvis Presley movie songs, died Monday at her home in Las Vegas after a long illness," sez the LA Times.

Co-author of some of The King's greatest tunes, like "Rock-A-Hula Baby," and "Do The Clam," memorably covered by The Cramps. Too bad she didn't stay with Wood, at least professionally. What a power couple they would have been - his movies, her songs...

VINYL-PALOOZA #1: Space Age Lounge Pop A-go-go!!

It's Vinyl Month here at M4M. Yep, in an attempt to pick up the slack after technical difficulties have kept me from posting much here lately, I'm gonna go thru my 12 inch black round thingies and spend the month featuring some weird old records of drool-worthy obscurity, lovingly hand-ripped from crusty old vinyl on to my new computer (Umm...tell me if the new recording software sounds ok, ok?) Record Store Day is coming up, after all.

We post all kinds of music here, but one thing we can all agree on is the grooviness of '60s Space Age/lounge/ pop. Albums of this sort have been some of the most downloaded 'round these parts, and this one has it all: futuristic Perrey/Kingsley-like keyboards, discotheque dance energy, Roger Roger-esque wackiness, lounge jazz, Latin rhythms, and sample-able funk grooves. It was released by the British library label Studio 1, who had ties to a German company, and I do notice some rather Teutonic-looking names in the writing credits. Otherwise, there's nothing else I've been able to find out about these most talented chaps.

The George King/Joe Corney Organ Sounds

Faster, Pussycat! Kill! Kill!

No pussycat was faster than Tura Satana, who just died at age 72.

"Ladies and gentlemen, welcome to violence..."

If her biography is to be believed, the buxom bad-ass stripper/actress' life was at least as interesting as her films: "Walking home from school at the age of nine she was gang-raped by five men. According to Satana, her attackers were never prosecuted and it was rumored that the judge had been paid off. This prompted her to learn the martial arts of aikido and karate and, over the next 15 years, she claimed that she had tracked down each rapist and exacted revenge. "I made a vow to myself that I would someday, somehow get even with all of them," she said years later. "They never knew who I was until I told them."

"This rapacious new breed prowls both alone and in packs..."

She was sent to reform school as a teenager and, for self-protection, became the leader of a gang. In an interview she said, "We had leather motorcycle jackets, jeans and boots and we kicked butt."

Who are they? One might be your secretary, your doctor's receptionist, or the dancer at a go-go club..."

She eventually became a successful exotic dancer, traveling from city to city and working with the likes of Tempest Storm, The Skyscraper Girl (?!), Candy Barr, and (how's this for a Tom Waits character) Stunning Smith the Purple Lady.

"...the unmistakable smell of female..."

After her star-making turn in Russ Myers' 1965 classic, she went on to other cinematic gems like "Astro-Zombies" and "The Doll Squad."

Faster, Pussycat! Kill! Kill! soundtrack

Includes: music by Igo Kantor, Bert Shefter & Paul Sawtell (the Shefter/Sawtell team scored lotsa sci-fi, e.g.: "The Fly" and "Voyage to The Bottom Of The Sea"); the classic title song by the otherwise unknown "Bostweeds;" highly quotable dialogue from Satana and her co-stars; sound effects.

The music ranges from killer rock'n'roll (The Cramps memorably covered the theme), to lewd bumping and grinding, to your basic soundtrack orchestral stuff. Some theremin-ish sci-fi sounds pop up, as well.

THE KING OF SPACE-AGE POP A-GO-GO...

...is how Los Angeles' The SG Sound bills himself, and the proof of such a bold claim is in the (digital) grooves of his fab-gear new album "Escapade Velocity" (also available on iTunes).

The '90s lounge revival often meant ex-punk rockers donning tuxes and faking their way thru pseudo- swing, but Mr SG (aka Steve Greaves) has genuine professional soundtrack skillz to match his Mancini-esque ambitions, even doing tv spots for "Mad Men," appropriately enough. And he tells me that he was "heading to Vegas to hang out with Vic Flick (guitarist from the John Barry 7 who played the original Bond lick AND "Beat Girl!)" But he has the cheeky humor and sense of fun often missing from technically skilled but too-serious jazz cats.

