Michael Holm Biography
Michael Holm whose real name is Lothar Bernhard Walter is a German singer- songwriter born on 29th July 1943 in Stettin (now Szczecin), Poland. He is primarily known as a singer of Schlager music.
Michael Holm Age
- He was born on 29th July 1943 ( 75 years as at 2018)
Michael Holm Wife
- In 1991 he married Beate Holm
Michael Holm Career
In 1962 he made his first appearance in the hit parade “Lauter Schöne Worte”. In 1969 he had his first big hit “Mendocino”, the German adaptation of a song by the Sir Douglas Quintet. The song was the biggest selling single that year in Germany. The record reached number three for five weeks,
selling over a million copies. In October 1970 Ariola presented him with a gold record.
Further hits such as “Barfuß im Regen” of 1970, “Tränen lügen nicht” (literally, “Tears Don’t Lie”, recorded in English as “When A Child Is Born”) (1974) and “Musst Du jetzt gerade gehen, Lucille” (1977) followed. He also composed the music for the popular international horror movie, Mark of the Devil (1970). Outside of Germany, he is best known for his work as a member of the new age band, Cusco, along with Kristian Schultze.
A year-long artistic collaboration and private friendship connects him with the musician and producer Giorgio Moroder, he even dedicated a song with Giorgio and me. As a duo, they released several singles Spinach and Spinach LP 1.
Michael Holm Photo
Michael Holm Albums
- 1970: Auf Der Straße Nach Mendocino
- 1970: Mendocino
- 1971: Michael Holm
- 1972: Meine Songs
- 1972: I Will Return
- 1973: Stories
- 1973: Spinach 1 (as Spinach)
- 1975: Tränen Lügen Nicht – Lieder zum Träumen
- 1975: Wenn Ein Mann Ein Mädchen Liebt
- 1976: Greatest Hits
- 1976: Zwei Gesichter
- 1977: Poet Der Straße
- 1978: Labyrinth
- 1979: El Lute
- 1980: Halt Mich fest
- 1981: Im Jahr Der Liebe
- 2004: Liebt Euch!
- 2007: Mal Die Welt
- 2010: Holm 2011
- 2013: 1000 Wege
Michael Holm Songs
- Tränen lügen nicht
- El Lute
- Baby, Du bist nicht alleine
- Ein Verrückter Tag
- Nachts scheint die Sonne
- My Lady of Spain
- Du Weinst um Mich
- Barfuß im Regen
- Allein mit dir
- Einer denkt immer an dich
- Es Ist Schön, Bei dir Zu Sein
- Smog in Frankfurt
- Nur ein Kuss, Maddalena
- Giorgio und ich
- Hello Mama, Hello Papa
- Mußt du jetzt gerade gehen, Lucille
- Wer lügt, gewinnt
- Wenn die Zukunft beginnt
- Eine Reise ohne Wiederkehr
- Gardenia Blue
- Es könnte möglich sein
- Alles Geld dieser Welt
- So weit die Füße tragen
- Flower Power Time
- Nächte im Schatten
- Wart auf mich
- Das Haus am Rhein
- Gimme Gimme Your Love
- El Matador
Michael Holm Interview
Interviewer: Mr Holm, you will be 75 next week – how do you feel?
Michael Holm: Good, thanks!
Interviewer: Have you planned a big party?
Michael Holm: No, I can not – I have a gig that day. Of course I will celebrate, but the celebration will be postponed.
Interviewer: They sang some of the biggest hits of german schlager. The most successful are for sure “Mendocino”, “Barefoot in the rain” and “Tears do not lie” …
Michael Holm: … but also “Do you have to go now, Lucille?” was a hit with 700 000 records sold. El Lute has sold more than 400,000 copies. “Just a kiss Maddalena” is also a song without which I can not go off stage.
Interviewer: Not only did you sing your songs, you also wrote them yourself, in a team with others.
Michael Holm: An internationally very, very successful title, which I wrote with Giorgio Moroder, was about “the sun shines at night”. The English version, “Son Of My Father”, was a huge hit in England and the United States. And even today I am pleased when I get my Gema statement and see that the title is still alive and from anywhere in the world the amounts einkleckern.
