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[NOTE: Found at http://tmachine.chat.ru/germ Did some “limited” editing to go from html to Word.

I believe this is all or part of “Cosmic Dreams at Play” bu Dag Erik Asbjornsen with no pictures, but having never seen that book, I cannot verify.]

A Guide to German Progressive & Electronic Rock A brief introduction to German rock
The German rock scene in the seventies
When I speak of 'German' music in this book I mean West German music. East German music is also interesting, but something quite different and not the subject of this book! Just like the UK or the USA there were many regional rock scenes in West Germany in the seventies, exploring very different musical directions. The Berlin rock scene with Tangerine Dream, Klaus Schulze, Kluster, Agitation Free, Ash Ra Tempel and Mythos represented a revolution in electronic music. Many people viewed their early and exploratory works as «cosmic music». No one that has wandered along the Berlin wall and felt the political paranoia, melancholia and persecution mania it created will ever wonder why the bands urged people to be free. Their music was reasonably free of previously accepted rules. Berlin also had vital political rock bands like Ton Steine Scherben and Lokomotive Kreuzberg. The Dusseldorf rock scene with Kraftwerk and Neu also explored electronic music, but in a completely different way. Their trade mark was «kling klang music» - a sort of minimalistic, repetitive music I can easily associate with the heavily mechanised industry of the Ruhr surroundings. Due to Kraftwerk's international success, this was a brand of German music which influenced pop and rock bands world-wide for decades to come. The Munich rock scene was a melting pot of psychedelia, jazz and ethnic influences. The most important bands were Embryo, Popol Vuh, Amon Duul II, Guru Guru, Gila and Out Of Focus. Each of them added unique new facets to progressive rock. These bands never gained the international recognition they deserved, although their cult status has remained huge for more than two decades. Cologne's prime exponent of progressive rock in the seventies was the very influential Can. Floh De Cologne were arguably Germany's greatest political rock band, merging Mother Of Inventionlike weirdness with communism. Hannover's most famous bands, Jane and Eloy, had a more traditional symphonic heavy rock approach. Their success was overshadowed at the end of the seventies by a plain heavy rock band (also from Hannover) named Scorpions. The Hamburg rock scene was dominated by bands heavily influenced by Anglo-American progressive rock, such as Epitaph, Frumpy, Virus, Weed and Blackwater Park. Aachen's prime exponents of progressive rock, Necronomicon and Ruphus Zuphall, were also influenced by the British bands, but certainly added their own distinctive German flavour to their music. I also have to mention Germany's two superb engineers and producers: Konrad Plank and Dieter

Dierks. They were midwives for virtually half of the German rock productions in the seventies. Germany had no real musical capital, like London was in the UK. The largely independent rock scenes in most of the largest cities is what makes seventies German rock so exciting.

The birth of German progressive rock

Beat music grew up in Germany. I'm sure most of you know about the Liverpool bands that played the Hamburg night clubs. However, there were few original and inventive German beat bands. There were no equivalents to Beatles, Kinks or Rolling Stones in Germany. The most famous beat bands were The Rattles, German Bonds, The Lords, The Blizzards and The Phantoms. Except for The Rattles, none of these groups had any major impact on the German home market. They were even quite insignificant as inspirational sources for the forthcoming German rock scene. This rather boring situation changed abruptly from 1968 to 1970 when several German bands developed their own, distinctive musical identity as a protest against the dominance of the Anglo-American artists. It was the awakening of a new era - one of exploring and experimenting, both with drugs and music. The first wave of German bands included Guru Guru, Amon Duul, Can, Tangerine Dream, Agitation Free, Embryo and Xhol Caravan. The aforementioned bands (and many others to come) had a musical style unlike any other artist outside of Germany at the time. It was a conglomerate of the German national spirit and humour, free jazz, political involvement, Timothy Leary, Sigmund Freud, Prank Zappa, Miles Davis, Jimi Hendrix, Pink Floyd, Cream and Stockhausen. Timothy Leary, then situated in Switzerland, even made a recording with the Berlin group Ash Ra Tempel. The German underground sound was usually experimental, instrumental, free, exciting, weird, monotonous, psychedelic, though not necessarily all this at the same time. The musicians were often university students. The best educated and most creative and courageous people of their generation. They lived in communes and dreamed of a better world under the influence of assorted drugs. Today the majority of them are probably farting along on the daily nine to five routine commanding their subordinate employers from a mobile telephone in their BMW or Mercedes. Sad but true!

Why didn't revolutionary German rock gain any major international recognition ?

The German market for progressive, experimental or symphonic rock was large. Many British artists sold better in Germany than at home. There are plenty of great British progressive artists who never got an album released at home, but who did quite well with their German releases. German record buyers were more anarchic and open minded than their Anglo-American colleagues. People voted albums like Kraftwerk's debut into the Top Ten poll of 1971 albums. The narrow-minded, overcool music journalism hadn't rooted yet, and the big record companies didn't fully control the media. Sadly over the years much of the knowledge about the German rock scene between 1968 and 1975 has disappeared. When international rock journalists bother to write about German rock they usually trace the career of Kraftwerk, as this group was a major influence on the British 'indie' synth pop scene. Or else, they might write about Can and accuse them of being Velvet Underground clones! Detailed information about German rock in English is quite rare. For example, in the series "History of Rock" about 10 of a total 2,500 pages mention German music, 7 of them being devoted to Kraftwerk. Only 0,0012% of the series was devoted to all other German bands. Do you think the world's third largest music market really had such an

insignificant home music scene? My answer is of course a loud NO!, and I hope this book brings German rock to a much wider audience.

