Kurt Feltz

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Kurt Feltz (born April 14, 1910 in Krefeld ; † August 2, 1982 in Pollença / Mallorca ) was one of the most successful German hit writers and music producers , who helped shape German hits for over 40 years. His specialty were German texts to foreign-language hits, the content of which was often based on the longing for southern distant lands. He also used pseudonyms such as Edi Hartges, Walter Stein, André Hoff, Bernd Heim, Joachim Janson and Alexander Kühn .

The 1930s and 1940s

Kurt Feltz moved to Cologne after graduating from high school and from 1932 worked for WERAG (Westdeutscher Rundfunk AG) in Cologne while studying German (with Ernst Bertram ). His first successful title was the tango Gib Acht, auf Dein Herz, Margarethe with Rudi Schuricke and cover versions of Die Vier Belcantos (with the orchestra Adalbert Lutter ) and a parody of the Vier Botze , written with the Cologne-based mood song composer Jupp Schmitz . In 1939 he wrote the drinking song Tonight for the operetta Die oder keine , sung by Friedel Schuster . In the same year he wrote the libretto for the operetta season in Salzburg , which premiered on December 31, 1938. Salzburger Nockerln developed into important hits from this / And the music plays to it as well as Wenn der Toni mit der Vroni with texts by Feltz.

Rosita Serrano - Charly is coming to me tonight

The Chilean diva Rosita Serrano has been singing about records in Germany since 1938, ... and she recorded the music for it on October 3rd, 1938. In 1940 she took on four more titles, namely Guter Mann im Mond , Today Charly comes to me (B-side), Four Girls on a Bench (September 1940) and Wenn der Toni mit der Vroni . At the same time, Feltz continued to compose operettas, such as Perle von Tokay (1940) together with Fred Raymond . The operetta activity was part of his career, but not a contradiction to hit lyrics; the operetta stage used to be the preferred starting point for Schlager.

The Feltz films Falstaff in Vienna (came to the cinemas on September 26, 1940), The sky blue evening dress (January 17, 1941) with the libretto If the wine, if love, if the waltz weren't ' by Elfie Mayerhofer as well as … and the music plays (June 8, 1943) with the libretto Saison in Salzburg (Feltz / Raymond / Wallner) come from the war years, in which the private Feltz made educational films for everyday soldiers like men against tanks . The endurance hit It will all pass, it will all pass , was created under the influence of the war in May 1942 for Lale Andersen , open to irony about the time of the ration cards.

After his return from the war in 1945, Feltz initially took on entertainment programs for the Munich broadcasting company (now Bayerischer Rundfunk ) (everything goes better with music) . In June 1948 he returned to Cologne to take on the post of head of the musical entertainment department at NWDR . There he started, among other things, the music show Der Blaue Montag with Peter Frankenfeld . Since then Kurt Feltz has arranged and staged a series of operettas for radio with Franz Marszalek as conductor. Kurt Feltz wrote six of his own operettas. Feltz wrote Der Theodor im Fußballtor , originally written by Margot Hielscher in 1948 , but made famous by Theo Lingen's premiere of the film of the same name on August 29, 1950 . Gerhard Wendland meanwhile took over I imagine you would be mine (1949). Ernie Bieler & The Standard Jazz Band took over Am Zuckerhut in the same year .

After a short time at the NWDR, public criticism arose because Feltz had his own Schlager compositions played in the NWDR and was thus guilty of a conflict of interests. The broadcasts not only boosted the record sales of his compositions, but also earned him royalties through record sales and broadcasting. Feltz recognized that "funk is just the shop window of the phono industry". The NWDR has already been dubbed "Feltz-Sender"; even his friend Ralph Maria Siegel from Krefeld's school days initiated a press campaign against this abuse in December 1949. The broadcaster reacted and introduced a quota to limit the broadcasting of compositions by the department head: only 30 titles per month were allowed to be played by a composer / lyricist; composers had to indicate the pseudonyms they used. As a result of this abuse, Feltz was at the top of GEMA income with seven of his own texts and, according to estimates, came to around DM 100,000 half-year bonus. In total, the media uncovered 36 titles that Feltz had written and given preference on the radio - up to 15 songs a day. That was not enough: Feltz was also the head of the librarian interest group at GEMA. It was no longer portable for the public radio, which was financed by license fees.

