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Max Raabe
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Key Information
Max Raabe (born Matthias Otto,[1] 12 December 1962) is a German jazz singer. He is best known as the founder and leader of the Palast Orchester.
Career
[edit]Raabe developed an interest in the sound of German dance and film music of the 1920s and 1930s, such as the songs of the Comedian Harmonists, from seeing old films on television and from his parents' record collection.[2] He formally studied music at the Berlin University of the Arts, intending originally to become a baritone opera singer. He and eleven other students formed the Palast Orchester in 1985. The ensemble initially used music arrangements that Raabe found at various flea markets.[3]
The orchestra practised these arrangements for one year without any public engagements or performances.[4] The orchestra first performed publicly at the 1987 Berliner Theaterball, in the lobby as a secondary act, but with such success that the audience left the ballroom to hear the orchestra's performance in the lobby.[5] Raabe and the Palast Orchester had a hit with his 1992 original, Schlager-styled song "Kein Schwein ruft mich an" ("Nobody ever calls me", almost literal translation: "No pig calls me"), a pop song in 1920s style.
In addition to covers of vintage music, Raabe writes original songs and music, including film music. He and the orchestra have also created covers of modern pop songs in a 1920–1930s band style, including songs by ABBA, Britney Spears, Tom Jones, and Salt'n'Pepa.
Raabe has also made a number of cameo appearances as a stereotypical 1920s and 1930s singer and entertainer in a number of films by German directors, such as Der bewegte Mann (1994; English title "Maybe, Maybe Not"), Werner Herzog's Invincible (2001), and Wenzel Storch's Die Reise ins Glück (2004). His live theatre performances include a 1994 appearance as Dr. Siedler in the Berlin "Bar jeder Vernunft" version of The White Horse Inn, and 1999 performances as Mack the Knife in Kurt Weill and Bertolt Brecht's The Threepenny Opera alongside Nina Hagen.
Raabe first performed in the USA in Los Angeles in 2004.[6] In 2005, he performed his first concert in New York City's Carnegie Hall and returned for subsequent engagements with the Palast Orchester in 2007[7] and 2010.[8] In 2011, Raabe produced an album, Küssen kann man nicht alleine (You cannot kiss alone), with former new-wave musician and producer Annette Humpe, who also wrote the lyrics.[9] His latest album, also with Humpe, is Für Frauen ist das kein Problem ("It's no problem for women"), released in 2013.
In 2022, Raabe made an appearance as himself in the 1920s neo-noir series Babylon Berlin, in which he performed a single titled Ein Tag wie Gold.[10]
Discography
[edit]- Die Männer sind schon die Liebe wert (1988, Monopol)[11]
- Kleines Fräulein, einen Augenblick (1989, Monopol)[11]
- Ich hör' so gern Musik (1991, Monopol)[11]
- Live im Wintergarten (1992, Monopol)[11]
- Dort tanzt Lu-Lu! (1994, Monopol)[11]
- Bel Ami (1995, Monopol)[11]
- Music, Maestro, Please (1996, Monopol)[11]
- Die größten Erfolge (1996, Monopol)[11]
- Mein kleiner grüner Kaktus (1997, Monopol)[11]
- Tanz-Gala (1997, Monopol)[11]
- Ein Freund, ein guter Freund (1999, RCA Local/Sony Music)[11]
- Junger Mann im Frühling (1999, Monopol)[11]
- Krokodile und andere Hausfreunde (2000, RCA Local/Sony Music)[11]
- Ich wollt ich wär ein Huhn (2001, RCA Local/Sony Music)[11]
- Charming Weill (2001, RCA Local/Sony Music)[11]
- Superhits (2001, RCA Local/Sony Music)[11]
- Vom Himmel hoch, Da Komm' Ich Her (2002, RCA Local/Sony Music)[11]
- Superhits Nummer 2 (2002, RCA Local/Sony Music)[11]
- Palast Revue (2003, Warner Special Music)[11]
- Max Raabe singt (2005, Monopol/Sony Music Austria)[11]
- Wochenend & Sonnenschein (2006, RCA Local/Sony Music)[12]
- Komm, lass uns einen kleinen Rumba tanzen (2006, Warner Special Music)[11]
- Advent (2006, RCA Local/Sony Music)[12]
- In Der Bar (2008, Sony BMG Music)[12]
- Heute Nacht Oder Nie (Tonight or Never) (2008, SPV)[11]
- Übers Meer (2010, Decca/Universal)[11]
- Küssen kann man nicht alleine (2011, Decca) (with Annette Humpe)[11]
- Für Frauen ist das kein Problem (2013, Decca) (with Annette Humpe)[11]
- Für Frauen ist das kein Problem – Zugabe Edition (2013, Decca) (with Annette Humpe)[11]
- The Golden Age (2013, Decca)[11]
- Eine Nacht in Berlin (2014, We Love Music)[11]
- Der perfekte Moment... wird heut verpennt (2017, We Love Music) (with Annette Humpe & Peter Plate)[11]
- MTV Unplugged (2019, Deutsche Grammophon GmbH, Berlin)
- Wer hat hier schlechte Laune (2022, We Love Music)[11]
- Mir is so nach dir (2023, We Love Music)[11]
References
[edit]- ^ "Sagen Sie jetzt nichts, Max Raabe". Süddeutsche Zeitung Magazin (in German). Munich: sz-magazin.sueddeutsche.de. 2008. Retrieved 16 January 2013.