1980s - The «death» of German progressive rock

From the late seventies onwards progressive rock became unfashionable and received gradually less attention in the media, as punk and new wave music rose to prominence. Germany had a large share of exciting new wave bands, often referred to as «Die Neue Deutsche Welle». This book doesn't cover these bands, which could be the subject of an equally large hook. German new wave was often inspired by the electronic pop rock of Kraftwerk and Neu, aka the Dusseldorf scene. Important names were Ideal, Trio, Nina Hagen, D.A.F., Extrabreit, Fehlfarben, Steinwolke, Der Plan, Rheingold, Nena, Die Arzte, etc. Very few of the old bands survived this period, only those who already had firm sales before the market changed. New bands playing progressive or symphonic rock weren't in demand, had problems getting live engagements and recording contracts and few survived for long. Recent re-issues actually sell better than the original issues did.

The purposes of this book

The main purpose of this book is to provide comprehensive information about the German progressive and electronic rock scene of the seventies. This is not a complete guide. It would be an impossible task to document all relevant albums, as there were a huge number of largely unknown private pressings made in Germany, mainly from about 1975 and onwards. I have attempted to focus my work on reviews and descriptions of albums. Please do not view my comments as written law. I've tried to avoid making comments that are too subjective. Collectors will also find relevant information about original albums and subsequent re-issues. Sometimes I mention their values on the collector's market. This may not reflect their true value, but the value that at least some people are willing pay to grab original artefacts from the early seventies. I strongly recommend the readers to buy the re-issues instead of risking financial ruin. I have tried to be as accurate as possible, but not all of the information is easily verified. Different sources may also be contradictory. I hope this book will bring to more of you the great pleasure of listening to great music. This is my main purpose in writing it. If you spot errors or know about major omissions please write to me c/o Borderline Productions, P.O. Box 93, Telford, Shropshire, TFI IUE, UK. with the details.

Dag Erik Asbjornsen, Oslo 1995 NINE DAYS' WONDER
Personnel:

• • • • • • • • • •

WALTER SEYFFER v, d (JOHN EARLE sax, flt, g, v) A (FREDDIE MUNSTER sax, kb) B (ROLF HENNING g, pno, b (C)) A,C (HANS FRAUENSCHUH g) B BERND UNGER g D PETER OEHLER g,v D (KARL MUTSCHLECHNER b) A (MICHAEL BUNDT b) B,C RAINER SAAM b D

This was much more a straight rock song oriented album. with tuneful and sophisticated compositions. neck-breaking shifts of tempo and general insanity on tracks like "Morning Spirit" and "Stomach's Choise". In July 1973 they recorded We Never Lost Control. A kind of rock opera. Their album Sonnet To Billy Frost (1976) was dismissed in the music press at the time of release. Seyffer joined Michael Bundt's band Medusa. ex-2066 & Then). large amounts of free improvisation. from Van den Graaf Generator) and Steve Robinson (keyboards. They recorded their first album in the Dierks Studio. Nektar or Message. This was a fine example of more bizarre German progressive rock. The original German issue of the album came in a green foam-rubber cover designed by Seyffer!!! It surely qualifies for the top ten list of the craziest sleeve designs ever made! John Earle's talented sax and flute work was particularly notable.54853. v JORG EVERS g.D (A)same () 1971 (B)"We Never Lost Control" () 1973 (C)"Only The Dancers" () 1974 (D)"Sonnet To Billy Frost" () 1976 Walter Seyffer founded the group Nine Days' Wonder as early as 1966. Nine Days' Wonder went through further changes. melodic up-beat rock songs with some linked musical themes and clever lyrics). if a little difficult to get into. In December 1972 this band suddenly turned out to be the new Nine Days' Wonder. When the original Nine Days' Wonder disbanded in 1972. was totally different to the 1971 album: a 'straighter' progressive rock album comparable to other Hauke productions like Epsilon. flute. January 1971 with the Hauke & Dierks team. v LOTHAR MEID b. but has proved able to stand the test of time. It sounded strangely British (short. he went to England and joined Gnidrolog (you can hear him on the classic album Lady Lake). lacking the golden cover and label. understandably. 18 (ACHTZEHN) KARAT GOLD Personnel: ALBUM: • • • • KLAUS EBERT g. After Nine Days' Wonder disbanded. . Family and Deep Purple. Unger and Seyffer made three further albums together as Wintergarden. complex suites of heavy progressive riffing. In 1974. The last incarnation of this unstable group formed in the Summer of 1975. ended up as a quartet at last. jazz fusion. Martin Roscoe drummed for a while in 2066 & Then. A fine achievement.ALBUMS: • • • MARTIN ROSCOE d (KARL-HEINZ WEILER d) B SIDHATTA GAUTAMA d C. Soft Machine. They recorded Only The Dancers in September 1974 in England with the guests Dave Jackson (sax. v KEITH FORSEY d NB: Originals had a special golden United Artists label. "All Bumm" (United Artists UAS 29559) 1973 Achtzehn Karat Gold were a short-lived off-shoot of Amon Duul II of limited musical Interest. A 1981 re-release exists on Telefunken 6. clearly inspired by King Crimson. They presented long. which. Frank Zappa. Traffic.