The 1950s

In December 1950, Feltz left the NWDR again, but remained associated with the station as a freelancer. According to SPIEGEL , statistics show that Kurt Feltz was featured in at least 1,796 shows with his hits on NWDR Cologne in 1950, an average of five times a day. The other radio stations supplied by Feltz or his employees with Feltz tapes contributed with a further 4,391 programs to reinforce Feltz's leading position among the text authors. In 1951, internal NWDR investigations still found an “unusually high proportion of hits by the lyricist Feltz”. Together with the Cologne music publisher Dr. In 1950, Hans Gerig founded the music publisher Edition Rialto , which administered all of Feltz's compositions. Feltz shared an office with Gerig as an independent music producer in Cologne's old town and produced his music for all five German record companies with his répétiteur Franz-Leo Andries . Feltz often wrote his texts under the pseudonym André Hoff or a dozen other pseudonyms. The most productive time for Feltz was from 1950, when he often woke up hits with a longing for southern regions or customs, mostly as a cover version of foreign originals.

He wrote 77 titles for René Carol alone , including Maria from Bahia (recorded on April 14, 1949), Red Roses, Red Lips, Red Wine (under the pseudonym André Hoff; June 8, 1952), Why do I only think of you (June 9, 1952), Star of my love / On the beach of Havana there is a girl (October 17, 1952), Fall in love today (October 18, 1952), Nina (April 17, 1953), Let me today Not alone with my love (June 11, 1953), Every night sounds in Abbazia (March 23, 1954), When I am in the diary of love (April 29, 1954), Sun over the Adriatic (June 18, 1954), Seven nights José stayed in Santa Fe (December 10, 1956), Love is my home (July 1, 1957), In the middle of the sea (June 1, 1960), Princess Sunshine (April 5, 1963), No country can be more beautiful ( December 14, 1959, # 3 in the German charts ), Where my stars stand (March 31, 1965). Feltz almost always uses Adalbert Luczkowski's Cologne dance and entertainment orchestra .

Fred Weyrich with Kurt Henkels' orchestra published the German version of Mona Lisa in 1950 , to which Feltz wrote the text. Peter Alexander and Leila Negra sing in July 1952 The sweetest fruits only eat the big animals (originally composed by Vittorio Mascheroni; published in November 1953, film with Peter Alexander was released in cinemas on February 5, 1954), Willy Schneider brings the hit song in 1953 One would have to be twenty again (composed together with the Cologne carnivalist Gerhard Jussenhoven ), which deliberately addressed a sentiment of the older generation soon after the war. Wir, wir we have a piano (Jupp Schmitz / Feltz) was taken over by the Sunshine Quartet in December 1953. The successful title Who should pay for it, composed with Schmitz in 1949 ? Once again gained popularity through the film Dangerous Vacation , released on December 18, 1953 .

Margot Eskens - Cindy, oh Cindy

For Vico Torriani created 27 titles, including full-softly music plays (1948), On the beach of Havana is a girl / Isabella (Andalusian tales) (December 22, 1952) As once Casanova Venice went / Bella Belladonna (23rd April 1954) or When Hein is in Rio (December 12, 1949). Bully Buhlan takes on 8 titles, including Ein Musikus, a Musikus always knows what to play (March 8, 1952), and Der Wassermann (September 15, 1952). Margot Eskens took over 45 titles from Feltz, including Der Student von Paris (February 10, 1955; originally by Angèle Durand from June 16, 1954), Cindy, Oh Cindy (November 13, 1956) was 10 weeks at # 1, Bombalu ( December 12, 1956), Calypso Italiano # 9 (June 13, 1957), See you again! (November 16, 1957), All Beautiful Women (January 23, 1958).

The collaboration with Peter Alexander began when he was still under contract with the Austrian label Austroton / Elite . Feltz texted 1952 It was in Napoli many, many years ago (# 9615 V), The sweetest fruits only eat the big animals (# 8673 V, B-side of Isabella ) and My big brother (# 9519 V). When Peter Alexander won second place in a hit competition with La bella musica at the Deutsches Theater in Munich in July 1953 , he received a contract offer from Polydor Records and left the Austroton subsidiary label Elite. Feltz has now accompanied his career with at least 74 songs, for which he wrote the lyrics. On June 1, 1954, Feltz takes over the production work for Alexander, on that day It was in Napoli many, many years ago / The beautiful women are always right (Austroton 9615 V). The next title written by Feltz for Alexander The moon keeps his watch (Polydor # 23050) can conquer the first place of the German charts for five weeks after publication in September 1955. After a few less successful hits by other composers, Feltz and his friend Heinz Gietz wrote the next top hit in December 1956 with I know what you are missing , followed by a little more in August 1957 (rank # 4), and in September 1957 Das got ich alles aus Love (ranked # 3) released. In June 1958, the hit series is continued with Bambina (rank # 2).

