Only 1000 copies were printed...

One played on John Peel's show,

One was reviewed for Rolling Stone,

Another reviewed for NME, 

Almost all have since disappeared.

IF you can even find a BOOTLEG copy, it usually sells for $500.00

 This is NOT a bootleg.

This copy is Original - First Pressing.

This copy is NEAR-MINT. 

(played only once) 

Tracklist

A Just Like Dresden '45 3:16 B Headliner 2:21

THE NYN STORY...

"In 79 Leo and I follow the course set the year before, with frequent changes in the band’s lineup. We host regular loft parties and played quite a bit. There was a competition between Max’s and CBGB’s, so a band that played more often at one of the two was considered a Max’s band or a CB’s band. CB’s was bigger and had a better sound system, but at Max’s you always got a sound check, your name in the Village Voice, your own dressing room and got paid. None of these were guaranteed at CB’s. If you didn't play at CB’s for a while you had to play on a Monday (audition night) again, no pay, no name in the paper and often no sound check. NYN became more of a Max’s band, in fact once we played there twice in one week, headlining on a Tuesday and opening up for JohnnyThunders Heartbreakers on Friday. Max’s was the legendary place where the Warhol crowd hung out, and the VU played their last gig, a one-week stint, with Lou Reed just walking out on the band on the last night. This was recorded on a small cassette recorder by the Warhol denizen Bridged Berlin (Polk) and published as The Velvet Underground – Live at Max’s. Of course we had been listening to the LP in Germany and that’s how I new about Max’s. 

Max’s had three floors. The downstairs was a business bar during the day and had its daytime jukebox. Next to it was a different jukebox and during happy hour one was unplugged and the other plugged in. The downstairs backroom was were Andy and his crowd held court. Patti Smith describes the scene in her Just Kids. The bands played on the low ceiling second floor. The stage was also quite low, pretty small, but had curtains, which was awesome. You could get ready in private, counting off the first song and the curtains would open. First you had to walk trough the entire crowd though, an experience in itself, coming from the dressing rooms, which were on the third floor. Two dressing rooms, one for each band, wow. During those days Max’s as well as CB’s had two shows every night, opening band, headliner, opening, headliner. The second show tended to be quite loose, since what would you be doing, in between sound check, first show, and second show?

One night, at the end of our second show, as usual the Stooges Search& Destroy, The Pope walked out onto one of the narrow table rows in front of the stage, which was packed with people, bottles and glasses. I thought, cool, I’ll walk out onto the other one. That all went well until I decided to jump over the seated people onto the tables that Leo was playing on. The tables collapsed and people, bottles and glasses shattered in all directions. Louis Tooloose and the drummer kept playing and so did Leo and me once were back on stage, a fitting Stooges tribute. Months later a guy came up to me in a club and offered me a drink with the words that that was the coolest thing he had ever seen. Hahahaha! More and more clubs opened, left and right, many short-lived dives. I finished writing my first song called just like Dresden 45. The song was inspired by Iggy’s Lust For Life. My opening line became: ‘I was thrown into this world by chance, now I got to stick around.’ Which in turn came from a question I posed my father about what he was thinking when I was conceived. This is another story that I actually have written, but am not ready to publish yet. I wrote the chord sequence and most first verse still in Germany and the bridge and the rock’n roll rhythm guitar came from what I had picked up since coming to NY. Leo never considered NYN punk, he coined us a high energy decadent rock'n roll band. That was fine with me. In March 79 we recorded Just Like Dresden 45  and the Leo penned Headliner. By this time we had added Victor Godsey as lead singer and Jerry (sorry I forgot your last name) on bass. Ed Steinberg who lived upstairs just sat in on drums and nailed it (see also the post New York, rookie year). Victor auditioned with Dresden 45, which we had given to him on a cassette. Not only did he nail the song, but during the guitar solo, he whipped out his belt and started pounding the stage. We stopped the song and just told him that he was in the band. Victor was an accomplished musician and later recorded and toured with many jazz greats playing keyboards. I didn't add a link for victor because they are all dis-satisfying, but he later played with the likes of Al Di Meola and Bill Frisell. We printed 1 000 copies, just a white dust jacket, no sleeve. We put it in various jukeboxes in downtown Manhattan, record stores etc. It didn’t get too much airplay, except some college stations. John Peel plays it on his BBC show and it gets favorable reviews in various magazines (for more details see the image timeline2, above). Over the years I have received various requests to reissue the 45, but made it always contingent on Leo’s agreement, which nobody ever got. Calls to him were not answered. Rumor has it that he is back in Upstate New York were he lives as a Christian priest. The single has been bootlegged apparently sells for up to $ 500 by now. In December 2012 Eric Cecil published an article on the band based on interviews with Louis Tooloose and me. It has a few mistakes, but is the most extensively researched article on this band whose single 45 rpm output contains the favorite songs of the period for quite a few people (Human Being Lawnmower # 3) The songs can always be found on youtube and I have posted Dresden 45 on soundcloud for free downloads, In 2008 I decided the reissue the single with a picture sleeve based on a painting of the bombing of Dresden and a collage of the various band members on the other side as part of my MFA thesis exhibition. 250 numbered copies are available with picture sleeve and I have another 250 in plain white dust-jacket. I am working on a video for Dresden 45. Some of the gigs I remember:  outside on Greenwich St, right in front of the house, the only time we played The Who’s My Generation, but since you know the Who's version, here is Patti Smith with John Cale on bass. On Halloween 1979 we opened for the emerging Plasmatics at My Father’s Place on Long Island. there is a two hour documentary on Wendy O'Williams if you are interested. We also opened for the Cramps at Club 57Irving Plaza, a big old dance hall, where it had moved to, NYN one night and The Misfits the other. Cramps had mics placed in front of the stage were their core fans were yelling and screaming and played it back through the PA augmenting the excitement. We also played a transvestite run after hours club called Stickballs at 84 E 4th St in which Ron Wood later opened a club. The first show was scheduled at 3:00 AM with the second to follow at 5:00. The first show starting around 5:00 AM was more like what happened." -- DEITER RUNGE is composer of "just like Dresden 45" and, also, MFA Art BA Art BA Psy 2003 Phi Beta Kappa 2010 Yoga Teacher certification 2011/12 Board of Directors Honolulu Printmakers 2013/14 Vice President Honolulu Printmakers 1949-70 Born in Hannover,Germany, School,apprenticeship 1970-71 Military Service 1971-78 Continue education,counter culture,Member of early German Punkrock Band.

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This is one of the MOST-SOUGHT-AFTER NYC PUNK 45s IN THE WORLD!!

IN NEAR-MINT-CONDITION

HIGHLY COLLECTIBLE!! AND AMAZING!!!!

(Please note that the "omg-posters!!" - shown in the photos above - are not included, sorry.)

THIS RECORD IS "GUARANTEED" - if not completely satisfied simply return in exact same condition within 14 days and all funds returned (minus your own shipping expense).

Please see my OTHER listings for more ULTRA-RARE RECORDINGS - new "wonders" added almost-daily - thanks!