- ^ "Max Raabe: Der Mann mit dem Palast Orchester". Stern (in German). stern.de. Associated Press. 1 December 2005. Retrieved 16 January 2013.
- ^ Robert Levine (29 November 2005). "Keeping the Old Cabaret Alive in the Land of 'Cabaret'". The New York Times. Retrieved 16 January 2013.
- ^ Ronni Reich (15 April 2011). "Max Raabe and Palast Orchester perform at NJPAC on Sunday". The Star-Ledger. Newark, New Jersey: nj.com. Retrieved 16 January 2013.
- ^ Barrymore Laurence Scherer (1 March 2010). "The Wunderbar Max Raabe". The Wall Street Journal. wsj.com. Retrieved 16 January 2013.
- ^ Jason Victor Serinus (2 February 2010). "The Musical Paradox of Max Raabe – An Interview". Playbill Arts. playbillarts.com. Retrieved 16 January 2013.
- ^ Anthony Tommasini (5 November 2007). "Musical Days of Berlin (the City ... and the Irving)". The New York Times. Retrieved 16 January 2013.
- ^ "Max Raabe and the Palast Orchester Return to Carnegie Hall 3/4". BroadwayWorld.com. 26 January 2010. Retrieved 13 January 2013.
- ^ Elmar Krekeler (24 January 2011). "Max Raabe und Annette Humpe wollen den Pop retten". Die Welt (in German). welt.de. Retrieved 16 January 2013.
- ^ ""Babylon Berlin" star Max Raabe: acting talent? I don't have". Time News. 9 October 2022. Retrieved 13 March 2023.
- ^ a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad ae Orchester, Max Raabe and Palast. "CD – Music". Max Raabe and Palast Orchester.
- ^ a b c "Palast Orchester Mit Seinem Sänger Max Raabe". Discogs.
External links
[edit]- Max Raabe's home page (English, German and French)
- Max Raabe and the Palast Orchester on MySpace
- Opus3 Artists agency page Archived 3 October 2011 at the Wayback Machine
- Goethe Institute page on Max Raabe
- "Max Raabe's Palast Orchester: Timeless Elegance". All Things Considered (National Public Radio), 19 October 2008.
- Chicago Symphony Orchestra page on Max Raabe Archived 30 March 2012 at the Wayback Machine
- Helnwein Museum, "Marilyn Manson Marries Dita von Teese at Helnwein's Irish Castle. Helnwein is best man". 3 December 2005
- All About Jazz, "Max Raabe & Palast Orchester Release and US Tour". September 24, 2008
- Max Raabe in Israel. Documentary, Germany 2012, Production: BR, Bavarian Broadcasting TV, (in German).