He provided Bibi Johns with 31 titles, including Bella Bimba (October 26, 1953), Bimbo (May 11, 1954), Das ich mach 'ich mit Musik (June 22, 1956), Heinerle (with Gietz) (June 1956). Feltz wrote 22 tracks for Caterina Valente, who was discovered by band leader Kurt Edelhagen , as a soloist and 11 tracks in duets with Bruce Low or Silvio Francesco , including the solo All Paris dreams of love with Albert Vossens Harmonka, based on the Cole Porter song I Love Paris -Soli (November 3, 1953), which has sold over 800,000 times. With the rare, "extremely happy mixture", Feltz produces a series of classic hits such as Fiesta Cubana (Gietz / Feltz; Rank # 6; May 3, 1955), Wo Meine Sonne shines (German cover version of Island in the Sun ; July 22, 1957 ), Casanova in September 1957; he wrote It is so nice with you (May 2, 1955; rank # 2). The Valente takes over in a duet with Peter Alexander Eventuell (July 7th 1955), their first # 1 in November 1955. Come a little with me to Italy (February 18, 1955) appears in February 1956 (with Heinz Gietz; rank # 11). Polydor has the Valente recordings produced with Feltz mainly in the Cologne exhibition hall. On September 10, 1957, the first episode of the German television program Bonjour Kathrin is broadcast. For this purpose, Feltz co-wrote the 218-page screenplay in just three days, after its three screenwriters couldn't cope for months. The film is based on the comedy operetta The Happiest Woman in the World (Das Bett der Pompadour) , for which Feltz wrote the libretto in 1944 with his operetta colleague Max Wallner . Other top notes for "the Valente" were Steig 'in das Traumboot der Liebe with brother Silvio Francesco (Gietz / Feltz) from April 1956 (rank # 1) or Where my sun shines (German text for Harry Belafonte's hit Island in the Sun ) November 1957 (ranked # 1).

Kurt Feltz produced Bill Ramsey's hits from 1958 and wrote the lyrics for 25 titles for him. Including the first song So ein Stroll in Tirol (Gietz / Feltz; recorded on June 2, 1958), then he formed the jazz song Go Man Go (Gietz / Feltz; May 5, 1959) with sales of just 35,000 copies Mood song performers around. So on November 26th, 1958, the first hit Wumba-Tumba chocolate ice cream seller was born , which reached number four in the charts in April 1959. On June 8, 1959, he produced the title Souvenirs for Ramsey , which sold over 500,000 copies. and lands in first place. On December 10, 1960, Feltz produced the number one hit Pigalle , composed by Gietz with a text by Hans Bradtke .

Feltz was not only the lyricist of the German version of the criminal tango , but also pushed Hazy Osterwald to record the criminal tango for the German market with his sextet. Osterwald was already one of the established live artists of those days, but Feltz wanted to achieve more with him. The sextet should become stars. Heinz Gietz wrote a new arrangement so that the antiquated sounding Italian original became a tailor-made, contemporary catchy tune. While the original only reached eighth place in the Italian charts, Osterwald's version came to first place in the Swiss, Austrian and German charts after its release in October 1959, where it remained for three weeks. The single (Polydor # 24048) was sold 900,000 times in Germany and had a total of one million copies.

At the beginning of the 1950s, Feltz texts accounted for around 20% of the Polydor repertoire and almost 80% of the Polydor record sales. Over 20 of his texts consecutively achieved record sales of more than 100,000 copies. For red roses, red lips, red wine , Feltz and René Carol received the first ever gold record in Germany. This highest award any record company was then awarded for sales of 500,000 units, because no one believed that in Germany per million plates could be sold by a recording until 1956 Freddy Quinn with homesickness the first well managed this hurdle and therefore a set a new standard for gold records.

