{"header": true, "time_fetched": "2022-11-23T05:05:02.775208"}
{"kind": "youtube#commentThread", "etag": "-pN_C1YTuI0x2VJQyDKWRgYKnV4", "id": "UgyBhLXjkBm-mzY8rQ14AaABAg", "snippet": {"videoId": "QfwEl9R5zyU", "topLevelComment": {"kind": "youtube#comment", "etag": "MocpHP_z_FTseRZ0bYRvZ2jdjWQ", "id": "UgyBhLXjkBm-mzY8rQ14AaABAg", "snippet": {"videoId": "QfwEl9R5zyU", "textDisplay": "This album was originally released in 1971 on Philips Records. This only Hamburg six-piece album is a crossover of progressive and jazz rock, especially with wide-ranging influences like Bloodwyn Pig (two covers as a bonus track) and Curved Air. Long pauses by very talented musicians, they all fit into a unique sound with a distinct krautrock spirit. This release came with over 25 minutes of bonus material. Collectible item!\r<br>\r<br>History of triple mice:\r<br>\r<br>In the early summer of 1966, infected with the Beatlemania, brothers Rainer and Werner v. Gossen decided to form their own beat band. Born in Flensburg and grown up in Hamburg, they attended the Alexander-von-Humboldt Gymnasium in the suburbs of Harburg. Both had previously taken piano lessons. Rainer took the bass, Werner guitar and schoolmate Arn Bredeh\u00f6ft\u2019s drums. The trio was called Triput mice and had ambitions to reach the top which started well by successfully participating in many \u201cBattle Of The Beat Band\u201d competitions.\r<br>In August, they defeated 6 more ensembles and won first prize at Hamburg\u2019s Beat-Band-Battle Gymnasium at the Hamburg-Alsterdorf School.\r<br>The Hamburger Abendblatt newspaper used the following headlines to report on the event: \u201cBeat Battle Too Loud For Music Teacher\u201d and \u201cJudge Sat Outside\u201d. An August 24 article reported &quot;Beat Music&#39;s ear dulls, applause for a numb ear, 7 Hamburg Beat Bands fought in the heat of the moment for the first prize. The hall was boiling and only one person was left outside - the judge! It was too loud for a music teacher who was supposed to be a competent member of the jury, which he actually was though from a distance. He was sitting on a bench in the aisle in front of the hallway and listening from there. After 2 hours of noise the volume went down and he announced the winners - Three Mice &quot;.\r<br>The fact that the Three Mice did not even attend the host school and still won was a sign of their talent and ambition.\r<br>The victory brought them recognition on the already growing Hamburg scene, after which the band won the Beat competition organized by one of Hamburg&#39;s largest newspapers &quot;Harburger Anzeigen und Nachrichten&quot; (Han). The event with 24 bands fighting it was held in February 1967 in Friedrich-Ebert-Halle in Harburg in front of 1,200 spectators. Three times the Mice won with almost half of all the audience votes, and one of the jury members from the famous Hamburg Star Club commented deeply: &quot;I thought Three times the mice were the best.&quot; The event was well received, and music critic Willi Hofmann tried a sociological-cultural historical explanation: &quot;... I must say that the journalistic approach to Beat Music should be applauded. As with all human movements, power comes from the roots, from the undifferentiated and basic state of consciousness The natural phenomenon of Beat is a great protest against the wear and tear of modern jazz music, against everything old and rotten and against <a href=\"http://restrictions.it/\">restrictions.It</a> acts like the trumpets of Jericho and it is a miracle that the venue is not damaged by noise.\r<br>It is a victory for electricity that can be easily improved and undermined by voices, it is ancient magic and new technology, similtaneous ecstasy and monotony.\r<br>Within the stylistic barriers of several chords and rhythms, the bands are separated by personal effort. The relentless beating and brightness can be compared to Pop-Art in painting, a protest against all petty mealy-mouthed behaviors. Not to mention intimacy it is an expression of directness and digression, a true sign of the times, but actually ancient. The young people in the hall consumed the noise with deadly serious faces. &quot;\r<br>The question is whether the fans present saw it on this one\r<br>way. Anyway Rainer and Werner found flowers in front of their house after the concert, which were left by the young girls as a sign of their adoration. This was not the only recognition for their hard work. The prize for winning the Han competition was that the four best-placed bands were to appear with a song each on the EP. Three times the mice opted for a self-written work called \u201cInvitation\u201d. The song, whose style could be compared to The Who, gave the band a chance to break through to the top professionally. The EP, which is now very rare, was lent to us by Rainer v. Gosen and \u201cThe Invitation\u201d is on this CD. The local successes of the band continued, and a third v. Gosen brother, J\u00fcrgen, was brought in as road manager.