Max Raabe
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Early Life and Education
Childhood in Lünen
Max Raabe, born Matthias Otto on December 12, 1962, in Lünen, Germany, grew up in a rural setting in the Ruhr region, characterized by a calm and peaceful country environment.[8][9] His family home provided a stable backdrop, where everyday sounds like his mother working in the kitchen became part of his early auditory experiences, often captured on makeshift recordings of radio broadcasts.[9] Lünen, a small town north of Dortmund, offered a serene atmosphere away from urban bustle, fostering a childhood immersed in simple pleasures and emerging interests.[10] From a young age, Raabe displayed a natural affinity for singing, participating in the local youth choir and performing casually, such as while riding his bicycle through the countryside.[11] He soon began interpreting songs from an earlier era at informal gatherings, like boy scout events or church functions, donning a black suit and his father's wedding top hat to evoke a vintage style.[9] These early performances highlighted his budding passion for music, blending youthful enthusiasm with a precocious appreciation for performative flair. Raabe's fascination with 1920s and 1930s music ignited around age 12, sparked by a 78-rpm shellac record he discovered in his parents' collection, an instrumental piece titled "I'm Crazy About Hilda" that stood out for its unfamiliar, melancholic sound.[3] As a child, he was captivated by radio programs featuring similar vintage shellac recordings, prompting him to request tapings from friends and family when he couldn't listen live.[9] This led him to scour flea markets, such as in Münster, for more 78-rpm discs from Germany and England, deepening his exposure to pre-World War II jazz and cabaret styles.[9][3] Sunday television broadcasts of black-and-white films further fueled his interest, showcasing large orchestras and dancers like Fred Astaire and Ginger Rogers, though contemporary icons like Marilyn Monroe were part of the cultural chatter around him.[9] These encounters with retro-swing, big band, and dance tunes from his parents' era and beyond laid the foundation for his lifelong dedication to preserving that musical heritage.[12]Musical Training and Move to Berlin
In his early twenties, Max Raabe relocated from his hometown of Lünen to Berlin in 1985 to pursue formal musical education.[13] This move marked a significant step toward professionalizing the singing passion he had nurtured since childhood through discoveries of old records.[14] At the Berlin University of the Arts, he enrolled in vocal studies, focusing on classical techniques and repertoire. Raabe trained rigorously as an opera baritone over a seven-year period, from 1988 to 1995, honing his voice for the demands of grand opera stages.[15] His ambitions centered on a career in classical music, inspired initially by composers like Wagner and Beethoven, with the goal of performing in symphonic and operatic settings.[15] The program's emphasis on vocal precision and dramatic expression equipped him with a versatile baritone range that could extend into higher registers when needed.[16] During his time at the university, Raabe encountered a broader spectrum of musical traditions beyond strict classical forms, including the sophisticated cabaret songs and early jazz influences of the Weimar Republic era (1920s–1930s).[15] This exposure, often through archival sheet music and period recordings, highlighted the era's blend of elegance, sarcasm, and rhythmic vitality, contrasting with the intensity of opera.[13] Ultimately, Raabe chose to redirect his artistic path toward interpreting this Weimar repertoire, drawn by its distinctive humor and accessibility.[15]Career
Formation of the Palast Orchester
In 1986, Max Raabe founded the Palast Orchester alongside a group of fellow students at the Berlin University of the Arts, where he was pursuing vocal training as a baritone opera singer.[17] The ensemble emerged from Raabe's vision to revive the sounds of Germany's Weimar-era dance and film music, drawing inspiration from vintage recordings and films of groups like the Comedian Harmonists.[18] This initial setup marked the beginning of Raabe's shift from classical opera toward a distinctive ensemble performance style. The group's core concept centered on recreating the elegant ballroom orchestra aesthetics of the 1920s and 1930s, infused with an ironic and nostalgic twist to evoke the era's glamour amid historical hindsight.[17] Early rehearsals focused on meticulously adapting period arrangements, many sourced by Raabe from flea markets, to capture authentic instrumentation and phrasing without modern embellishments.[18] Repertoire selection emphasized German Schlager hits and American jazz standards from composers such as Kurt Weill, Irving Berlin, and Cole Porter, prioritizing pieces that highlighted the orchestra's precise, vintage timbre.[18] To hone their signature aesthetic, the Palast Orchester began with informal performances in university and student environments around Berlin, allowing the group to experiment with stage presence, costumes, and delivery before broader exposure.[18] These low-stakes gigs enabled refinements in their ironic detachment and nostalgic fidelity, solidifying the ensemble's unique approach to pre-war popular music.[15]Breakthrough and Early Success