The 1960s

Feltz's successful streak continued seamlessly in the early 1960s. The house poets Kurt Feltz and Fini Busch ( Seemann (your home is the sea) ) contributed 88 titles to the 194 German songs in the Polydor catalog 1961/1962 , while their colleagues Werner Scharfenberger (Schwarze Rose, Rosemarie) , Charly Niessen ( The man in the moon ) and Erwin Halletz (sauerkraut polka) with 83 compositions. The times of the conflict of interests, as the Spiegel reports in its 40/1963 issue, had not changed after Feltz, because other radio employees were imitating the Feltz model. Between April 4 and May 3, 1963, texts by radio men or their wives appeared on 35 of the 90 newly released German records. In the week from April 12 to April 18, 1963, texts by program designers or their family members were published on nine of twelve new German records.

In 1960 Feltz wrote or produced a total of 15 titles, but these were not a resounding success. In 1961, 19 titles with texts and / or as a production by Feltz came onto the market, including from June the evergreen Paradiso for Connie Francis , which was created in collaboration with Scharfenberger under a pseudonym (Wolfgang Zell / Peter König instead of Werner Scharfenberger / Kurt Feltz) , and Bill Ramsey's sugar doll from July 1961 (# 5); Peter Kraus took over Schwarze Rose Rosemarie (# 5) in November 1961 . The year 1962 recorded 22 productions and / or texts, including Peter Kraus with his last top hit Sweety (Feltz / Scharfenberger) in August 1962 and Sacha Distel with Adios Amigo in October 1962 with rank 5 as his best placement. Alone 4 titles came about for the Cologne hurdler Olympic champion Martin Lauer , whereby the Feltz production The Last Rose of the Prairie was best placed in November 1962 with rank # 5.

Mina - hot sand

When Mina recorded the song Hot Sand (Feltz / Scharfenberger) on February 5, 1962 (Konzerthaus Wien, Studio III) , he was followed a year later by an Italian cover version called Si lo (LP Stessa spiaggia stesso mare , “same beach same Meer "; 1963), which can be classified as a love song. The German text of the original version is about a jealous murder of a certain Rocco and the escape of the suspect Tino. Mina first sang the title publicly on March 12, 1962 in the TV show Herzlichst, Ihr Peter Kraus . The exotic-oriental sounding Feltz-Text published in April 1962 sold 700,000 copies in Germany and 1.3 million copies worldwide; in Germany the title was listed at number 1 for 8 weeks. Connie Francis recorded a cover version of this with the original music track on June 19, 1966.

In 1963 Feltz accounted for 32 titles, including Connie Francis' Barcarole in der Nacht (Feltz / Scharfenberger) in June 1963 (# 1), Conny & Peter Alexander engaged in love (to Gietz) in May 1963, Gitte and Rex Gildo From the city park the lanterns (with Gietz) in September 1963 (# 1), Martin Lauer If I were a cowboy May 1963 (# 9), Rex Gildo Two blue forget-me-nots May 1963 (# 4). In 1964, 15 titles were published, including Lauer's His best horse in September 1964 (# 5) and Taxi to Texas in March 1964 (# 7), as well as Sacha Distel with The Place Next to Me from February 1964 (# 6). In 1965 Feltz was involved in 16 titles, including Peter Alexander's Fräulein Wunderbar from September 1965 (# 7), Aba Heidschi Bum Beidschi (the original text by Feltz) in December 1965 (# 10), Give me a picture of you in April 1965 ( # 2). In 1966, 18 titles came out, including Peter Alexander's Modern Romances (with Scharfenberger) in December 1966 (# 4). In 1967, 24 titles came onto the market with the participation of Feltz, including Peter Alexander again this time with the three successive top hits Spanish was the night in March 1967, Verbotene Träume (# 1) in August 1967 (with Scharfenberger) and The Last Waltz in December 1967 and Peter Rubin's second single Der Zug nach Sunny Hill / The most beautiful street (with Scharfenberger). In 1968 Feltz presented 24 titles, including Peter Alexander with Delilah in April 1968 (# 3), Come and use yourself from September 1968 (# 9), Rubin's first hit Azurro from February 1969 (# 17). Peter Alexander took over the Feltz / Scharfenberger composition Liebesleid in March 1969 and also brought it to the top position.