\r<br>The band took a break in 1968 when Rainer had to join the German army in the civil service.\r<br>Arno Bredeh\u00f6ft joined the Beathovens and left the squad for the best part of the year. Gerd Adlung took over the drums and Hans-Hermann J\u00e4ger came to the organ. When he finished his duty Rainer returned to the lineup along with Arn and the original lineup was back together. It was then obvious that the band had reached its musical limits as a trio and was praised by three experienced musicians with a fine pedigree: Karl-Heinz Blumenberg (vocals, alto saxophone, percussion, flute, guitar) played Jazz, Skiffle and Folklore, Wolfgang Buhre (tenor, alto and soprano saxophone, clarinet and percussion) played jazz with Chris Barber", "textOriginal": "This album was originally released in 1971 on Philips Records. This only Hamburg six-piece album is a crossover of progressive and jazz rock, especially with wide-ranging influences like Bloodwyn Pig (two covers as a bonus track) and Curved Air. Long pauses by very talented musicians, they all fit into a unique sound with a distinct krautrock spirit. This release came with over 25 minutes of bonus material. Collectible item!\r\n\r\nHistory of triple mice:\r\n\r\nIn the early summer of 1966, infected with the Beatlemania, brothers Rainer and Werner v. Gossen decided to form their own beat band. Born in Flensburg and grown up in Hamburg, they attended the Alexander-von-Humboldt Gymnasium in the suburbs of Harburg. Both had previously taken piano lessons. Rainer took the bass, Werner guitar and schoolmate Arn Bredeh\u00f6ft\u2019s drums. The trio was called Triput mice and had ambitions to reach the top which started well by successfully participating in many \u201cBattle Of The Beat Band\u201d competitions.\r\nIn August, they defeated 6 more ensembles and won first prize at Hamburg\u2019s Beat-Band-Battle Gymnasium at the Hamburg-Alsterdorf School.\r\nThe Hamburger Abendblatt newspaper used the following headlines to report on the event: \u201cBeat Battle Too Loud For Music Teacher\u201d and \u201cJudge Sat Outside\u201d. An August 24 article reported \"Beat Music's ear dulls, applause for a numb ear, 7 Hamburg Beat Bands fought in the heat of the moment for the first prize. The hall was boiling and only one person was left outside - the judge! It was too loud for a music teacher who was supposed to be a competent member of the jury, which he actually was though from a distance. He was sitting on a bench in the aisle in front of the hallway and listening from there. After 2 hours of noise the volume went down and he announced the winners - Three Mice \".\r\nThe fact that the Three Mice did not even attend the host school and still won was a sign of their talent and ambition.\r\nThe victory brought them recognition on the already growing Hamburg scene, after which the band won the Beat competition organized by one of Hamburg's largest newspapers \"Harburger Anzeigen und Nachrichten\" (Han). The event with 24 bands fighting it was held in February 1967 in Friedrich-Ebert-Halle in Harburg in front of 1,200 spectators. Three times the Mice won with almost half of all the audience votes, and one of the jury members from the famous Hamburg Star Club commented deeply: \"I thought Three times the mice were the best.\" The event was well received, and music critic Willi Hofmann tried a sociological-cultural historical explanation: \"... I must say that the journalistic approach to Beat Music should be applauded. As with all human movements, power comes from the roots, from the undifferentiated and basic state of consciousness The natural phenomenon of Beat is a great protest against the wear and tear of modern jazz music, against everything old and rotten and against restrictions.It acts like the trumpets of Jericho and it is a miracle that the venue is not damaged by noise.\r\nIt is a victory for electricity that can be easily improved and undermined by voices, it is ancient magic and new technology, similtaneous ecstasy and monotony.