Interviewer: There are certainly many different titles on her Gema account. Which one is the most successful regularly and is still played the most today?
Michael Holm: My most successful song as a writer is “Fiesta Mexicana” – Ralf Siegel composed the music, I wrote the lyrics and Rex Gildo sang it. That was an indescribable Moneymaker. Ralf Siegel has 20 or 30 of this strain, I have one with him.
Interviewer: But “Mendocino” is almost as much a classic as “Fiesta Mexicana”. He appeared in 1969 – were you one of the first stars of the German hit song, as he became popular in the 70s?
Michael Holm: There was already Roy Black, who was very successful. And Rex Gildo was also good in the early sixties. Incidentally, “Mendocino” was originally West Coast Rock. My version was considered a hit, because everything sung German was called that way. Also responsible for the success was the great production of Giorgio Moroder, who is not for nothing one of the most successful authors and producers after the Second World War.
Interviewer: Have you ever been to “Mendocino”?
Michael Holm: Multiple. This is a tiny fishing village where hippies met in the 60s. Doug Sahm, who had written the original “Mendocino” at that time, stayed there. There are maybe 150 houses, three hotels and a few souvenir shops. It is not busy, but the scenery is beautiful. It is located directly on the northern California cliff and is surrounded by redwood forests – a magical place.
Interviewer: Are there still hippies there?
Michael Holm: Once I sat there in my hotel at the bar, one came in: long hair, frayed clothes and a friendly face. He sat down two places and at some point we started talking. When I told him that I had a big hit with “Mendocino” in Germany, he was very excited. Later, when we were already a little bit tricky, we sang together “Mendocino”, knocking on the bar, all people looked – he in English and I in German.
Interviewer: You mentioned Giorgio Moroder. Its name is associated with disco music and the Munich of the 70s.
Michael Holm: Munich was then the number two music and show business city in the world, after New York, but before Los Angeles and even London. We had 142 studios there, day and night fully booked. There were thousands of musicians in town, they needed them. I also remember a fashion boutique, “Lord John & Lady Jane”, he was gay and she was lesbian, they had the craziest fashions. From around the world, from London, Milan, New York and Paris, people floated to shop at Lord John & Lady Jane. I once bought a golden satin suit, embroidered with sequins – scary! (Laughs)
Interviewer: When did you wear it?
Michael Holm: Once in the “hit parade”. In the 90s, I put it at a charity auction. He was bought by a fan for 6900 marks. But that was also a hammer part, an absolute eye-catcher.
Interviewer: You lived in Munich at the time. What did your days look like?
Michael Holm: There was always something going on, I had an open house, as the saying goes. There was always someone there and it was celebrated until late at night. Sometimes I had to write upstairs and downstairs there was a party going on. Or I flew to the hit parade in Berlin, and when I came back, the party was still going on.
Interviewer: The Munich discotheques of the 70s are legendary …
Michael Holm: At the disco, you looked to the left and thought, “He looks like Elton John,” and that was Elton John. Then you looked to the right and thought, “He looks like Keith Richards” – that was Keith Richards. Of course, the superstars mixed themselves up among the audience without having a huge casserole.
Interviewer: At that time, did your fellow drummers go to and from you?
Michael Holm: Of course – from Christian Anders to Jürgen Drews to Martin Mann. That was a very lively, friendly story, without competition.
Interviewer: On the tour “Schlagerlegenden” you’re going on tour with several of your fellow-hitters of yesteryear.
Michael Holm: The idea came from conductor Otti Bauer, he wanted to do something similar to the successful “Swinging Tour” with Max Greger and clarinet Hugo Strasser. The special thing is that we perform with a real live orchestra, away from the canned. That’s good, we’ll do it for the third time this year.
Interviewer: Colleagues like Lena Valaitis, Peggy March or Ireen Sheer are there. Are not you indulging in endless memories?
Michael Holm: Of course, one remembers some events from earlier. But I always resist this typical “Everything was better then”. Today there are also great performers and productions – nothing against the 70s, but live the 2010er years.