ILLEGAL ARTISTS
Songs for weddings and funerals
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songs for weddings and funerals
THE ILLEGAL ARTISTS
ENGLISH - THE STORY
ILLEGAL ARTISTS – 1993
After the first disintegration of Cliff Barnes and the Fear of Winning, Heinz Rebellius, Marcus Praed and Bob came together to record a new album as Illegal Artists.
The basic tracks were recorded in Germany, at the legendary ZACK PENG! studio, located in an old coal warehouse in Nortrup. Drums were played by Achim Färber. Once the foundations were in place, the band travelled to Austin, Texas— the plan was to mix, add overdubs and perform at South by Southwest, one of the most important music showcases in the world.
We already had strong connections in Austin from CBATFOW’s appearance at SXSW in 1989. Louis Meyers, Ed Ward, and Mike Stewart were all involved in the local scene. Stewart, a renowned producer, became central to the project. Marc and Bob travelled ahead, intending to assemble a live band locally — not difficult in a city full of musicians. John Nelson, drummer of Poi Dog Pondering, joined the project, but finding the right bass player proved harder. In the end, Heinz stepped in and played bass for the SXSW show.
A special highlight was the involvement of Susan Voelz, the extraordinary violinist from Poi Dog Pondering, who has also worked with artists such as John Mellencamp and later Kim Deal. Her playing became a defining element of the record. On stage she was unforgettable — a wild presence in a black leather jacket, summer dress and cowboy boots, with more style than all of us combined.
There were also moments that captured how small and interconnected the music world was at the time. Years earlier, we had jokingly circulated a press release claiming CBATFOW had been thrown off a Willie Nelson tour because of the song “No One’s Got an Asshole Like a Cowboy.” It was fiction — but when we needed a Fostex 16-track tape machine in Austin, one of the few available belonged to Willie Nelson. Mike Stewart asked if we could borrow it. Willie said yes. In the end, we found a local studio with the same setup, but the idea alone says a lot.
The album was produced by Mike Stewart and featured an exceptional group of musicians, including Susan Voelz(violin), Danny Barnes (banjo), and John Nelson (percussion). It was released as Songs for Weddings and Funerals on the Hamburg label What’s So Funny About…?, run by punk pioneer Alfred Hilsberg.
Musically, the record marked a shift from CBATFOW — more reflective, more mature. Additional overdubs were recorded in Germany, including guitar by Manfred Schulz. Susan Voelz also contributed further parts during a European tour. Final mixing took place at Wiegbert Pieper’s studio in Enger, with Mike Stewart travelling over from Austin. One track, Under the Waves, was mixed during a violent thunderstorm — you can hear it in the recording.
The band played a series of shows to promote the album, with a line-up featuring Bob, Heinz Rebellius (bass), Manfred Schulz (guitar), Hirzel (drums) and Tom Bennett (violin). They toured Germany with Jeffrey Lee Pierce’s Gun Club, including a major show at Munich Airport alongside INXS. Michael Hutchence personally checked out the support acts — though INXS played first, as much of their audience still had curfews to obey.
One of the most memorable reviews came from a young Sven Behrens (Boogie) from Hamburg, who would later become part of CBATFOW and contribute significantly to the Gods at Work album.
Top tracks: Destiny Train, Killing a Kennedy, Under the Waves (And Into Your Heart)
DEUTSCH - THE STORY
Nach der ersten Auflösung von Cliff Barnes and the Fear of Winning kamen Heinz Rebellius, Marcus Praed und Bob wieder zusammen, um als Illegal Artists ein neues Album aufzunehmen.
Die Grundtracks entstanden in Deutschland im legendären ZACK PENG! Studio, einem alten Kohlelager in Nortrup. Die Drums spielte Achim Färber. Nachdem die Basics im Kasten waren, reiste die Band nach Austin, Texas – mit dem Plan, die Songs dort fertigzustellen und beim South by Southwest Festival (SXSW) aufzutreten, einem der wichtigsten Musik-Showcases weltweit.
Aus der Zeit von CBATFOWs SXSW-Auftritt 1989 bestanden bereits gute Kontakte nach Austin. Louis Meyers, Ed Ward und vor allem Mike Stewart waren Teil der Szene. Stewart, ein renommierter Produzent, wurde zentral für das Projekt. Marc und Bob reisten früher an, um eine Live-Band vor Ort zusammenzustellen – in einer Stadt voller Musiker eigentlich kein Problem. John Nelson, Schlagzeuger von Poi Dog Pondering, stieß dazu. Einen passenden Bassisten zu finden erwies sich jedoch als schwierig, sodass schließlich Heinz selbst den Bass beim SXSW-Auftritt übernahm.