\r\nWithin the stylistic barriers of several chords and rhythms, the bands are separated by personal effort. The relentless beating and brightness can be compared to Pop-Art in painting, a protest against all petty mealy-mouthed behaviors. Not to mention intimacy it is an expression of directness and digression, a true sign of the times, but actually ancient. The young people in the hall consumed the noise with deadly serious faces. \"\r\nThe question is whether the fans present saw it on this one\r\nway. Anyway Rainer and Werner found flowers in front of their house after the concert, which were left by the young girls as a sign of their adoration. This was not the only recognition for their hard work. The prize for winning the Han competition was that the four best-placed bands were to appear with a song each on the EP. Three times the mice opted for a self-written work called \u201cInvitation\u201d. The song, whose style could be compared to The Who, gave the band a chance to break through to the top professionally. The EP, which is now very rare, was lent to us by Rainer v. Gosen and \u201cThe Invitation\u201d is on this CD. The local successes of the band continued, and a third v. Gosen brother, J\u00fcrgen, was brought in as road manager.\r\nThe band took a break in 1968 when Rainer had to join the German army in the civil service.\r\nArno Bredeh\u00f6ft joined the Beathovens and left the squad for the best part of the year. Gerd Adlung took over the drums and Hans-Hermann J\u00e4ger came to the organ. When he finished his duty Rainer returned to the lineup along with Arn and the original lineup was back together. It was then obvious that the band had reached its musical limits as a trio and was praised by three experienced musicians with a fine pedigree: Karl-Heinz Blumenberg (vocals, alto saxophone, percussion, flute, guitar) played Jazz, Skiffle and Folklore, Wolfgang Buhre (tenor, alto and soprano saxophone, clarinet and percussion) played jazz with Chris Barber", "authorDisplayName": "ladislav zivanovic", "authorProfileImageUrl": "https://yt3.ggpht.com/WjFIxGZTrtHSpXknO9UDIXfY59EnD6uzqMcLBWviNY1wa6Cx4Og47vukQuHz6sTwmTmgEWDVxQ=s48-c-k-c0x00ffffff-no-rj", "authorChannelUrl": "http://www.youtube.com/channel/UC45IlCLYzJj6j6HoJ1F39SQ", "authorChannelId": {"value": "UC45IlCLYzJj6j6HoJ1F39SQ"}, "canRate": true, "viewerRating": "none", "likeCount": 1, "publishedAt": "2021-06-22T02:28:18Z", "updatedAt": "2021-06-22T02:28:18Z"}}, "canReply": true, "totalReplyCount": 0, "isPublic": true}}
{"kind": "youtube#commentThread", "etag": "xhLtmGnR3ihaAgcQgcniEmvphzQ", "id": "UgxjXpxFvWcO2lg_w7N4AaABAg", "snippet": {"videoId": "QfwEl9R5zyU", "topLevelComment": {"kind": "youtube#comment", "etag": "GO983QyQtWK-wB54UQhpzePxNnY", "id": "UgxjXpxFvWcO2lg_w7N4AaABAg", "snippet": {"videoId": "QfwEl9R5zyU", "textDisplay": "Ovaj album je izvorno objavljen 1971. godine na Philips Recordsu. Ovaj jedini album Hambur\u0161kog \u0161est komada je crossover progresivnog i jazz rocka, posebno s utjecajima \u0161irokog raspona kao Bloodwyn Pig (dvije naslovnice kao bonus pjesme) i Curved Air. Dugi zastoji vrlo talentiranih glazbenika, svi se uklapaju u jedinstveni zvuk s izrazitim duhom krautrocka. ovo izdanje do\u0161lo je s vi\u0161e od 25 minuta bonus materijala. Kolekcionarski predmet!\r<br>\r<br>Povijest triput mi\u0161eva:\r<br>\r<br>Po\u010detkom ljeta 1966., zara\u017eeni Beatlemaniji, bra\u0107a Rainer i Werner protiv Gosena odlu\u010dili su osnovati vlastiti beat bend. Ro\u0111eni u Flensburgu i odrasli u Hamburgu poha\u0111ali su gimnaziju Alexander-von-Humboldt u predgra\u0111u Harburga. Obojica su prethodno i\u0161ali satove klavira. Rainer je uzeo bas, Werner gitaru i \u0161kolskog cimera Arna Bredeh\u00f6fta bubnjeve. Trio se nazivao Triput mi\u0161evi i imao je ambicije do\u0107i do vrha koji je dobro zapo\u010deo uspje\u0161nim sudjelovanjem u mnogim natjecanjima&quot;Battle Of The Beat Band&quot;.\r<br>U kolovozu su pobijedili jo\u0161 6 sastava i osvojili prvu nagradu u hambur\u0161koj gimnaziji Beat-Band-Battle u \u0161koli Hamburg-Alsterdorf.\r<br>Novine Hamburger Abendblatt koristile su sljede\u0107e naslove kako bi izvijestile o doga\u0111aju: &quot;Beat Battle Too Loud For Music Teacher&quot; i &quot;Judge Sat Outside&quot;. \u010clanak od 24. kolovoza izvijestio je &quot;uho zatupljuje Beat Music, pljesak za utrnulo uho, 7 Hamburg Beat Bands borilo se u \u017earu trenutka za prvu nagradu. Dvorana je klju\u010dala i samo je jedna osoba ostala vani - sudac! Bilo je preglasno za u\u010ditelja glazbe koji je trebao biti kompetentan \u010dlan \u017eirija, \u0161to je zapravo bio iako iz daljine. Sjedio je na klupi u prolazu ispred hodnika i slu\u0161ao od tamo. Nakon 2 sata buke glasnost je oslabila i on je objavio pobjednike - Triput mi\u0161evi&quot;.\r<br>To \u0161to Triput mi\u0161evi nisu ni poha\u0111ali \u0161kolu doma\u0107ina i jo\u0161 uvijek pobijedili bio je znak njihovog talenta i ambicije.