such as 18 Karat Gold. the well-known Amon Duul II producer and jazz saxophonist. the technical quality of their albums wasn't too good: the first one has a strange. this wasn't an overstatement . although he left and rejoined several times. Keith Forsey and Jorg Evers also guested on a couple of Amon Duul II albums (also occasionally replacing the so-called permanent members live). the band soon fell apart. P. being busy with other part-time projects. From 1976 to 1979 he would be a member of Amon Duul II in their last phase when they were turning their musical focus towards pop rock. Their live set suffered from lack of clarity and misplaced phasing effects. Probably the engineer was heavy-handed with equalisers. Sixty Nine's music was semiclassical. As the album also proved to be a commercial flop. Backed by the drummer Roland Schupp. he could sound like Keith Emerson at their live-shows: as Stove's hands were in virtually three different places at the same time.although there really weren't many two-man bands around at all! A large part of Sixty Nine's musical talent lay with vocalist. undoubtedly inspired by Hardin & York. L. also made an excellent album with Paul Vincent as the duo Hallelujah in 1971. The half American and half German Klaus Ebert was only 18 years when 18 Karat Gold recorded their one and only album. Olaf Kubler. ft is still possible to acquire the album quite cheaply. It comprised very long organ.Lothar Meid was with Amon Duul II from 1971 to 1974. kb ROLAND SCHUPP d "Live" () 197 "Circle of the Crayfish" () 1972 'The SIXTY NINE. I'm afraid. Forsey. even if the engineer was the legendary Konrad Plank. They comprised conventional keyboard-based classical-influenced progressive rock performed by an unconventional formation! Circle of the Crayfish (1972) included a poster. Expect to pay 60-80 DEM each for both albums. so ran the motto for this unusual duo. containing 11 short.. Just like Nice and E. if you're keen on the classical rock genre. transformed sound. composer and multi-keyboardist Armin Stove. didn't add any exciting ideas to the production in this case. they succeeded in sounding like a keyboard-based quartet.extended tracks sounding like a cross between Rick Wakeman's keyboard extravaganzas and a progressive Klaus Wunderlich on speed! The album is recommended with some reservations for the faint-hearted! For reasons unknown to me. sizzling treble and a burping bass. the most experienced TWO MAN big band'. as the sound was dominated by high-pitched. a British session drummer living in Germany at that time. I don't know why they chose such a name. 2066 & THEN Personnel: . 69 Personnel: ALBUMS: • • ARMIN STOVE v. mainstream pop-rock songs. The best cuts by Sixty Nine are mostly captured on their double live album . Judged by their music. Doldinger's Passport and Utopia. maybe it was the year of their formation? Their two albums make interesting listening time. 18 Karat Gold's close connections to Amon Duul II will always secure some interest in their lackustre album All Bumm (1973). piano and moog solos based on classical compositions.

in time for their third album (released on Zebra). The next track "Autumn" brought in the topics of death and desintergration.ALBUM: • • • • • • GEFF HARRISON v CAGEY MROZECK g STEVE ROBINSON [RAINER GEYER] kb. Engineer Dieter Dierks ensured great sound quality and added his patented "cosmic" phasing effects. vibes. None . Unfortunately. The 15 minute title track offered some great instrumental excursions. The original version of this song (recorded some months prior to the album sessions) lasted for 13 minutes! The musicians of the group excelled throughout the album. v VEIT MARVOS kb. mellotron. featuring a haunting vocal arrangement. A projected 1972 single was never released. Tiger B. though slightly soul-influenced vocals. Veit Marvos recorded with Emergency. (Those who have heard the Kosmische Kuriere albums will know what I'm talking about!) Due to poor sales and a ruined economy. mellotron. Steve Robinson (his real name was Rainer Geyer!) played with Nine Days' Wonder and Aera. Their legacy is an album that should be in every serious German rock collection! It's quite rare that so many talented musicians are assembled in one group. kicked off the album with stunning heavy guitars. featuring jungle sound effects. ending with a psychedelic space flight! "How Do You Feel" rounded off the album in a marvellous way. Their one and only album is nothing short of an all time classic: Reflections On The Future (1972). synth. synth. Stommeln near Cologne. very slow and heavy organ and guitar riffs interrupted by perverted "ragtime" piano interludes. trippy lyrics dealing with the arrival of the Butterking (??) .the king of butterflies! The track is an uncommon masterpiece. Konstatin Bommarius played drums for Abacus and on Karthago's Rock'n'Roll Testament. "At My Home". one of Germany's best groups had a premature death only months after the album's release. The melancholic lyrics predated Pink Floyd's "Time": "The clock is ticking faster Life is getting shorter Sands of time are running The autumn of a lifetime Is when the sun is dying Sands of time are running out With the wind" (From "Autumn") "Butterking" had weird. Smith and Midnight Circus. v DIETER BAUER b KONSTATIN BOMMARIUS d "Reflections On The Future" (United Artists UAS ) 1972 The group created this uncommon name by adding thousand years to the historic battle of Hastings in 1066. swirling hammond organs and Geff Harrison's great. recorded during Autumn 1971 at the Dierks Studio. This album contained five long heavy progressive tracks with a dramatic mood and a quite unique German styling. a fast tempo opener. their lifespan was rather short: from Spring 1971 to Summer 1972. They were later involved in many other projects: Geff Harrison and Cagey Mrozeck joined Kin Ping Meh. vibes.

