Bavarian liedermacher Hans Söllner is really as notorious for his politics rebelliousness as he’s popular for his reggae-inflected folk music design. His popularity is normally arguably better in Austria, where his albums frequently graph, than it really is in his indigenous Germany, where his open public image is normally tarnished in the eye of some because of his politics. Söllner’s wide-ranging and occasionally heavy-handed politics criticism, not forgetting his public accept of weed, produced him the main topic of more and more pricey fines, to such a level that he sights himself as the sufferer of staatlichen Repressalien (i.e., state-sponsored repression). Musically, Söllner is normally first and most important a live performer — a lot of his albums are actually live recordings — which is a significant facet of his charm, for he prefers to tour and perform live in-person instead of utilize a main label and talk to his market via studio-recorded albums. In old age, he toured often using the Austrian reggae music group Bayaman’Sissdem. Blessed on Dec 24, 1955, in Poor Reichenhall, Bavaria, Germany, Johann Michael Söllner was raised Catholic, attended college in Marzoll, and, unlike public norms, grew his locks long as an adolescent. From 1970 to 1973, he researched to become cook, but work eluded him; a limited period of obligatory civil assistance in the armed service also didn’t workout, and neither do an apprenticeship as a car auto technician. Essentially unemployed on / off for a long time in Munich, he had taken to music, teaching himself to try out guitar and composing his own music. With time, he was provided a documenting contract using the unbiased label PPM (i.e., Powerplay Music Information) and produced his debut in 1982 with Nachdenkliches zum Schmunzeln (aka Endlich eine Arbeit), a full-length live record documented in Munich. More than another five years, the record would sell over 10,000 systems via grassroots advertising, chiefly live shows. There have been also various other Söllner produces on PPM. The precise schedules are uncertain, partly because of their amazing scarcity, but PPM released two 7″ singles with virtually the same image as the cover artwork. One may be the two-track Mei Vadda (“Mei Vadda Hat an Marihuanabaum” b/w “Mama Ziag dei Schürz’n Aus”), which comes from the same live documenting noted on Nachdenkliches zum Schmunzeln. The various other, entitled Söllner Spezial, can be a four-track 7″ one offering studio room recordings of “Endlich eine Arbeit,” “Der Rasenmäher,” “Mei Vadda Hat an Marihuanabam,” and “Für perish Beate S.” In 1986 PPM released the record Für Marianne und Ludwig, a live documenting from Dorfen, Bavaria, implemented in 1987 by Wos Reimt Se Scho auf Nicki…, another live saving from Dorfen. In 1988, Söllner’s last season on PPM, the label released the 7″ one …Sogar der Blowing wind Liagt as well as the best-of collection Endlich eine Arbeit!, which compiles the features of his three albums for the label, combined with the two tracks for the …Sogar der Blowing wind Liagt one. Söllner still left PPM for the well-regarded 3rd party label Trikont, located in Munich, which he produced his debut with Hey Staat! (1989). Regarded by many to become his greatest record, Hey Staat! certainly set up him not merely being a protest vocalist but as an up-and-coming skill on the choice music picture. He implemented the record with Bayerman Vibration (1990), a studio-recorded reggae record featuring a music group made up of Peter Schneider, Sebastian Thorer, and himself, and a live record, Live mit Bayerman Vibration (1991). His following recording, …Der Charlie (1992), is, along with Hey Staat!, one of is own best — and certainly his most questionable to day. A live documenting produced from May 1992 concerts in Ulm und Tübingen, …Der Charlie carries a very long narration of his 1986-1987 visit to Jamaica and its own impact upon him, with regards to not merely reggae music and cannabis make use of but also politics and religious beliefs. Moreover, the recording cover displays him crouched inside a patch of cannabis vegetation ? la Peter Tosh’s Legalize It (1976) and was pressed on green vinyl fabric. …Der Charlie surprisingly became a high 30 hit around the Austrian albums graph, ushering in a fresh level of reputation for Söllner. He drew additional focus on himself by publicly announcing in August 1993 that he was abandoning the Roman Catholic beliefs and switching to Rastafarianism; plus, he announced himself a vegetarian and pacificist. He do this while at exactly the same time launching the mini-album Fang Ma Perform o Wo Ma Neilich Aufg’heat Ham (1993), documented reside in Tübingen. Söllner’s following record of new materials, Grea Göib Roud (1995), a subdued single studio documenting dedicated to a pal who had passed on, was his most commercially effective to time, peaking at amount 26 around the Austrian albums graph and quantity 50 around the German albums graph. His following recording, A Jeda (1997), another studio room effort, proved a lot more effective, breaking in to the Top Ten from the Austrian albums graph (at quantity eight) and once again registering around the German albums graph (at quantity 67). Through the past due ’90s, as his albums had been proving popular with each launch, Söllner was fighting legal fees of Marihuana-Anbau (we.e., weed cultivation) and Beamtenbeleidigung (insulting open public officials). He argued that it had been his religious best being a Rastafarian to smoke cigarettes weed, but this wasn’t an absolute argument; in the long run, he was fined seriously and faced tremendous legal expenses. In the meantime, amid every one of the promotion encircling his trial, in 1998 Trikont reissued his initial three albums (Endlich eine Arbeit, Für Marianne und Michael, and Wos Reimt Se Scho auf Nicki…), which had opted out of printing following demise of PPM. In 2000 Söllner came back to the buyer marketplace along with his first record in 3 years, 241255, a twice record comprised of different live recordings from days gone by year. The record was a high 20 strike in Austria. A season afterwards he released Babylon (2001), another live record, this one offering his new support device, the Austrian reggae music group Bayaman’Sissdem. A couple of years afterwards Söllner reemerged in 2004 with some releases. Perhaps most obviously included in this was a fresh studio record, Oiwei I, his initial studio work in seven years; like his various other albums of the period, it features Bayaman’Sissdem. The record was lots 22 strike in Austria and lots 61 strike in Germany. Also in 2004 he released a publication (Bloß a Gschicht) and two Dvd disks (Wer Bloß Lacht, Is definitely Ned Frei!, Der Bayerische Rebell — originally released on VHS in 1995 and 1996, respectively). A live Compact disc/Dvd and blu-ray documenting the Oiwei I tour, Live im Regen mit Bayaman’Sissdem, adopted in 2005. In 2007 Söllner and Bayaman’Sissdem came back with a fresh studio recording, Viet Nam. The recording charted at quantity 12 in Austria and quantity 90 in Germany. An extended tour adopted the album’s launch, extending much into summer time 2008; some displays presented Söllner with Bayaman’Sissdem, additional dates were single performances.