\r<br>Pobjeda im je donijela priznanje na ve\u0107 rastu\u0107oj hambur\u0161koj sceni, nakon \u010dega je sastav pobijedio na natjecanju Beat u organizaciji jednog od najve\u0107ih hambur\u0161kih novina &quot;Harburger Anzeigen und Nachrichten&quot; (Han). Doga\u0111aj s 24 sastava koji su se borili s njim odr\u017ean je u velja\u010di 1967. u Friedrich-Ebert-Halleu u Harburgu pred 1.200 gledatelja. Triput su Mi\u0161evi pobijedili s gotovo polovicom svih glasova publike, a jedan od \u010dlanova \u017eirija iz poznatog Hambur\u0161kog zvjezdanog kluba duboko je komentirao: &quot;Mislio sam da su Triput mi\u0161evi najbolji&quot;. Doga\u0111aj je bio dobro prihva\u0107en, a glazbeni kriti\u010dar Willi Hofmann isprobao je sociolo\u0161ko kulturno povijesno obja\u0161njenje: &quot;... Moram re\u0107i da treba zapljeskati novinarskom pristupu Beat Musicu. Kao i kod svih pokreta ljudi, mo\u0107 dolazi iz korijena, iz nediferenciranog i osnovnog stanja svijesti. Prirodni fenomen Beata veliki je prosvjed protiv izlizivanja moderne jazz glazbe, protiv svega starog i trulog i protiv ograni\u010denja. Djeluje kao trube Jerihona i \u010dudo je da mjesto odr\u017eavanja nije o\u0161te\u0107eno bukom.\r<br>To je pobjeda za elektri\u010dnu energiju koja se lako mo\u017ee pobolj\u0161ati i potkopati glasovima, to je drevna magija i nova tehnologija, similtaneous ecstasy i monotonija.\r<br>Unutar stilskih barijera od nekoliko akorda i ritmova bendovi su odvojeni osobnim naporom. Nemilosrdno udaranje i svjetlina mogu se usporediti s Pop-Artom u slikarstvu, prosvjedom protiv svih sitnih mealy-mouthed pona\u0161anja. Ne spominju\u0107i bliskost to je izraz izravnosti i digresije, pravi znak vremena, ali zapravo drevni. Mladi u dvorani konzumirali su buku sa smrtonosnim ozbiljnim licima&quot;.\r<br>Pitanje je jesu li prisutni navija\u010di to vidjeli na ovaj\r<br>na\u010din. U svakom slu\u010daju Rainer i Werner prona\u0161li su cvije\u0107e ispred svoje ku\u0107e nakon koncerta, koje su ostavile mlade djevojke kao znak njihovog obo\u017eavanja. Ovo nije bilo jedino priznanje za njihov naporan rad. Nagrada za pobjedu na Hanovom natjecanju bila je ta \u0161to su se \u010detiri najbolje plasirana benda trebala pojaviti s pjesmom svaki na EP-u. Triput mi\u0161evi odlu\u010dili su se za samostalno napisano djelo pod nazivom &quot;Pozivnica&quot;. Pjesma, \u010diji se stil mogao usporediti s The Who, dala je bendu mogu\u0107nost da se profesionalno probija do vrha. EP, koji je sada vrlo rijedak, posudio nam je Rainer v. Gosen i &quot;Pozivnica&quot; nalaze se na ovom CD-u. Lokalni uspjesi sastava su se nastavili, a tre\u0107i v. Gosen brat, J\u00fcrgen, je doveden kao cestovni menad\u017eer.\r<br>Sastav je uzeo pauzu 1968. godine kada se Rainer morao pridru\u017eiti njema\u010dkoj vojsci na dr\u017eavnoj slu\u017ebi.\r<br>Arno Bredeh\u00f6ft pridru\u017eio se Beathovensima i napustio sastav u najboljem dijelu godine. Gerd Adlung je preuzeo bubnjeve, a Hans-Hermann J\u00e4ger je do\u0161ao na orgulje. Kada je zavr\u0161io svoju du\u017enost Rainer se vratio u sastav zajedno s Arnom i originalna postava je ponovno bila na okupu. Tada je bilo o\u010dito da je bend dosegao svoje glazbene granice kao trio i tako su ga pohvalila trojica iskusnih glazbenika s finim pedigreom: Karl-Heinz Blumenberg (vokal, alt saksofon, udaraljke, flauta, gitara) svirao je Jazz, Skiffle i Folklore, Wolfgang Buhre (tenor, alt i sopran saksofon, clarinette und udaraljke) svirao je jazz s Chrisom Barber", "textOriginal": "Ovaj album je izvorno objavljen 1971. godine na Philips Recordsu. Ovaj jedini album Hambur\u0161kog \u0161est komada je crossover progresivnog i jazz rocka, posebno s utjecajima \u0161irokog raspona kao Bloodwyn Pig (dvije naslovnice kao bonus pjesme) i Curved Air. Dugi zastoji vrlo talentiranih glazbenika, svi se uklapaju u jedinstveni zvuk s izrazitim duhom krautrocka. ovo izdanje do\u0161lo je s vi\u0161e od 25 minuta bonus materijala. Kolekcionarski predmet!\r\n\r\nPovijest triput mi\u0161eva:\r\n\r\nPo\u010detkom ljeta 1966., zara\u017eeni Beatlemaniji, bra\u0107a Rainer i Werner protiv Gosena odlu\u010dili su osnovati vlastiti beat bend. Ro\u0111eni u Flensburgu i odrasli u Hamburgu poha\u0111ali su gimnaziju Alexander-von-Humboldt u predgra\u0111u Harburga. Obojica su prethodno i\u0161ali satove klavira. Rainer je uzeo bas, Werner gitaru i \u0161kolskog cimera Arna Bredeh\u00f6fta bubnjeve. Trio se nazivao Triput mi\u0161evi i imao je ambicije do\u0107i do vrha koji je dobro zapo\u010deo uspje\u0161nim sudjelovanjem u mnogim natjecanjima\"Battle Of The Beat Band\".\r\nU kolovozu su pobijedili jo\u0161 6 sastava i osvojili prvu nagradu u hambur\u0161koj gimnaziji Beat-Band-Battle u \u0161koli Hamburg-Alsterdorf.