. United Artists originals sell for DEM 500 in mint condition. Abacus now had a song-oriented style with short tracks. jazz and folk ("Pipedream Revisited". Hamburg. the original long version of "The Way I Feel Today". It was also released on Polydor in the UK. The excellent company Second Battle (operated by a second-hand records shop in Berlin) rereleased the album in its original. Abacus can rightly be compared to Nine Days' Wonder . Everything You Need (1972) was released on Polydor's new Zebra label and introduced former 2066 & Then drummer Konstatin Bommarius as a new member of the band.000 copies. recorded August 1971 at the Windrose Studios. "Song For John And Yoko") and psychedelic blues ("Radbod Blues"). The organ work of Barutzky dominated their instrumental muscle. I'm not sure everyone will appreciate country songs such as "Ballad Of Lucky Luke"! Although "Seasong". This was a collector's item containing unreleased masters and practise sessions: three tracks from an early rehearsal session in May 1971. with four average pop rock songs on side one and the "Everything You Need" suite filling up side two. "Munchen 23" and "White House May Come" are good enough. who also wrote much of their material. Munich in June 1972. ABACUS Personnel: ALBUMS: • • • • • • CHRIS WILLIAMS v HANS-ROLF "CHARLY" SCHADE g. Their second album Just A Day's Journey Away! (1972) was a competent follow. psychedelic fold-out cover (a colourful painting by Gunter Karl) and all its glory in 1989. but Schade's varied guitar (sometimes even sitar) work was also remarkable. It included six songs which were wellarranged and drew influences from sources as different as classical music ("Capuccino"). an alternative version of "At My Home" and the never released "Spring" (considered for their album) and the A and B side for the unissued single. named Reflections On The Past in 1991. This was a numbered limited edition of 1. Midway (1973) was another disappointment lacking inspiration. the album as a whole was less interesting and daring than the previous one. Second Battle also released a three-sided LP set. in contrast to their promising 1971 debut. This first album is often regarded as their best. "Song For Brunhilde". recorded in Spring 1972. Abacus was a successful debut album.up. replacing Felix Hans. v CRISTOPH BARUTZKY pno. With their great sense of humour and versatile musical style.of these later projects have stood the test of time as well as Reflections On The Future. This album was a further move towards a more simple and commercial style. synth KLAUS KOHLHASE b (FELIX HANS d) A KONSTATIN BOMMARIUS d B (A) same (Polydor 2371 215) 1971 (A) "Just A Day's Journey Away!" (Polydor 2371 270) 1972 (B) "Everything You Need" (Zebra 2949 002) 1972 (B) "Medway" (Zebra 2949 013) 1973 Abacus were fronted by the British vocalist Chris Williams. but this time the group abandoned their versatile progressive style and concentrated on folk and country. kb. It was recorded at Music Land Studios.

but none of them are really essential listening. who was confined to a wheelchair and paralysed in both legs. They managed to release quite a few albums during their lifespan. AGITATION FREE Personnel: ALBUMS: • • • • • • • • • • • • LUTZ 'LUUL' ULBRICH g MICHAEL 'FAME' GUNTHER b (LUTZ KRAMER g) A (AX GENRICH g) B (JORG SCHWENKE g) C (STEFAN DIEZ g) D. Merely interesting for the jazz enthusiasts.AERA • • • • • • • Personnel: ALBUMS: (up to '76) MUCK GROH g KLAUS KREUZEDER sax.fairly good.C (WOLFGANG TESKE d) B LUCKY SCHROLDT d C CHRISTOPH KNEGER vln C (B) "Humanum Est" (Erlkonig ERL 2001) 1974 (C) "Hand Und Fuss" (Erlkonig ERL 2002) 1976 Aera were a jazz rock group founded by guitarist Muck Groh after he left Ihre Kinder in 1972. Apparently Aera disbanded after this. but lacking a bit of invention. but little of their material can be described as better than just 'good'. On the improved second album Hand Und Fuss (1976) the band had changed considerably: the driving force of the group was now Klaus Kreuzeder. previously the drummer of the legendary early seventies group Wind. It was released on the Erlkonig label.F GUSTAV LUTJENS g F MICHAEL HONIG kb C-F (CHRISTOPH FRANKE d) A (GERD KLEMKE d) B BURGHARD RAUSCH d C-F (DIETMAR BURMEISTER d) D (C) "Malesch" (Vertigo 6360 607) 1972 (E) "2nd" (Vertigo 6360 615) 1973 . Another new member. operated by the Ihre Kinder's manager Jonas Porst. This time some tracks included vocals. Teske was replaced by Lucky Schroldt. In 1974 they recorded Humanum Est at the local Studio Hiltpoltstein in Nuremberg. but was reformed by Kreuzeder in 1978. but again most of the material was instrumental jazz rock fusion .E. flt (PETER MALINOWSKY b) A DIETER BAUER b B. Christoph Kneger didn't make much of himself on the album. The six tracks included on the album were all written by Groh. The musical quality was acceptable.

