Album Review: Die Goldene Gitarre Welt Hits Im Gitarren Sound 2 Folge
Released in 1986 under the AMIGA label, Die Goldene Gitarre Welt Hits Im Gitarren Sound 2 Folge by StudioOrchester is a curious gem from the German Democratic Republic (GDR). Blending genres like Electronic, Rock, and Pop with styles such as Ballad, Soft Rock, and Synth-pop, this album feels like a time capsule of musical experimentation behind the Iron Curtain. The credits read like a who's who of East German talent—Jürgen Lahrtz on production duties, Lothar Kehr arranging tracks, and Hardy Fritsch laying down some truly memorable guitar work. It’s not perfect, but it has charm—and that’s what makes it stick.
The tracklist itself is an eclectic mix of covers and reinterpretations, pulling from global hits to traditional tunes. Among these, two songs stand out for different reasons: "Some Broken Hearts Never Mend" and "Drina-Marsch (Mars Na Drini)."
"Some Broken Hearts Never Mend," originally written by Wayne Kemp and famously performed by Engelbert Humperdinck, gets a soft-rock makeover here. The guitar work by Hardy Fritsch gives it a warm, almost nostalgic feel. You can picture someone sitting alone in a dimly lit room, staring at old photos while this plays in the background. The Jürgen Erbe-Chor adds depth without overwhelming the melody, creating something both intimate and grand. It's one of those tracks you don’t expect much from at first, but then it sneaks up on ya—it just sticks.
On the flip side, there’s "Drina-Marsch (Mars Na Drini)," which couldn’t be more different if it tried. This Balkan-inspired march bursts with energy, driven by sharp orchestration courtesy of Orchester Lothar Kehr. The rhythm hits hard enough to make your feet tap involuntarily, even though it probably wasn’t meant for dancing. Something about its relentless drive makes it unforgettable; maybe it’s how Siegbert Schneider’s engineering captures every detail so vividly. Either way, it’s proof that sometimes music doesn't need fancy lyrics or complex arrangements—it just needs soul.
What strikes me most about this album is its sheer audacity. In a country where creative freedom was often stifled, here we have artists unafraid to blend Western pop sensibilities with their own cultural touchstones. Sure, the production values might feel dated now, and yeah, some tracks lean into cheesiness, but isn’t that part of its appeal?
It’s funny—you’d think an album full of covers wouldn’t leave much room for originality, yet somehow Die Goldene Gitarre pulls it off. Maybe it’s because listening to it feels less like hearing familiar songs and more like stepping into another world entirely. And honestly, how many albums let you go from heartbreak ballads to Balkan marches without skipping a beat? Not many, I reckon.