\r\nNovine Hamburger Abendblatt koristile su sljede\u0107e naslove kako bi izvijestile o doga\u0111aju: \"Beat Battle Too Loud For Music Teacher\" i \"Judge Sat Outside\". \u010clanak od 24. kolovoza izvijestio je \"uho zatupljuje Beat Music, pljesak za utrnulo uho, 7 Hamburg Beat Bands borilo se u \u017earu trenutka za prvu nagradu. Dvorana je klju\u010dala i samo je jedna osoba ostala vani - sudac! Bilo je preglasno za u\u010ditelja glazbe koji je trebao biti kompetentan \u010dlan \u017eirija, \u0161to je zapravo bio iako iz daljine. Sjedio je na klupi u prolazu ispred hodnika i slu\u0161ao od tamo. Nakon 2 sata buke glasnost je oslabila i on je objavio pobjednike - Triput mi\u0161evi\".\r\nTo \u0161to Triput mi\u0161evi nisu ni poha\u0111ali \u0161kolu doma\u0107ina i jo\u0161 uvijek pobijedili bio je znak njihovog talenta i ambicije.\r\nPobjeda im je donijela priznanje na ve\u0107 rastu\u0107oj hambur\u0161koj sceni, nakon \u010dega je sastav pobijedio na natjecanju Beat u organizaciji jednog od najve\u0107ih hambur\u0161kih novina \"Harburger Anzeigen und Nachrichten\" (Han). Doga\u0111aj s 24 sastava koji su se borili s njim odr\u017ean je u velja\u010di 1967. u Friedrich-Ebert-Halleu u Harburgu pred 1.200 gledatelja. Triput su Mi\u0161evi pobijedili s gotovo polovicom svih glasova publike, a jedan od \u010dlanova \u017eirija iz poznatog Hambur\u0161kog zvjezdanog kluba duboko je komentirao: \"Mislio sam da su Triput mi\u0161evi najbolji\". Doga\u0111aj je bio dobro prihva\u0107en, a glazbeni kriti\u010dar Willi Hofmann isprobao je sociolo\u0161ko kulturno povijesno obja\u0161njenje: \"... Moram re\u0107i da treba zapljeskati novinarskom pristupu Beat Musicu. Kao i kod svih pokreta ljudi, mo\u0107 dolazi iz korijena, iz nediferenciranog i osnovnog stanja svijesti. Prirodni fenomen Beata veliki je prosvjed protiv izlizivanja moderne jazz glazbe, protiv svega starog i trulog i protiv ograni\u010denja. Djeluje kao trube Jerihona i \u010dudo je da mjesto odr\u017eavanja nije o\u0161te\u0107eno bukom.\r\nTo je pobjeda za elektri\u010dnu energiju koja se lako mo\u017ee pobolj\u0161ati i potkopati glasovima, to je drevna magija i nova tehnologija, similtaneous ecstasy i monotonija.\r\nUnutar stilskih barijera od nekoliko akorda i ritmova bendovi su odvojeni osobnim naporom. Nemilosrdno udaranje i svjetlina mogu se usporediti s Pop-Artom u slikarstvu, prosvjedom protiv svih sitnih mealy-mouthed pona\u0161anja. Ne spominju\u0107i bliskost to je izraz izravnosti i digresije, pravi znak vremena, ali zapravo drevni. Mladi u dvorani konzumirali su buku sa smrtonosnim ozbiljnim licima\".\r\nPitanje je jesu li prisutni navija\u010di to vidjeli na ovaj\r\nna\u010din. U svakom slu\u010daju Rainer i Werner prona\u0161li su cvije\u0107e ispred svoje ku\u0107e nakon koncerta, koje su ostavile mlade djevojke kao znak njihovog obo\u017eavanja. Ovo nije bilo jedino priznanje za njihov naporan rad. Nagrada za pobjedu na Hanovom natjecanju bila je ta \u0161to su se \u010detiri najbolje plasirana benda trebala pojaviti s pjesmom svaki na EP-u. Triput mi\u0161evi odlu\u010dili su se za samostalno napisano djelo pod nazivom \"Pozivnica\". Pjesma, \u010diji se stil mogao usporediti s The Who, dala je bendu mogu\u0107nost da se profesionalno probija do vrha. EP, koji je sada vrlo rijedak, posudio nam je Rainer v. Gosen i \"Pozivnica\" nalaze se na ovom CD-u. Lokalni uspjesi sastava su se nastavili, a tre\u0107i v. Gosen brat, J\u00fcrgen, je doveden kao cestovni menad\u017eer.\r\nSastav je uzeo pauzu 1968. godine kada se Rainer morao pridru\u017eiti njema\u010dkoj vojsci na dr\u017eavnoj slu\u017ebi.\r\nArno Bredeh\u00f6ft pridru\u017eio se Beathovensima i napustio sastav u najboljem dijelu godine. Gerd Adlung je preuzeo bubnjeve, a Hans-Hermann J\u00e4ger je do\u0161ao na orgulje. Kada je zavr\u0161io svoju du\u017enost Rainer se vratio u sastav zajedno s Arnom i originalna postava je ponovno bila na okupu. Tada je bilo o\u010dito da je bend dosegao svoje glazbene granice kao trio i tako su ga pohvalila trojica iskusnih glazbenika s finim pedigreom: Karl-Heinz Blumenberg (vokal, alt saksofon, udaraljke, flauta, gitara) svirao je Jazz, Skiffle i Folklore, Wolfgang Buhre (tenor, alt i sopran saksofon, clarinette und udaraljke) svirao je jazz s Chrisom Barber", "authorDisplayName": "ladislav zivanovic", "authorProfileImageUrl": "https://yt3.ggpht.com/WjFIxGZTrtHSpXknO9UDIXfY59EnD6uzqMcLBWviNY1wa6Cx4Og47vukQuHz6sTwmTmgEWDVxQ=s48-c-k-c0x00ffffff-no-rj", "authorChannelUrl": "http://www.youtube.com/channel/UC45IlCLYzJj6j6HoJ1F39SQ", "authorChannelId": {"value": "UC45IlCLYzJj6j6HoJ1F39SQ"}, "canRate": true, "viewerRating": "none", "likeCount": 1, "publishedAt": "2021-06-22T02:27:34Z", "updatedAt": "2021-06-22T02:27:34Z"}}, "canReply": true, "totalReplyCount": 0, "isPublic": true}}