Raabe and the Palast Orchester made their public debut as a secondary act in the lobby of the 1987 Berliner Theaterball, where their performance of Weimar-era arrangements drew such enthusiastic attention that the audience abandoned the main event to listen.[18] This unexpected success marked Raabe's initial breakthrough, generating immediate media buzz and establishing the ensemble's reputation for blending nostalgic 1920s and 1930s German cabaret with subtle irony.[19] The group's first significant commercial hit came in 1992 with Raabe's original composition "Kein Schwein ruft mich an," a humorous Schlager track styled in vintage pop that charted in Germany and highlighted their ironic reinterpretation of pre-WWII musical tropes.[20] The song was released as a single, further solidifying their niche appeal through witty commentary on modern loneliness via retro aesthetics. Following the debut album Die Männer sind schon die Liebe wert (1988), releases like Kleines Fräulein, einen Augenblick (1989) and Ich hör' so gern Musik (1991) helped build their following in Germany. In the late 1980s and 1990s, Raabe and the Palast Orchester conducted early tours across Germany and select European venues, cultivating a dedicated cult following drawn to their deadpan delivery of pre-WWII hits like those of the Comedian Harmonists, often infused with postmodern humor.[17] These performances, including a sold-out 10th-anniversary concert at Berlin's Waldbühne in 1997, built momentum for their distinctive style without venturing into major international markets at the time.[17]International Tours and Performances
Max Raabe's international career gained momentum with his United States debut in Los Angeles at UCLA in 2004, where he performed alongside his pianist to an audience of around 600, captivating listeners with his distinctive baritone and Weimar-era style.[15][18] This initial foray paved the way for larger-scale engagements, including his Carnegie Hall debut at Zankel Hall in 2005, followed by return performances in 2007 as part of the Berlin in Lights festival and in 2010 during a broader U.S. tour that also featured stops in Southern California.[19][5][21] These appearances highlighted Raabe's ability to blend nostalgic German cabaret with contemporary appeal, drawing enthusiastic reviews for reviving the effervescent sounds of the 1920s and 1930s. Raabe's worldwide tours in the 2000s and 2010s emphasized innovative reinterpretations of modern pop songs in a 1920s Weimar band style, transforming tracks like ABBA's "Super Trouper" and Britney Spears' "Oops!... I Did It Again" into elegant, big-band arrangements that underscored the timelessness of his repertoire.[13][22] These performances toured extensively across North America, Europe, and beyond, including stops in Canada, Israel, and Asia, where audiences embraced the ironic yet sophisticated fusion of eras.[13] Building on his early success in Germany as a foundation for global appeal, Raabe's shows often filled prestigious venues, fostering a cult following for his deadpan delivery and the Palast Orchester's precise instrumentation. Key appearances at international festivals further amplified Raabe's role in the cultural revival of Weimar-era music, particularly the jazz and cabaret styles banned under the Nazi regime for their perceived degeneracy.[23] His 2007 Carnegie Hall concert during the Berlin in Lights festival exemplified this, immersing audiences in the vibrant nightlife of 1920s Berlin while confronting its historical suppression.[24] Similarly, a 2010 tour to Israel, documented in the film Max Raabe in Israel, premiered at Jewish film festivals and resonated deeply by reclaiming pre-war German-Jewish musical heritage through live performances.[17] These events not only showcased Raabe's commitment to preserving "entartete Musik" (degenerate music) but also educated global audiences on its significance. Raabe's international performances extended to collaborative projects that enriched his tours, such as his partnerships with singer Annette Humpe. Their joint albums Küssen kann man nicht alleine (2011) and Für Frauen ist das kein Problem (2013), blending Humpe's Neue Deutsche Welle influences with Raabe's retro aesthetic, were promoted through live shows across Europe and North America, earning platinum status and critical acclaim for their playful duets.[25][26] These collaborations added a contemporary layer to Raabe's programs, drawing diverse crowds to venues like those in Berlin and beyond during promotional tours.Recent Developments (2020s)