Michael Gunther recorded local musicians they met and jammed with on the tour. Chris Franke then accepted Edgar Froese's offer to be the new drummer in Tangerine Dream after Klaus Schulze quit. "Khan El Khalai". "Ala Tul" and some other tracks featured the leader of Between. Agitation Free shared a practice room at the Wilmersdorf music academy with Ash Ra Tempel and Tangerine Dream at (his time. Jordan and Greece. For this reason they were engaged as the household band at the Zodiac. steady bass riff. Peter Michael Hamel. The leading forces behind these groups were Lutz 'Luul' Ulbrich and Michael 'Fame' Gunther.O.NB: Originals of (1) & (2) have the "swirl" Vertigo label. and was temporary replaced by Ax Genrich. Lebanon. Lutz Kramer quit. on hammond organ. All Albums are now available on CD (re-issued by the French label Spalax). "Sahara City" started with a long and floating guitar glissando. and many experiences and ideas were swapped. There was also quite an exchange of members between these groups. Such later famous groups as Tangerine Dream and Curly Curve (well. Parts of these finally made it to vinyl on Last three years later.. composition and harmony learning. soon to be a member of Guru Guru. His voice was luckily preserved for later generations when he "sang" on Ash Ra Tempel's brilliant Schwingungen album in 1972. A 90 minutes long production for radio. Gerd Klemke stepped in as Agitation Free's drummer for some months of the last half of 1970. Agitation Free were probably the first German group to use slide projectors and a multi-media show during their live appearances. which collected the impressions from their eastern travels. not so very famous in this case. a German avant-garde composer.. and it was dedicated to their teacher Kessler. Fragments (featuring previously unreleased material) was due for release on Musique Intemporelle in 1995. Recordings for radio were also taped during this tour. but had a fast. An immaculate record! In March 1973 Jorg Schwenke had to quit due to his increasing drug habits. Finally a quintet was stabilised in 1971. "Pulse" was an early experiment with electronic sequencing. Not exactly a gifted vocalist. At the beginning of 1972 the group went on an expanded tour to Egypt. Berlin's answer to London's U. Gunther came in with a great. sponsored by The Goethe Institute. on lead vocals. (D. heavy finale. consisting of edited live performances (made during a ten days live session in a house in the German countryside) was broadcasted in April 1973. Extracts of these recordings were included on Malesch (released Summer 1972). The six-piece group went on a very successful two months tour in France. namely "Soundpool" (renamed version of "Ruckzuck" from Malesch) and a 17 minute long version of "Laila" (a composition included on their forthcoming second album). 1970 was a very erratic year for Agitation Free. majestic organ tone created a trance-like mood.) also appeared at the Zodiac regularly. apparently the rest of the group had grown tired of this particular (peculiar) Stage Show. In early 1968 Agitation Flee were expanded by John L. He taught them to play with notations. and with some other remaining musicians they took the name Agitation Free. where the psychedelic underground was literally flowering. he sometimes entertained the audience by walking around naked with a painted penis on stage! He was fired about a year later. His replacement was Stefan Diez.F.F) "Last" (Barclay 80612 (F)) 1976 In 1967 two beat groups from Berlin were on the verge of splitting up. . Agitation Free's instructor was Thomas Kessler. he was replaced with Jorg Schwenke. before a deep. When Genrich joined Guru Guru. flavoured with eastern rhythms (Uli Popp guested here on bongos). A second drummer was also added to the line-up: Dietmar Burmeister who had recorded on Seven Up with Ash Ra Tempel. "Malesch" and the short 'Ruckzuck" gave plenty of time for Schwenke and Ulbrich to show off on guitar.. They decided to join forces. "You Play For Us Today" opened with a short dialogue. This excellent album revealed a very talented and competent young group.