{"kind": "youtube#commentThread", "etag": "Q4qWYPo25pd0ixpYtXlEBxzofhA", "id": "UgzsAHtep_8teDrwA_14AaABAg", "snippet": {"videoId": "QfwEl9R5zyU", "topLevelComment": {"kind": "youtube#comment", "etag": "3lhOXj3uNPDR3FxJHq_gzb3Avvo", "id": "UgzsAHtep_8teDrwA_14AaABAg", "snippet": {"videoId": "QfwEl9R5zyU", "textDisplay": "Cet album a \u00e9t\u00e9 initialement publi\u00e9 en 1971 sur Philips Records. Ce seul album de six morceaux de Hambourg est un m\u00e9lange de rock progressif et de jazz rock, en particulier avec de larges influences comme Bloodwyn Pig (deux reprises en bonus) et Curved Air. De longues pauses par des musiciens tr\u00e8s talentueux, elles s&#39;int\u00e8grent toutes dans un son unique avec un esprit krautrock bien distinct. Cette version est venue avec plus de 25 minutes de bonus. Objet de collection !\r<br>\r<br>Histoire des souris triples :\r<br>\r<br>Au d\u00e9but de l&#39;\u00e9t\u00e9 1966, infect\u00e9s par la Beatlemania, les fr\u00e8res Rainer et Werner v. Gossen d\u00e9cident de former leur propre beat band. N\u00e9 \u00e0 Flensburg et grandi \u00e0 Hambourg, ils ont fr\u00e9quent\u00e9 le gymnase Alexander-von-Humboldt dans la banlieue de Harburg. Tous deux avaient d\u00e9j\u00e0 pris des cours de piano. Rainer a pris la basse, la guitare de Werner et la batterie de son camarade Arn Bredeh\u00f6ft. Le trio s&#39;appelait les souris Triput et avait l&#39;ambition d&#39;atteindre le sommet qui avait bien commenc\u00e9 en participant avec succ\u00e8s \u00e0 de nombreuses comp\u00e9titions \u00ab Battle Of The Beat Band \u00bb.\r<br>En ao\u00fbt, ils ont battu 6 autres ensembles et ont remport\u00e9 le premier prix au Beat-Band-Battle Gymnasium de Hambourg \u00e0 la Hamburg-Alsterdorf School.\r<br>Le journal Hamburger Abendblatt a utilis\u00e9 les titres suivants pour rendre compte de l&#39;\u00e9v\u00e9nement : \u00ab Beat Battle Too Loud For Music Teacher \u00bb et \u00ab Judge Sat Outside \u00bb. Un article du 24 ao\u00fbt rapportait que \u00ab Beat Music&#39;s ear s&#39;\u00e9mousse, applaudissements pour une oreille engourdie, 7 Hamburg Beat Bands se sont battus dans le feu de l&#39;action pour le premier prix. La salle \u00e9tait en \u00e9bullition et une seule personne est rest\u00e9e dehors - le juge ! trop fort pour un professeur de musique qui \u00e9tait cens\u00e9 \u00eatre un membre comp\u00e9tent du jury, ce qu&#39;il \u00e9tait en fait de loin. Il \u00e9tait assis sur un banc dans l&#39;all\u00e9e devant le couloir et \u00e9coutait de l\u00e0. Apr\u00e8s 2 heures de bruit, le volume a baiss\u00e9 et il a annonc\u00e9 les gagnants - Trois souris &quot;.\r<br>Le fait que les Trois Souris n&#39;aient m\u00eame pas fr\u00e9quent\u00e9 l&#39;\u00e9cole h\u00f4te et aient quand m\u00eame gagn\u00e9 \u00e9tait un signe de leur talent et de leur ambition.\r<br>Cette victoire leur a valu une reconnaissance sur la sc\u00e8ne hambourgeoise d\u00e9j\u00e0 grandissante, apr\u00e8s quoi le groupe a remport\u00e9 le concours Beat organis\u00e9 par l&#39;un des plus grands journaux de Hambourg &quot;Harburger Anzeigen und Nachrichten&quot; (Han). L&#39;\u00e9v\u00e9nement avec 24 groupes qui la combattent a eu lieu en f\u00e9vrier 1967 \u00e0 Friedrich-Ebert-Halle \u00e0 Harburg devant 1 200 spectateurs. Trois fois, les souris ont gagn\u00e9 avec pr\u00e8s de la moiti\u00e9 des votes du public, et l&#39;un des membres du jury du c\u00e9l\u00e8bre Hamburg Star Club a comment\u00e9 profond\u00e9ment : &quot;Je pensais que trois fois les souris \u00e9taient les meilleures.&quot; L&#39;\u00e9v\u00e9nement a \u00e9t\u00e9 bien accueilli et le critique musical Willi Hofmann a tent\u00e9 une explication historique sociologique et culturelle : \u00ab ... Je dois dire que l&#39;approche journalistique de la Beat Music doit \u00eatre applaudie. Comme pour tous les mouvements humains, le pouvoir vient des racines, des l&#39;\u00e9tat de conscience indiff\u00e9renci\u00e9 et basique Le ph\u00e9nom\u00e8ne naturel du Beat est une grande protestation contre l&#39;usure de la musique jazz moderne, contre tout ce qui est vieux et pourri et contre les restrictions. Il agit comme les trompettes de J\u00e9richo et c&#39;est un miracle que le lieu n&#39;est pas endommag\u00e9 par le bruit.\r<br>C&#39;est une victoire pour l&#39;\u00e9lectricit\u00e9 qui peut \u00eatre facilement am\u00e9lior\u00e9e et min\u00e9e par les voix, c&#39;est la magie ancienne et la nouvelle technologie, \u00e0 la fois extase et monotonie.