Tweaks's mi, i can i dram

In the summer of 2012, the legendary Ambros album "Live ... at ana long finster'n Stross'n" from 1979 in a both sonically and visually high-grade, almost loving new edition appeared, this animated me to hope that now maybe all the great albums, edged Austrian would such polished reissued. Especially since the beginning of last year, on the occasion of his 60th birthday in parallel with the new studio album, yes two double-Best of-albums were released with a total of 80 titles, for a considerable part of his previous life's work record companies already was across extremely well remastered.

Now, nine months later, I can say it only with one of the most iconic hits of the Central Cemetery Album: Tweaks's mi, i to i dram!

The dream comes true. At least the Bellaphon makes the care of Ambros catalog and lets after was the only live album of the decade in the scarce Ambros there under contract (1973-1981) the beginning was made in June 2012, is now the first two studio -albums "idiosyncrasies" (1973) and "Long live the Central Cemetery" (1975) followed.

And it was just worked beautifully, as in "Live ...".
The sound restoration, ie the Remaster is just terrific. Compared to the old CD pressings one discovers the albums again from scratch, hear subtleties that previously hardly been perceptible in Mullig muffled overall sound, and perhaps only now understands the detail-love with the then emerged the songs.
For example, if in "Tweaks's mi", the big hit single of the plate, towards the end, where Ambros the chorus only whistles, a runaway Dixieland combo will do the background, you can hear now actually exactly what trombone, saxophone and trumpet as host for a tangle and still produce a harmonious, wild big picture. You can now follow each instrument separately, without therefore the overall sound image thus no longer comes into play.
Or the introduction to the album with the title song, composed in the first about thirty seconds, nothing but from an emerging Nachtwind with distant church bells beats, which one approaches slowly and then another less than half minute drums at intervals, also coming closer to setting builds until then by a total of about 55 seconds, the band lives up to. All these near-far effects, the contrasts come now amazing advantage. So in short, a feast for all, not only can blare alongside the music.

For album itself is nothing more to be said. It catapulted Ambros on a level, what he thinks since more forty years, though certainly with both qualitative and commercial undulations in all the time, so he is one yet to this day the most influential musicians of his era in Austria.
The title song "Long live the Central Cemetery", inspired by the banner advertised anniversary of the selfsame to read on was: "100 Years of Central Cemetery" (so what's going on, I think, even in Vienna, right?), Then by Georg Danzer written for Ambros suicide hymn "Today i mi ham drah" (also: on something to get only in Vienna, right?), or the eternally melancholic-beautiful "Espresso" and the bitter-beautiful "The Kinettn where i schlof "- all long Ambros classics, although none of them has ever been a single.

In addition to the 20-page booklet now, enriched with all the lyrics, liner notes, photos and portraits from the period and facsimiles of all single cover, the CDs themselves are again completely black on both sides and take account of the original record label imprint. Eben really detailed attention to the smallest.

And that still is not enough, there are also fed up bonus tracks. Purists who want to as it was originally only hear the album making, by title of ten. For all other then follow eight thoughtful additions that were created around the album.

In addition to single-B-sides that were on any album, we find there the lyrically clearly distinctive, High German (or what you think in Austria for) version of "Tweaks's Mi," which on the album itself so only in the Austrian version is represented, above even bargain with the line "... de Nua in Oasch kräun" (... the only crawl in A .., thus buttocks into), which in the later "German" version in "... the was always "mitigated only knuckle, since even the Austrian Radio boycotted the number for the line.
Also as a bonus, the non-album single "Gö because look", was apparently still found in two, so in the Austrian and the German version, and because it grooves so beautiful and the archive, even a purely instrumental version number and (yes, for the fourth time!) the TV-playback version (ie the normal recording only song without voice of Ambros). Granted, this is almost a "Gö because look" -Overkill.

Unlike the live album, the studio albums are not in digipack, but in normal jewel cases. However, each encased in cardboard sleeves, although take up the original cover again, but give rise to a series-nature of the reissues. By uniformly gray slipcase held the original artwork shines through pale, the title is silvery punched into it and provides you the CDs upright next to each other, even the W of traditional W.Ambros lettering can now be seen, which will be complete when the series finished is. So it goes on, the albums until 1981 will follow. Great, because the new editions represent a really measurable in every way added value that justifies the new acquisition Block already on the shelf albums.

We can only hope that the later label where Ambros was under contract / is pick up the thread and continue the respectful appreciation of his oeuvre just lovingly