Following the release of the MTV Unplugged album in November 2019, which featured acoustic reinterpretations of Weimar-era classics alongside guest artists like LEA and Samy Deluxe, Max Raabe and the Palast Orchester adapted to the COVID-19 pandemic by participating in virtual performances.[27] In early 2020, Raabe joined an online concert streamed from Berlin's Konzerthaus, collaborating remotely with artists such as pianist Lang Lang and violinist Daniel Hope to deliver big-band standards amid global lockdowns.[28] These digital events helped maintain audience engagement during restrictions that canceled live tours worldwide. In September 2023, Raabe released the studio album Mir ist so nach dir (Klassiker der 20er und 30er), a collection of 16 tracks reviving 1920s and 1930s hits with fresh arrangements, including Irving Berlin's "Top Hat, White Tie and Tails" and Charles Trenet's "La Mer."[29] The album's promotion led to a U.S. tour in March 2024, featuring sold-out performances at venues like Carnegie Hall in New York, Symphony Hall in Boston, and the Chicago Symphony Center, where Raabe's droll interpretations of pre-war jazz captivated American audiences.[30][31] Raabe discussed the cultural significance of his repertoire in a March 2024 NPR interview with Scott Simon, emphasizing the Palast Orchester's role in preserving pre-World War II German jazz—music once banned by the Nazis—and its resonance with contemporary listeners seeking escapism through sophisticated nostalgia.[23] The duo launched a new tour program, "Hummel streicheln" (Stroking a Bumblebee), in January 2025, extending through 2026 with over 60 dates across Europe, including additional sold-out shows in Berlin and expansions into Scandinavia.[32] This production innovatively focuses on animal-themed Weimar-era compositions, blending humorous announcements with orchestral arrangements to explore whimsical motifs like insects and wildlife in 1920s cabaret songs.[33] A remix of his 2023 single "Ans Herz gehn" (co-written with Peter Plate and Ulf Sommer) is scheduled for release on November 21, 2025, accompanied by a thematic video exploring facets of love, marking a modern electronic twist on his vintage style.[32][34]Musical Style and Influences
Performance Approach
Max Raabe's stage presence is characterized by a deadpan, tuxedo-clad persona that evokes the dandified elegance of 1920s Weimar cabaret performers, complete with ironic detachment from the material he performs.[35] Often appearing rail-thin and impeccably dressed in white tie and tails, Raabe maintains a cool, sardonic distance that underscores the decadent, cosmopolitan vibe of the era without descending into mere imitation.[4] This theatrical restraint, marked by subtle gestures like a raised eyebrow or casual lean against the piano, amplifies the humor inherent in his delivery while transporting audiences to a nostalgic escape from contemporary realities, much like the original Weimar intent of providing levity amid economic hardship.[18][35] Raabe's vocal technique features a light baritone delivery that meticulously mimics the crooners of the 1920s and 1930s, prioritizing crystalline clarity and nostalgic evocation over overt emotional expression.[21] His range spans from tenorial highs to basso lows, delivered with a tender yet unsentimental tone reminiscent of Fred Astaire's style, ensuring the lyrics land with sly precision and flawless comic timing.[21] This approach captures the cunning rasp of cabaret singers and the confidence of bel canto heroes, blending early jazz timbre with ragtime falsetto elements for an authentic recreation of period vocalism.[18] Central to Raabe's performances is the 12-piece Palast Orchester, whose precise instrumentation recreates the ballroom jazz and harmonically rich arrangements of the interwar years with stylish versatility.[21] The ensemble, all male except for violinist Cecilia Crisafulli, doubles and triples instruments—such as baritone sax, bass sax, and clarinet—to produce casually jazzy, inventive backings that support Raabe's leads while occasionally spotlighting their own contributions.[21] This dynamic interplay fosters a sense of communal elegance, as the orchestra embodies the high-style musical glory of the 1920s and 1930s, enhancing the overall theatrical immersion.[4] Humor emerges prominently through Raabe's anachronistic covers, where modern pop songs are reinterpreted in vintage style, injecting wry detachment and over-the-top irony into the proceedings.[35] These elements, combined with theatrical introductions and droll banter, create a performance that entertains while evoking the escapist spirit of Weimar-era entertainment, allowing audiences to momentarily forget everyday concerns in a haze of retro charm.[18][23]Key Influences and Repertoire