The album kicks off with the title track, reminiscent of Lalo Schifrin's (another of Greave's heroes) "Mission Impossible" theme. "Banditos De Las Estrellos" could be a heavy metal spaghetti western theme. Carole King's '70s soft-pop hit "I Feel The Earth Move" gets an unexpectedly groovy reworking. He's added a hi-fi sci-fi twist to his surf guitar-brass-percussion lineup since we last checked in with him, to whit, this LOL-out loud twistin' version of some familiar "Star Wars" sounds:

The SG Sound: Cantina Band

As he mentions in this interview, Greaves doesn't like the term "lounge." Can't blame him, but I hope he doesn't mind me lumping him in with that genre with my clumsy labeling method.
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SWIPING SWOPE

Whilst listening to another fine episode of The Bopst Show, I was struck by a song called "Baby" from The Phenomenal Handclap Band. They sounded like a '70s group, but it turns out that they are a new soul revival band from New York. It was the ending part of the song that stopped me in my tracks: "Hey, that's 'Swopepusha'!"

"Swopepusha" is an almost-decade old track from Poopoo Varmint, a side project of mashup pioneer Evolution Control Committee. After downloading it back in the earliest days of such activities, I played it constantly. Still do, in fact. I couldn't get enough of what sounded like a brilliantly catchy melodic bit of '60s E-Z kitsch obliterated by a blizzard of pummeling electronic beats. That catchy melodic bit? You guessed - the same tune at the end of "Baby." Coincidence? Did the Handclap Band steal it from Poopoo Varmint? But where did they get it from..?

TradeMark G., the president of the Committe, informed me that they sampled it from "...Putney Swope, an awesome 1969 movie is it. It appears the soundtrack music is by Charley Cuva, and although a soundtrack album was not released at the time of the movie, an after-the-fact soundtrack was made later (and the LP of that would make a great birthday present for me... ahem). The music's from a commercial in the movie for Go Lucky Airlines; that soundtrack webpage includes a 45-second preview of the music that ECC sampled."

Our chats on this subject led Mark to go back and remix "Swopepusha." It possibly kicks even more butt then the original, but you can get both old and new versions HERE, as well as all the juicy details abut the song and Poopoo Varmint's brief history. But I'm just gonna post the new version, with the Handclap Band song, for your comparing and contrasting pleasure. (Remember, it's the end part of "Baby" we're talking about.)

The ECC/Poopoo Varmint "Swopepusha (2009)"

The Phenomenal Handclap Band "Baby"

So, did the Handclappers swipe the tune from the "Putney Swope" soundtrack? Or maybe they are ECC fans, or maybe it's a big coincidence. Or maybe the "Putney Swope" soundtrack guy got in a time machine and stole it from the Handclap Band. Or...

Oh, and in "Swopepusha," "by the way, that's Mae West moaning in the background."
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The Sound of Wonder!

India's madcap Bollywood filmi songs have become pretty familiar to Western ears lately, but India's neighbor to the north, Pakistan, apparently had their own musicals-obsessed film industry. The thoroughly delightful new comp The Sound of Wonder! highlights this weird world of '70s Moog/ lounge/cheesy/sleazy/disco.

These songs are similiar to Bollywood fare, but without the ubiquitous female voices of Lata Mangeshkar and Asha Bhosle, who seem to do every single filmi female vocal part. I didn't realize how integral those two were to Bollywood's sound until I heard this collection - I kept waiting for those high-pitched voices to come in. Instead we get a suave male singing about playboys, an apologetic female mournfully telling some fella "I am vedy sorryyyyy," and this twangy guitar/ accordian/ scat-singing nutty nugget. The funniest part is when the flatulant Moog comes in.

Tafo (feat. Nahid Akhtar) - Karya Pyar

Listen to those Amazon sound samples. See? Am I lying?!
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