The 1970s

In 1970, 34 titles with the participation of Feltz came onto the market, including Peter Alexander with Hier ist ein Mensch (Feltz as producer) from November 1970 (# 2), which received a total of 14 titles. For Heino , he created Today the longing goes on a journey . In 1971 31 titles were published, again Alexander had the main part with 14 songs. Among the 26 songs of 1972 was the Feltz production Always Sunday again for Cindy & Bert . It was the duo's most successful hit from February 1972 (# 3); For Freddy Breck he wrote a text on the middle section of Tchaikovsky's Capriccio Italy (opus 45) under the title Bianca in January 1973 (# 2). At the same time, Feltz wrote 5 titles each for Howard Carpendale and Peter Rubin. 1973 was the quantitative zenith of creative activity when Feltz was artistically involved in the development of 53 titles, including 12 productions for Cindy & Bert. Freddy Breck reached a second place in July 1973 with Rote Rosen with a Feltz text to a melody based on the comedy Dichter und Bauer by Franz von Suppè . In 1974 there were 22 songs (including Die Sommermelodie for Cindy & Bert), in 1975 there were 38 Feltz hits, including 17 lyrics for Cindy & Bert. In 1976 Feltz was involved in 34 titles. Together with his friend Heinz Gietz, he made the chart comeback of Caterina Valente that year, after 10 years of abstinence from the charts, she brought the Feltz / Gietz title Cheerio up to 33rd place in August 1976 . From 1977 the production-like work subsided with 11 titles. Freddy Breck was among them when, in February 1977, he took over the song Die Sterne stehn gut , which had advanced to 7th place . In 1978 Feltz was involved in 10 titles, including the song Manuel , which was written with Gietz for the meanwhile also aged Valente , and which rose to 7th place in October 1978. 1979 appeared 15 titles, including 9 productions for Ireen Sheer . Sheer was able to transport one of these, Das Lied der Schöne Helena , to number 5 in the charts in October 1979. The children's band Manuel & Pony also succeeded in this in August 1979 with the title Das Lied von Manuel , the answer song to Caterina Valentes success the year before. In 1980 only two Feltz productions came onto the market. That year he celebrated his 30th anniversary with his work as a music producer. The Feltz music production was thus the oldest music production in the industry.

Movie and TV

Kurt Feltz was also present in film and television. He wrote film scripts ( Stern von Rio ; March 20, 1940) and entertainment programs for television, in which he also directed. It was mostly a short story-telling film comedy with pop singers in the lead role. These included Das haut hin with Peter Alexander (July 9, 1957) with Feltz texts, with Caterina Valente on August 23, 1957, The Simple Girl , on February 22, 1958, and in the evening at Scala (with the Feltz / Gietz composition Music is in the air ; Valente), January 8, 1959 Here I am - here I stay in the cinemas (with Feltz texts). Peter shoots the bird again with Peter Alexander appeared on May 15, 1959 my life is music (December 3, 1959), The Adventures of Count Bobby with Peter Alexander and Vivi Bach (1 April 1961), Music is the key to Hazy Osterwald (September 1, 1961) or As great as back then with Peter Kraus (August 10, 1962) followed. When the TV entertainment series Musik ist Trumpf with Peter Frankenfeld started on February 22, 1975 , Feltz used the theme song of the same name, written together with Heinz Gietz, which had been copyrighted by the Rialto Music Publishing House since 1961 and from the music film with Hazy Osterwald came from.

Last years of life

Feltz, now a millionaire, sold his Cologne property, along with the park and orchid cultivation, to his friend Gietz and moved to Morcote (Ticino) in the immediate vicinity of Peter Alexander and Caterina Valente.

Feltz memorial stone in
Morcote cemetery

While on vacation in Mallorca, he went swimming in the sea on August 2, 1982 and died there of heart failure. On that very day, Andy Borg presented the last big number one hit, Adios Amor, written by Feltz, in the ZDF hit parade . The title came in first place on August 28, 1982, stayed there for five weeks and sold a total of 2.5 million copies.

On his tombstone in the Morcote cemetery there is one of his lines of text: “It will all pass, it will all pass. Every December is followed by May ”(1942). His widow Cornelia "Corry" Feltz inherited the music production company Feltz & Co.

Kurt Feltz wrote a total of around 3,500 song lyrics; many became evergreens . Some of his lines became winged words ; his texts were almost always related to the time. He wrote his hit texts according to a work system and with a lot of desk work in regular production hours.

On October 30, 1986, the ZDF broadcast the show And the music is playing - musical memories of Kurt Feltz (book: Hans Hubberten ).