Ein besonderes Highlight war die Zusammenarbeit mit Susan Voelz, der außergewöhnlichen Geigerin von Poi Dog Pondering, die unter anderem auch mit John Mellencamp und später mit Kim Deal gearbeitet hat. Ihr Spiel wurde zu einem prägenden Element des Albums. Live war sie eine Erscheinung – schwarze Lederjacke, Sommerkleid, Cowboy-Stiefel – und mehr Stil als wir alle zusammen.
Es gab auch diese typischen Momente, die zeigen, wie klein die Musikwelt damals war. Jahre zuvor hatten wir eine Pressegeschichte erfunden, CBATFOW sei von einer Willie-Nelson-Tour geflogen – wegen des Songs „No One’s Got an Asshole Like a Cowboy“. Reine Fiktion. Als wir in Austin dann eine Fostex-16-Spur-Maschine brauchten, stellte sich heraus, dass eine der wenigen vor Ort Willie Nelson gehörte. Mike Stewart fragte, ob wir sie leihen dürften. Willie sagte ja. Am Ende fanden wir zwar ein Studio mit der gleichen Technik, aber allein die Situation sagt alles.
Produziert wurde das Album von Mike Stewart und mit hochkarätigen Musikern eingespielt, darunter Susan Voelz (Violine), Danny Barnes (Banjo) und John Nelson (Percussion).
Musikalisch war das Album ein deutlicher Schritt weg von CBATFOW – ruhiger, reflektierter, erwachsener. Weitere Overdubs entstanden in Deutschland, unter anderem mit Manfred Schulz an der Gitarre. Susan Voelz steuerte während einer Europatour weitere Aufnahmen bei. Gemischt wurde schließlich im Studio von Wiegbert Pieper in Enger, mit Mike Stewart aus Austin. Der Track Under the Waves wurde während eines heftigen Gewitters gemischt – man hört es der Aufnahme an.
Das Album erschien unter dem Titel Songs for Weddings and Funerals auf dem Hamburger Label What’s So Funny About…?, geführt vom Punk-Pionier Alfred Hilsberg.
Zur Promotion spielte die Band einige Konzerte in der Besetzung: Bob, Heinz Rebellius (Bass), Manfred Schulz (Gitarre), Hirzel (Schlagzeug) und Tom Bennett (Violine). Es folgte eine Deutschlandtour als Support von Jeffrey Lee Pierces Gun Club, inklusive eines großen Auftritts am alten Münchner Flughafen zusammen mit INXS. Michael Hutchence schaute sich persönlich die Supportbands an – INXS spielten allerdings zuerst, da ein großer Teil ihres Publikums noch unter Ausgangssperre stand.
Eine der schönsten Rezensionen kam von einem jungen Sven Behrens (Boogie) aus Hamburg, der später Teil von CBATFOW wurde und maßgeblich am Album Gods at Work beteiligt war.
Top Tracks: Destiny Train, Killing a Kennedy, Under the Waves (And Into Your Heart)
SONGS FOR WEDDINGS AND FUNERALS
Songs for Weddings and Funerals is the only album by Illegal Artists, recorded between Germany and Austin, Texas. Produced by Mike Stewart, it marks a shift from CBATFOW toward a more reflective and mature sound, blending acoustic textures with violin, banjo and understated arrangements. ILLEGAL ARTISTS: Bob, Heinz, Marcus
Released: 1993 – Label: AUS LAUTER LIEBE – ALL 05
SONGS FOR WEDDINGS AND FUNERALS - ALBUM NOTES
Songs for Weddings and Funerals was recorded in 1993 by Illegal Artists, the project formed by Heinz Rebellius, Marcus Praed and Bob after the first disintegration of Cliff Barnes and the Fear of Winning.
The basic tracks were recorded in Germany at the ZACK PENG! Studio in Nortrup, with drums by Achim Färber. The recordings were then developed further in Austin, Texas, where the album was produced by Mike Stewart.
The sessions brought together a strong group of musicians, including Susan Voelz (violin), Danny Barnes (banjo) and John Nelson (percussion). Their contributions shaped the sound of the record, giving it a distinct character that set it apart from earlier CBATFOW material.
Musically, the album represents a clear shift: more reflective, more structured, and more focused on atmosphere and arrangement. Additional overdubs were recorded in Germany, with Manfred Schulz contributing guitar, while further violin parts were added during a later European tour.
The final mix took place in Germany at Wiegbert Pieper’s studio in Enger, with Mike Stewart travelling from Austin. The album was released on the Hamburg label What’s So Funny About…?, run by Alfred Hilsberg.
Top Tracks: Destiny Train, Killing a Kennedy, Under the Waves (And Into Your Heart)