\r<br>Dans les barri\u00e8res stylistiques de plusieurs accords et rythmes, les groupes sont s\u00e9par\u00e9s par un effort personnel. Le battement incessant et la luminosit\u00e9 peuvent \u00eatre compar\u00e9s au Pop-Art en peinture, une protestation contre tous les comportements mesquins et boudeurs. Sans parler de l&#39;intimit\u00e9, c&#39;est une expression de franchise et de digression, un vrai signe des temps, mais en fait ancien. Les jeunes dans le hall ont consomm\u00e9 le bruit avec des visages mortellement s\u00e9rieux. \u00bb\r<br>La question est de savoir si les fans pr\u00e9sents l&#39;ont vu sur celui-ci\r<br>chemin. Quoi qu&#39;il en soit Rainer et Werner ont trouv\u00e9 des fleurs devant leur maison apr\u00e8s le concert, qui ont \u00e9t\u00e9 laiss\u00e9es par les jeunes filles en signe de leur adoration. Ce n&#39;\u00e9tait pas la seule reconnaissance pour leur travail acharn\u00e9. Le prix pour avoir remport\u00e9 le concours Han \u00e9tait que les quatre groupes les mieux plac\u00e9s devaient appara\u00eetre avec une chanson chacun sur l&#39;EP. \u00c0 trois reprises, les souris ont opt\u00e9 pour une \u0153uvre auto-\u00e9crite intitul\u00e9e \u00ab Invitation \u00bb. La chanson, dont le style pourrait \u00eatre compar\u00e9 \u00e0 The Who, a donn\u00e9 au groupe l&#39;opportunit\u00e9 de percer professionnellement au sommet. L&#39;EP, devenu tr\u00e8s rare, nous a \u00e9t\u00e9 pr\u00eat\u00e9 par Rainer v. Gosen et \u00ab The Invitation \u00bb est sur ce CD. Les succ\u00e8s locaux du groupe se sont poursuivis et un troisi\u00e8me fr\u00e8re de v. Gosen, J\u00fcrgen, a \u00e9t\u00e9 recrut\u00e9 en tant que road manager.\r<br>Le groupe fait une pause en 1968 lorsque Rainer doit rejoindre l&#39;arm\u00e9e allemande dans la fonction publique.\r<br>Arno Bredeh\u00f6ft a rejoint les Beathovens et a quitt\u00e9 l&#39;\u00e9quipe pendant la majeure partie de l&#39;ann\u00e9e. Gerd Adlung a repris la batterie et Hans-Hermann J\u00e4ger est venu \u00e0 l&#39;orgue. Lorsqu&#39;il a termin\u00e9 son devoir, Rainer est revenu dans la formation avec Arn et la formation d&#39;origine \u00e9tait de nouveau r\u00e9unie. Il \u00e9tait alors \u00e9vident que le groupe avait atteint ses limites musicales en trio et \u00e9tait salu\u00e9 par trois musiciens exp\u00e9riment\u00e9s avec un beau pedigree : Karl-Heinz Blumenberg (voix, saxophone alto, percussions, fl\u00fbte, guitare) jouait du Jazz, du Skiffle et du Folklore, Wolfgang Buhre (saxophone t\u00e9nor, alto et soprano, clarinette et percussions) a jou\u00e9 du jazz avec Chris Barber", "textOriginal": "Cet album a \u00e9t\u00e9 initialement publi\u00e9 en 1971 sur Philips Records. Ce seul album de six morceaux de Hambourg est un m\u00e9lange de rock progressif et de jazz rock, en particulier avec de larges influences comme Bloodwyn Pig (deux reprises en bonus) et Curved Air. De longues pauses par des musiciens tr\u00e8s talentueux, elles s'int\u00e8grent toutes dans un son unique avec un esprit krautrock bien distinct. Cette version est venue avec plus de 25 minutes de bonus. Objet de collection !\r\n\r\nHistoire des souris triples :\r\n\r\nAu d\u00e9but de l'\u00e9t\u00e9 1966, infect\u00e9s par la Beatlemania, les fr\u00e8res Rainer et Werner v. Gossen d\u00e9cident de former leur propre beat band. N\u00e9 \u00e0 Flensburg et grandi \u00e0 Hambourg, ils ont fr\u00e9quent\u00e9 le gymnase Alexander-von-Humboldt dans la banlieue de Harburg. Tous deux avaient d\u00e9j\u00e0 pris des cours de piano. Rainer a pris la basse, la guitare de Werner et la batterie de son camarade Arn Bredeh\u00f6ft. Le trio s'appelait les souris Triput et avait l'ambition d'atteindre le sommet qui avait bien commenc\u00e9 en participant avec succ\u00e8s \u00e0 de nombreuses comp\u00e9titions \u00ab Battle Of The Beat Band \u00bb.\r\nEn ao\u00fbt, ils ont battu 6 autres ensembles et ont remport\u00e9 le premier prix au Beat-Band-Battle Gymnasium de Hambourg \u00e0 la Hamburg-Alsterdorf School.\r\nLe journal Hamburger Abendblatt a utilis\u00e9 les titres suivants pour rendre compte de l'\u00e9v\u00e9nement : \u00ab Beat Battle Too Loud For Music Teacher \u00bb et \u00ab Judge Sat Outside \u00bb. Un article du 24 ao\u00fbt rapportait que \u00ab Beat Music's ear s'\u00e9mousse, applaudissements pour une oreille engourdie, 7 Hamburg Beat Bands se sont battus dans le feu de l'action pour le premier prix. La salle \u00e9tait en \u00e9bullition et une seule personne est rest\u00e9e dehors - le juge ! trop fort pour un professeur de musique qui \u00e9tait cens\u00e9 \u00eatre un membre comp\u00e9tent du jury, ce qu'il \u00e9tait en fait de loin. Il \u00e9tait assis sur un banc dans l'all\u00e9e devant le couloir et \u00e9coutait de l\u00e0. Apr\u00e8s 2 heures de bruit, le volume a baiss\u00e9 et il a annonc\u00e9 les gagnants - Trois souris \".\r\nLe fait que les Trois Souris n'aient m\u00eame pas fr\u00e9quent\u00e9 l'\u00e9cole h\u00f4te et aient quand m\u00eame gagn\u00e9 \u00e9tait un signe de leur talent et de leur ambition.