which had an insert with information and lyrics. A harmonic melody line on guitar slides slowly in and builds up a really great track. as Franke had done five years before him joined Tangerine Dream. wind and a distant bouzouki played by Ulbrich. This would fill up the second side of the Last album. "Haunted Island" finished the album in a dramatic vein with a heavy rhythm. In 1991 yet another counterfeit re-issue appeared. It was a nice testament to a superb band. "Dialogue And Random" was a short synthesizer experiment by Honig. Shortly after 2nd. The track built up to fragile. This has exactly the same black and white cover as the original. They performed a few concerts during the Summer of 1974 and then disbanded after a final goodbye concert in Berlin. and their albums are obligatory in any German rock collection! AINIGMA Personnel: ALBUM: • • • WILLI KLUTER kb. mellotrons and Burghard Rausch's treated recitation of an Edgar Allan Poe poem. before bouzouki and treated guitar introduced melody lines. This uncomplicated instrumentation is often associated with the sixties American garage punk. 1988. Before that he had a short collaboration with Klaus Schulze (doing concerts in Brussels. but this didn't happen. Little Wing re-issued it legally in 1992 with new stunning cover artwork and one extra track. which was only released in France posthumously in 1976.v NB:A limited edition counterfeit was released ca. jazzy rock almost in the melodious Terje Rypdal vein. Their last studio work was a recording of a Erhard Grosskopf composition ("Looping IV") in February 1974. This time music was more subdued and meditative in a sophisticated way.With Diez. "A Quiet Walk" included more atmospheric. not bearing any resemblance to his solo albums. Electronic bird sounds on "In The Silence Of The Morning Sunrise" opened the other side. in fact Ainigma sound very much like a psychedelic punk rock band from the late sixties and could very well be included on compilations like "Acid Dreams" or "Beyond The Calico Wall". with fuzzy guitars and a very distinct organ sound. Lutz Ulbrich teamed up with Manuel Gottsching in 1976 for several Ashra-projects. The tuneful two part "Laila" finished side one. For a last tour of France In January 1974 Gustav Lutjens was engaged as Agitation Free's new second guitarist. electronically created environment sounds. almost predating some of Fichelscher's guitar work with Popol Vuh. "Diluvium" (Arc ALPS 151715) 1973 Ainigma's sound is "no compromise" heavy progressive rock. Michael Honig. The eastern flavour was not so distinctive this time. . but the musical quality was certainly intact! "First Communication'' started the album off with white noise. November 1974. It was also planned that Honig should join Ashra for a tour in November 1976. but was with them for just two months (including a tour in Australia) in the Spring of 1975. Their album was recorded from April to May 1973 at PFS studio in four days.v MICHAEL KLUTER d. Diez quit and the band's activities now decreased. the band went in the studio to record 2nd in July 1973.v WOLFGANG NETZER g. but without Burmeister. Zevenaar and Paris in November and December 1974). Agitation Free was one of the best groups to appear in Germany in the early seventies.b. He has also made scene music for some theatres in Berlin.

of which "Your Chance Of A Lifetime" (with vocals) was the best.All lyrics were in English and actually very dramatic! The album contains just four songs.v KLAUS HOLST g KLAUS NAGURSKI flt. it was recently re-released in a superior cover by Little Wing. forced on by the greed and evil of humankind and represented the trio at their best. The album was recorded in Tonstudio Wumme. Diluvium is highly recommended for all fans of heavy progressive music. This contained live recordings from one of their concerts. On the amazingly titled Vampire State Building they presented a pleasant and mainly instrumental progressive jazz-rock sound. with the title track filling up one whole side. where Faust and Slapp Happy also recorded albums. Beware of the group Alkatraz that released Doing A Moonlight for United Artists (UAS 30001) in 1976. with instant recognisable elements from Miles Davis' In A Silent Way and early King Crimson albums. dating from 1973. The 13 minute title track was a long improvisation. in the southern part of Germany. AIR ALBUM: "Telweise Kacke. Most successful was the 12 minute track "Simple Headphone Mind". They were British and had nothing to do with the German Alcatraz. they were only between 15 and 17 years old at the time of recording. I have no further information about this album. ALCATRAZ Personnel: ALBUM: • • • • • RUDIGER BERGHAHN pianett. sax RONALD WILSON b JAN RIEK d "Vampire State Building" (Phillips 6305 128) 1972 A jazz-rock quintet. The band were from Garmisch-Partenkirchen. AK MUSICK ALBUM: same (private) 1972 Another totally unknown group that released an album at their own expense way back in 1972. In addition the album had three shorter tracks. Aber Stereo" (Eigenbau AR12) 1973 An obscure band responsible for one private release. Remarkably enough. considering their artistic maturity. ALEX ALBUMS: same (Pan 87 305 IT) 1974 "That's The Deal" (Pan 88 831 OT) 1976 "Live" (Wiska 004) 197? "So Simple"(Wiska 022) 197? . This extensive and dark seance dealt with the deluge. all engineered by Kurt Graupner.