Max Raabe's artistic influences draw heavily from the cabaret traditions of the Weimar Republic and transatlantic songwriting, particularly the collaborations of Bertolt Brecht and Kurt Weill, whose politically charged lyrics and innovative scores shaped his appreciation for sophisticated, ironic narratives in music.[35] Weill's works, such as the "Alabama Song," exemplify the blend of social commentary and melodic elegance that Raabe emulates in his interpretations.[23] Similarly, American composer Cole Porter's witty, urbane lyrics in standards like "Let's Do It" inform Raabe's approach to delivering lighthearted yet layered sophistication, bridging German and Anglo-American cabaret styles.[18] Raabe's repertoire centers on German Schlager and jazz from the 1920s and 1930s, reviving the upbeat, sentimental hits of the Weimar era alongside American jazz standards adapted to a European flair, such as Irving Berlin's tunes performed as if from 1929 Berlin ballrooms.[23] A significant portion highlights works by Jewish composers persecuted under the Nazi regime, including Kurt Weill's collaborations and Walter Jurmann's playful numbers like "My Gorilla Has a Villa in the Zoo," which were banned as "degenerate" art in 1933.[23][36] Raabe deliberately credits these creators during performances to honor their legacy, emphasizing songs that capture the era's risqué humor and melancholy.[23] In a contemporary twist, Raabe reinterprets modern pop hits through vintage arrangements, such as Britney Spears's "Oops!... I Did It Again," rendered in a 1930s cabaret style on his "Super Hits" collections, which have sold over 100,000 copies each and broadened his audience.[35][13] This approach juxtaposes Weimar elegance with today's hits, maintaining the orchestra's authentic instrumentation. Raabe's commitment to preserving Weimar-era music is evident in his focus on the Comedian Harmonists, the influential 1920s-1930s vocal group whose American-inspired close harmonies and novelty songs he recreates to highlight the period's cultural vibrancy before Nazi suppression disbanded them due to Jewish members.[18][13] Since forming the Palast Orchester in 1986, he has sourced "lost" tracks from flea markets and family collections, performing them in events like Kristallnacht commemorations to ensure the Jewish contributions to German Schlager endure.[36][13]Media Appearances
Film Roles
Max Raabe's film debut came in the 1994 German comedy Der bewegte Mann (also known as Maybe... Maybe Not), where he performed an uncredited role as a singer alongside the Palast Orchester in a humorous cabaret scene that showcased his distinctive Weimar-era vocal style.[37] This brief appearance marked an early step in broadening his visibility beyond niche musical circles.[38] In Werner Herzog's 2001 biographical drama Invincible, Raabe portrayed the Master of Ceremonies at a Berlin variety show, a supporting role infused with musical elements that highlighted his elegant, period-appropriate persona amid the film's depiction of 1930s Germany.[39] The Palast Orchester accompanied him in performances, reinforcing the narrative's historical cabaret atmosphere.[40] Raabe took on a more prominent acting role in the fourth season of the neo-noir series Babylon Berlin, released in 2022, playing the cabaret singer Emil Engels; his portrayal wove his signature 1920s Weimar aesthetic directly into the show's evocative recreation of Republican-era Berlin nightlife. For the series, he also composed and performed the original title song "Ein Tag wie Gold," blending his musical expertise with the production's thematic needs.[41] Throughout his sporadic film work, Raabe has emphasized that he possesses no innate acting talent, viewing his contributions primarily as musical cameos rather than pursuits of lead dramatic roles.[41]Television and Other Media
