Udo Jürgens had no ambition to become a renowned pop star.
For his entire musical career, Udo Jürgens' tunes were frequently labeled as Schlager. Nevertheless, his extensive catalog of hits belied this categorization, boasting a wide range of musical styles. One can only imagine what further musical territory he might have explored if he were still among us today, celebrating his 90th birthday.
Jürgens' musical inclinations transcended the realm of mere entertainment. Over the course of decades, he shaped the German-speaking music industry, weaving contemporary political issues and popular music trends into his hit songs. John and Jenny Jürgens, his children, attest to this. September 30th would have been his 90th birthday.
"He didn't want to be outdated or old-fashioned," says John Jürgens at 60. "Dad introduced us to more progressive music - rock bands and the wildest stuff," he recalls, fondly reminiscing. His younger sister, Jenny, echoes this sentiment, adding, "We were all very uncensored."
Jürgens was born as Jürgen Udo Bockelmann in Klagenfurt, Austria. He passed away in his Swiss adopted hometown in December 2014. His legacy includes over 1000 composed songs, numerous hits, and over 100 million sold records.
Debut Single in 1956
His inaugural single, "Es waren weiße Chrysanthemen" from 1956, remained firmly within the Schlager genre. However, by the late 1960s, Jürgens achieved independence as a songwriter with hits like "Siebzehn Jahr, blondes Haar" and, at the Eurovision Song Contest, "Merci Chérie".
"He always yearned to differentiate himself further from the Schlager singer image," says Jenny Jürgens. The label often irked him.
In commemoration of his 90th birthday, a compilation album titled "Udo 90" will be released, featuring songs that hint at contemporary influences. "Immer wieder geht die Sonne auf" (1967) bears a striking resemblance to the Beach Boys' popular sound, while "Deine Einsamkeit" (1970) echoes the tones of a recently released Simon and Garfunkel album.
Pop Experiment Turned Failure
The musical adventurousness of the singer had its limits, however. In 1981, Jürgens produced the English-language album "Leave A Little Love" in the United States, appealing to a pop audience. His children found it intriguing. "But it didn't quite pan out as planned," Jenny Jürgens shares of the album's lackluster reception.
Jürgens' songwriting extended beyond superficial Schlager lyrics as well. In "Lieb Vaterland", he addressed societal issues, including the plight of the socially disadvantaged. He subtly tackled environmental pollution, political assassination, alcoholism, and migration in other songs through humor or sentimentality.
"Dad had a knack for delicately touching upon sensitive subjects in his lighthearted music, often with a wink," says Jenny Jürgens.
"Aber bitte mit Sahne" Controversy
Jürgens' music was marked by both criticism and self-deprecation, notably when it came to his image as a womanizer. "He knew exactly who he was, and his unwavering creed was to push forward," says Jenny Jürgens, choosing not to delve into her father's relationships with women.
The siblings appear unbothered by the uproar surrounding the Jürgens classic "But please with cream". Last year, the word "Mohrenkopf" in the lyrics was replaced with "Schokokuss" for the "Giovanni Zarrella Show" on ZDF, prompting criticism in online comment sections.
"I guess you can change it," says John Jürgens. "I don't see what the fuss is about - it's not a masterpiece, just a satirical text by Eckart Hachfeld." Jenny Jürgens would have preferred to preserve the original text, but she agrees with her brother that the term "Mohrenkopf" is now deemed inappropriate.
Udo Jürgens Lives on Posthumously
Instead of rehashing controversies, the siblings prefer to discuss the rediscovered and recently published Jürgens song "Als ich fortging". "It's an incredible ballad," says John Jürgens of the song, which garnered over 300,000 clicks on YouTube within a few days due to its digital transformation.
The song had lain dormant as a demo in an archive for decades. The voice of Udo Jürgens was then extracted from the old recording using artificial intelligence, and the track was given new instrumental accompaniment.
Jürgens continues to captivate audiences even posthumously, as evidenced by the "Da Capo Udo Jürgens" tour that commences in November. In these shows, concert recordings of Jürgens are projected onto an LED wall and played while a live band provides the musical backing. John Jürgens expresses no desire to see his father as a digital avatar on stage in the future, even in the form of holograms, like the cult band Abba currently is. "I find that unsettling," he admits.
"Jenny Jürgens also shares her father's musical influences, mentioning that he introduced them to progressive rock bands and other genres, showing his desire to move beyond the limitations of Schlager music."
"The upcoming compilation album "Udo 90" will highlight Jürgens' music that hints at contemporary influences, such as 'Immer wieder geht die Sonne auf' (1967) which bears a strong resemblance to the Beach Boys' sound."