vocals A ULLRICH LEOPOLD b A PETER LEOPOLD d A HELGA FILANDA v.A singer and multi-instrumentalist from Cologne who released several albums which were strongly influenced by the ethnic music of Turkey. sax. perc MICHAEL VON RONN sax KARL-HEINZ BLUMENBERG v. Their albums were produced by one Klaus Bohlmann. His first two albums are now eagerly hunted by collectors. Their albums can still be acquired cheaply. perc A ELLA BAUER v. The first album had a funny cover of ugly tourists wearing Hawaiian-shirts wandering around in Hamburg. g. perc WOLFGANG WULFF sax. had lots of sax and guitars and was largely based on blues and jazz rock. they made one album for Phillips in 1971 and were also included on the Festival samplers Love & Peace (1970) and Pop & Blues Festival '70 . so take note all you Can collectors! ALTONA Personnel: ALBUM: • • • • • • • KLAUS GERLACH g BERND MICHAEL ROSENBERGER kb. perc A USCHI OBERMAIER perc A "Psychedelic Underground" (Metronome MLP 15332) 1969 "Collapsing" (Metronome SMLP 012) 1970 "Paradieswarts Duul" (Ohr OMM 56 008) 1971 "Disaster" (2LP) (BASF 29 29079-8) 1973 "Experimente" (2LP) (Time Wind DB 501 42) 1979 . although they never really excelled. anvil A WOLFGANG KRISCHKE piano. AMON DUUL Personnel: ALBUMS: • • • • • • • • RAINER BAUER g . A typical Altona song lasted for 5-7 minutes. Altona were among the better jazz-rockers of the mid-seventies. perc FRITZ KAHL b. as they featured a unique style of "Turk-Rock" with stunning baglama solos (this is a kind of three-stringed Turkish guitar)! They were recorded with the help of Holger Czukay and Jaki Liebezeit (possibly adding bass and drums on certain tracks?) at Can's Inner Space studio. perc A ANGELIKA FILANDA v. As such. Altona was the name of a suburb of Hamburg (perhaps this was the place where they came from?). Some years later they renamed themselves Altona. flt. congas. Check them out if progressive jazz-rock appeal to you. perc HANS-HEINZ GOSSLER d same (RCA PPL 11049) 1974 This sextet began their recording career as Thrice Mice. now expanded to a septet.

The Experimente was packaged as a double album in a budget price series named Time Wind. On Ohr there was also a non album single "Eternal Flow" coupled with "Paramechanical World" (different version) from 1970.take it as a warning or invitation! Collapsing (1970) featured more of the same and for this reason is quite superfluous. in 1969 usually featuring (A). Judging by the music they all lived rather demented lives! A typical Amon Duul track (as featured on their first two albums) consisted of rambling. Experimente contained even more obscure tapes with the tracks entitled simply as "Special Track Experience No. Somehow. Amon Duul ceased to exist.H (CHRISTIAN 'SHRAT' THIERFELD perc. Side one contained the mellow hippie anthem "Love Is Peace". This album had a primitive sound quality. 1 . Through their music they wanted to reflect their various drugs and life experiences. as these tapes probably were either demos or early backing tracks. flute and English lyrics). In 1973 the first album was rereleased on Metronome's 2001 series as This Is Amon Duul. Psychedelic Underground (1969) is a sound document of the anarchic. AMON DUUL II Personnel: • • • • • • • • CHRIS KARRER g JOHANNES WEINZIERL g (RENATE KNAUP-KROETENSCHWANZ v) A-M (FALK-U(lrich) ROGNER b A.L-N . Amon Duul's blend of acid folk was uncommon. The line-up of Amon Duul could best be described as loose. then kb) A-E. Perhaps this musical move was due to Julius Schittenhelm's involvement as a producer. There are certain similarities with the utterly freaked out music by the American sect Ya Ho Wa 13. this faction eventually made their way into the recording studio as well. While Amon Duul II soon became one of the most important German bands of the seventies. He later recorded some folk-flavored solo albums on Schneeball.NB:There was an American release of the first album with a different cover on Prophesy Records. By this time only Rainer & Ella Bauer. After the Songtagen in Essen In Autumn 1968. as the largely improvised studio sessions were manipulated by strange echo effects and noises. After this. The result was five albums that contain some of the most freaky music ever produced in Germany. The sound quality left something to be desired and the production was strange. v) A-C (DIETER SERFAS d) A.C (PETER LEOPOLD d) B-F. Ullrich Leopold and Helga Filanda were left from the 1969 line-up. the Amon Duul commune spilt into two factions due to ideological differences.B (DAVE ANDERSON b) B. other than for the completist. adding Klaus Esser on guitar.I. repetitive congas. Around 1978 it appeared on the Rock On Brain series. The posthumous release Disaster (a double album set) contained previously unreleased recordings from the Psychedelic Underground sessions in 1969. distant and untuned guitars and all members chanting along (or more precisely: screaming!) like it was a kind of mystic ritual going on right there in the studio. Paradieswarts Duul (1971) was certainly a forward step musically: Amon Duul still played ritualistic and repetitive music. probably along with their sweet dreams of a political revolution. On one of the album covers all members are seen smoking a joint. political activities or demonstrations. free-form psychedelic freakout . but now with a more folky approach (acoustic guitars. the first Amon Duul faction was more politically aware and would concentrate on multi-media happenings. All these editions have sleeves different from each other and the original issue. this time renamed Minnelied.24".