Max Raabe has made numerous guest appearances on German television, particularly in the 1990s and 2000s, to promote the Palast Orchester and its Weimar-era repertoire. In 2001, he performed on the NDR Talk Show, showcasing songs from the interwar period.[42] He returned to NDR programming in 2011 for the variety-style show DAS!, where he discussed the orchestra's ongoing tour and premiered a new single live.[43] Similar promotional spots continued into the 2010s, including a 2013 episode of DAS! featuring two performances of classic schlager tunes.[44] These appearances on public broadcasters like NDR helped establish Raabe's deadpan delivery and the orchestra's polished sound in mainstream variety formats, often blending music with light-hearted interviews. Documentaries have highlighted Raabe's role in reviving Weimar-era music, emphasizing the preservation of styles suppressed under the Nazi regime, including works by Jewish composers. The 2013 film Max Raabe in Israel, directed by Brigitte Bertele and Julia Willmann, follows Raabe and the Palast Orchester on their first tour to Israel, where he reflects on the cultural significance of banned jazz and cabaret from the 1920s and 1930s, including contributions from composers like Werner Richard Heymann.[45] In interviews within the documentary, Raabe discusses how many of these songs, written by Jewish artists, vanished after 1933 but are now being rediscovered through his performances.[46] A 2019 behind-the-scenes documentary accompanying the MTV Unplugged album recording offers insights into the orchestra's preparation process, featuring Raabe's collaborations with guest artists like LEA and Samy Deluxe to reinterpret vintage hits.[47] On the international stage, Raabe has engaged in media that underscore the modern relevance of Nazi-banned music. In a March 2024 NPR Weekend Edition interview with Scott Simon, he explained how the Palast Orchester revives 1920s German jazz—once deemed "degenerate" by the regime—for contemporary audiences, performing selections like "Alabama Song" to illustrate the era's playful yet poignant spirit.[23] More recently, promotional media for tours includes a special video accompanying the November 21, 2025, remix release of "Ans Herz gehn" (originally from 2017), which explores themes of love through animated vignettes tied to the orchestra's 2025 concert program.[48] These efforts extend Raabe's media presence beyond scripted film roles, reinforcing his persona as a custodian of early 20th-century German entertainment.Discography
Studio Albums
Max Raabe and the Palast Orchester have released 19 studio albums. Key releases include:- Die Männer sind schon die Liebe wert (1988, Funky Records; reissued on Monopol) marked the beginning of his signature style with ironic takes on classic German cabaret and jazz numbers, accompanied by the Palast Orchester's orchestral arrangements.[49][50]
- Kleines Fräulein, einen Augenblick (1989, Monopol)
- Ich hör' so gern Musik (1991, Monopol)
- Dort tanzt Lu-Lu! (1994, Monopol)
- Bel Ami (1995, Monopol)
- Music, Maestro, Please! (1996, Monopol)
- Mein Kleiner Grüner Kaktus (1997, Monopol)
- Tanz-Gala (1997, Monopol)
- Junger Mann im Frühling (1999, Monopol)
- Ein Freund, ein guter Freund (1999, RCA Local)
- Palast Revue (2003, WSM)
- Komm, lass uns einen kleinen Rumba tanzen (2006, WSM)
- Heute Nacht Oder Nie (2008, SPV Recordings)
- Übers Meer (2010, Decca)
- Küssen kann man nicht alleine (2011, Decca), a collaboration with Annette Humpe featuring 12 newly composed songs exploring themes of love and longing, peaking at number 3 on the German album charts.[43]
- Für Frauen ist das kein Problem (2013, Decca), continuing the partnership with Humpe, reaching number 2 on the German album charts and earning a gold certification for over 100,000 units sold.[51][52]
- Der perfekte Moment... wird heut verpennt (2017, We Love Music)
- Wer hat hier schlechte Laune (2022, We Love Music)
- Mir ist so nach dir (2023, We Love Music), a collection delving into romantic themes from the 1920s and 1930s, including covers like "Top Hat, White Tie and Tails".[50]
Live Recordings and Compilations
Live recordings capture the dynamic energy of performances with the Palast Orchester. Notable examples include:- Live im Wintergarten (1992, Monopol), recorded at Berlin's historic Wintergarten theater.[50]
- Max Raabe singt (2005, Monopol, live double CD)
- The Golden Age (2013, Decca, live at Carnegie Hall)
- Eine Nacht in Berlin (2014, We Love Music)
- Max Raabe & Palast Orchester MTV Unplugged (2019, We Love Music), a double album and DVD stripping down arrangements to acoustic essentials, featuring renditions of standards like "Sweet and Lovely".[54][55]
- Charming Weill (2001, RCA Red Seal), curated with conductor HK Gruber, collecting dance band arrangements of Kurt Weill's compositions, receiving an ECHO Klassik Award.[56][57][50]
- Superhits (2001, RCA Local)
- Ich wollt ich wär ein Huhn (2001, RCA Local)
- Krokodile und andere Hausfreunde (2000, RCA Local)
- Die größten Erfolge (1996, Monopol, double CD)
- Vom Himmel hoch (2002, RCA Local)
- Superhits 2 (2002, RCA Local)
- Für Frauen ist das kein Problem – Zugabe Edition (2013, Decca, includes DVD)