\r\nCette victoire leur a valu une reconnaissance sur la sc\u00e8ne hambourgeoise d\u00e9j\u00e0 grandissante, apr\u00e8s quoi le groupe a remport\u00e9 le concours Beat organis\u00e9 par l'un des plus grands journaux de Hambourg \"Harburger Anzeigen und Nachrichten\" (Han). L'\u00e9v\u00e9nement avec 24 groupes qui la combattent a eu lieu en f\u00e9vrier 1967 \u00e0 Friedrich-Ebert-Halle \u00e0 Harburg devant 1 200 spectateurs. Trois fois, les souris ont gagn\u00e9 avec pr\u00e8s de la moiti\u00e9 des votes du public, et l'un des membres du jury du c\u00e9l\u00e8bre Hamburg Star Club a comment\u00e9 profond\u00e9ment : \"Je pensais que trois fois les souris \u00e9taient les meilleures.\" L'\u00e9v\u00e9nement a \u00e9t\u00e9 bien accueilli et le critique musical Willi Hofmann a tent\u00e9 une explication historique sociologique et culturelle : \u00ab ... Je dois dire que l'approche journalistique de la Beat Music doit \u00eatre applaudie. Comme pour tous les mouvements humains, le pouvoir vient des racines, des l'\u00e9tat de conscience indiff\u00e9renci\u00e9 et basique Le ph\u00e9nom\u00e8ne naturel du Beat est une grande protestation contre l'usure de la musique jazz moderne, contre tout ce qui est vieux et pourri et contre les restrictions. Il agit comme les trompettes de J\u00e9richo et c'est un miracle que le lieu n'est pas endommag\u00e9 par le bruit.\r\nC'est une victoire pour l'\u00e9lectricit\u00e9 qui peut \u00eatre facilement am\u00e9lior\u00e9e et min\u00e9e par les voix, c'est la magie ancienne et la nouvelle technologie, \u00e0 la fois extase et monotonie.\r\nDans les barri\u00e8res stylistiques de plusieurs accords et rythmes, les groupes sont s\u00e9par\u00e9s par un effort personnel. Le battement incessant et la luminosit\u00e9 peuvent \u00eatre compar\u00e9s au Pop-Art en peinture, une protestation contre tous les comportements mesquins et boudeurs. Sans parler de l'intimit\u00e9, c'est une expression de franchise et de digression, un vrai signe des temps, mais en fait ancien. Les jeunes dans le hall ont consomm\u00e9 le bruit avec des visages mortellement s\u00e9rieux. \u00bb\r\nLa question est de savoir si les fans pr\u00e9sents l'ont vu sur celui-ci\r\nchemin. Quoi qu'il en soit Rainer et Werner ont trouv\u00e9 des fleurs devant leur maison apr\u00e8s le concert, qui ont \u00e9t\u00e9 laiss\u00e9es par les jeunes filles en signe de leur adoration. Ce n'\u00e9tait pas la seule reconnaissance pour leur travail acharn\u00e9. Le prix pour avoir remport\u00e9 le concours Han \u00e9tait que les quatre groupes les mieux plac\u00e9s devaient appara\u00eetre avec une chanson chacun sur l'EP. \u00c0 trois reprises, les souris ont opt\u00e9 pour une \u0153uvre auto-\u00e9crite intitul\u00e9e \u00ab Invitation \u00bb. La chanson, dont le style pourrait \u00eatre compar\u00e9 \u00e0 The Who, a donn\u00e9 au groupe l'opportunit\u00e9 de percer professionnellement au sommet. L'EP, devenu tr\u00e8s rare, nous a \u00e9t\u00e9 pr\u00eat\u00e9 par Rainer v. Gosen et \u00ab The Invitation \u00bb est sur ce CD. Les succ\u00e8s locaux du groupe se sont poursuivis et un troisi\u00e8me fr\u00e8re de v. Gosen, J\u00fcrgen, a \u00e9t\u00e9 recrut\u00e9 en tant que road manager.\r\nLe groupe fait une pause en 1968 lorsque Rainer doit rejoindre l'arm\u00e9e allemande dans la fonction publique.\r\nArno Bredeh\u00f6ft a rejoint les Beathovens et a quitt\u00e9 l'\u00e9quipe pendant la majeure partie de l'ann\u00e9e. Gerd Adlung a repris la batterie et Hans-Hermann J\u00e4ger est venu \u00e0 l'orgue. Lorsqu'il a termin\u00e9 son devoir, Rainer est revenu dans la formation avec Arn et la formation d'origine \u00e9tait de nouveau r\u00e9unie. Il \u00e9tait alors \u00e9vident que le groupe avait atteint ses limites musicales en trio et \u00e9tait salu\u00e9 par trois musiciens exp\u00e9riment\u00e9s avec un beau pedigree : Karl-Heinz Blumenberg (voix, saxophone alto, percussions, fl\u00fbte, guitare) jouait du Jazz, du Skiffle et du Folklore, Wolfgang Buhre (saxophone t\u00e9nor, alto et soprano, clarinette et percussions) a jou\u00e9 du jazz avec Chris Barber", "authorDisplayName": "ladislav zivanovic", "authorProfileImageUrl": "https://yt3.ggpht.com/WjFIxGZTrtHSpXknO9UDIXfY59EnD6uzqMcLBWviNY1wa6Cx4Og47vukQuHz6sTwmTmgEWDVxQ=s48-c-k-c0x00ffffff-no-rj", "authorChannelUrl": "http://www.youtube.com/channel/UC45IlCLYzJj6j6HoJ1F39SQ", "authorChannelId": {"value": "UC45IlCLYzJj6j6HoJ1F39SQ"}, "canRate": true, "viewerRating": "none", "likeCount": 1, "publishedAt": "2021-06-22T02:29:13Z", "updatedAt": "2021-06-22T02:29:13Z"}}, "canReply": true, "totalReplyCount": 0, "isPublic": true}}