Number one texts

title Performers year
Jim, Jonny and Jonas Hula Hawaiian Quartet 1955
Perhaps Caterina Valente 1955
Where my sun shines Caterina Valente 1957
Get into the dream boat of love Club Indonesia 1956
O Billy boy Club Argentina 1956
The moon keeps watch Peter Alexander 1955
Smoky The seven Ravens 1956
I know what is wrong with you Peter Alexander 1957
Cindy, oh Cindy Margot Eskens 1957
Souvenirs Bill Ramsey 1959
Pigalle Bill Ramsey 1961
Hot sand Mina 1962
Paradiso Connie Francis 1962
Sweety Peter Kraus 1962
Barcarole at night Connie Francis 1963
The lanterns from the city park Gitte and Rex Gildo 1963
Forbidden dreams Peter Alexander 1967
The last waltz Peter Alexander 1968
Delilah Peter Alexander 1968
Love affliction Peter Alexander 1969
Adios amor Andy Borg 1982

Other top 10 texts (selection)

title Performers year space
It is so nice with you Caterina Valente 1955 2.
Tipitipitipso Caterina Valente 1957 3.
I will never forget you Caterina Valente 1957 2.
I do it all out of love Peter Alexander 1957 3.
I would love to be with you Club Italia 1957 2.
Play Habanero one more time for me Caterina Valente 1958 2.
Bambina Peter Alexander 1958 2.
Mandolins and moonlight Peter Alexander 1959 3.
Criminal Tango Hazy Osterwald sextet 1959 4th
Wumba-Tumba chocolate ice cream seller Bill Ramsey 1959 4th
No country can be more beautiful René Carol 1960 3.
Two blue forget-me-nots Rex gildo 1963 4th
Give me a picture of you Peter Alexander 1965 2.
Here is a human Peter Alexander 1970 2.
Bianca Freddy Breck 1972 2.
Everytime on Sundays Cindy & Bert 1973 3.
Red roses Freddy Breck 1973 2.


  • Duck chattering on the microphone . In: Der Spiegel . No. 51 , 1949, pp. 34-36 ( Online - Dec. 15, 1949 ).
  • Kurt Feltz . In: Der Spiegel . No. 4 , 1950, p. 20 ( Online - Jan. 26, 1950 ).
  • My name is rabbit . In: Der Spiegel . No. 5 , 1952, pp. 28-29 ( Online - Jan. 30, 1952 ).
  • Offer entertainment . In: Der Spiegel . No. 48 , 1955, pp. 44-53 ( Online - Nov. 23, 1955 ).
  • The lexicon of German hits. Schott Mainz. Piper Munich 1993, ISBN 3-7957-8208-2 , p. 151.

Web links

Individual evidence

  1. a b My name is rabbit . In: Der Spiegel . No. 5 , 1952, pp. 28-29 ( Online - Jan. 30, 1952 ).
  2. ↑ Educational Film No. 451; 1943
  3. a b c Offer entertainment . In: Der Spiegel . No. 48 , 1955, pp. 44-53 ( Online - Nov. 23, 1955 ).
  4. a b c In your own pocket . In: Der Spiegel . No. 51 , 1950, pp. 40-41 ( Online - Dec. 25, 1950 ).
  5. Overview of the Hans Bredow Institute, p. 56
  6. whose real name was renamed Gerhard Tschierschnitz by Feltz
  7. ↑ The first was the jazz trumpeter Macky Kasper
  8. Voice like an instrument . In: Der Spiegel . No. 15 , 1955, pp. 39-45 ( online - April 6, 1955 ).
  9. Go, Man . In: Der Spiegel . No. 21 , 1966, pp. 160-161 ( Online - May 16, 1966 ).
  10. Who is “do”? In: Der Spiegel . No. 40 , 1963, pp. 95-110 ( Online - Oct. 2, 1963 ).
  11. Der Musikmarkt, 30 Years of Singles Hit Parade , 1989, p. 20
  12. Tom Wohlert: Musicians, doers, machos, mafiosi: From amateur musicians to the Cologne studio scene . BoD - Books on Demand, 2010, ISBN 9783839175910 , p. 155 ( limited preview in Google book search).
  13. Lothar Berndorff, Tobias Friedrich: 1000 ultimate chart hits . 2008, p. 386
  14. She was the managing director of Feltz GmbH until mid-2015 ( Cornelia Feltz , accessed on January 26, 2017)