It was their first large scale improvisation. Most of these designs were made by Falk-U Rogner.H.g) N (KLAUS EBERT b. he switched from the other Amon Duul group) and Dave Anderson (bass. BBC Radio1 Live In Concert Plus (1992 Windsong WINCD 027 (UK)) is a collection of 5 live tracks recorded in the UK. He was also a jazz musician. see Embryo) and Holger Trulzsch (percussion. Spring 1973 and 3 studio outtakes of the Dance of the Lemmings sessions. most known as saxophonist with Doldinger's quartet). Their reputation grew fast and they soon secured a signing with Liberty. Other memorable tracks was "Luzifers Gholom" and "Dem . an Englishman who had been a roadie for Kippington Lodge). This album. They were probably the first German band that was confident enough to present large amounts of improvised music. (B)"Phallus Dei" (Liberty LBS 83279) 1969 (C)"Yeti" (2 LP) (Liberty LBS 833559/60) 1970 (E)"Tanz Der Lemminge" (2 LP) (Liberty LBS 83473/74) 1971 (F)"Carnival In Babylon" (United Artists UAS 29327) 1972 (H)"Wolf City" (United Artists UAS 29046)1972 (K)"Vive La Trance" (United Artists UAS 29406) 1973 (I)"Live In London" (United Artists UAS 29466) 1974 (L)"Hijack" (Nova 6.L (KEITH FORSEY d) D (KARL-HEINZ HAUSMANN kb) F (DANNY FICHELCHER d. as some of the members had just started playing their instruments.g. like all the subsequent ones up to 1973.I. "Phallus Del" filled up one whole side of the album.v.g) N NB: As they were a quite successful group (also internationally). This lack of a conventional musical experience helped Amon Duul II to establish themselves as one of the major underground acts in Germany. The group formed around Chris Karrer in the Autumn of 1968. had spectacular psychedelic cover artwork.v.28350) 1975 (N)"Pyragony X" (Nova 6. compilations as well as pressings from other countries in existence. Their first gigs were very erratic.22056) 1974 (M)"Made In Germany" (2LP) (Nova 6. Shortly thereafter they split into two separate groups.22890) 1976 The Munich-based band Amon Duul was one of the first German bands to emerge out of the psychedelic era. there are a lot of re-issues. a landmark in German rock. and had one of the most ridiculous stereo panning ever recorded (try to listen to it with headphones!).v) G-J (ROBBY HEIBL b) K.ALBUMS: (up to '76) • • • • • • • • (LOTHAR MEID b) D-F. but Amon Duul II survived through the seventies and became one of the most important German groups. Also two guests were involved: Christian Burchard (vibes. Amon Duul soon sent out a proud declaration: 'we are eleven adults and two children which are gathered to make all kinds of expressions. In early 1969. also musical'. Phallus Dei ('God's penis') was recorded with two new members: Peter Leopold (drums. hinting at the things to come on their two next albums. All albums are now available on CD. Founded as an anarchic musical commune in 1967 by former jazzer Chris Karrer with Ulli and Peter Leopold.M (NANDO TISCHER g) M (STEFAN ZAUNER kb. The album was a genuine late psychedelic masterpiece. Amon Duul's activities ceased after a couple of years. see Popol Vuh). sometimes predating the sound of groups like Hawkwind. Olaf Kubler was the man responsible for the innovative production. Rogner now switched from bass to keyboards. They appeared at the Essen song festival in Autumn 1968. Phallus Dei was a travel through mysterious science fiction soundscapes.

Karrer and Weinzierl revealed their individual composing talents in their respective side long suites with the outrageous names: "Syntelman's March of the Roaring Seventies" and "RestlessSkylight-Transistor-child". who was offered much more space on this album. The next album Carnival In Babylon was recorded late 1971 in the Bavaria Studio. acid guitar. The result was even more successful this time! This was Amon Duul II's music at their experimental peak. recorded early in 1970. harsh vocal parts from Shrat. Record two contained a weird instrumental opus entitled "Chamsin Soundtrack" where each part showcased a different angle of the Amon Duul II sound. "Archangels Thunderbird" (also released as a single) and "Eyeshaking King". Some of the six tracks were even verging on progressive. Lothar Meid. lace "All The Years Round" and "Tables Are Turned". extended version of Pink Floyd's "Quicksilver" from the More soundtrack and you might get close to it! The three tracks of side four displayed Amon Duul II's loud and powerful raga space rock. It had a more melodic and accessible style. "Kronwinkl 12" (written by Weinzierl) continued another Amon Duul II tradition: that of short. although this time a more . Shrat left Amon Duul II to form Sameti. apparently edited down from a 40 minute long jam session. Their traditions of long improvisations were maintained by the 10 minute long "Hawknose Harlequin".Guten. ethnic folk rock. One of the band's concerts at the time was filmed. sounding like an extension of "Interstellar Overdrive". with its incredibly raw fuzz guitar on overgear and distorted vocals. Imagine a revised. surrealistic images. and released another double album. with all time classics such as the "Soap Shop Rock" suite. Schonen Wahren" with strange.e. bass and attacks of percussion. 1970 had been a very successful year for Amon Duul II. Chris Karrer contributed with some nice electric violin parts and had guitar battles with John Weinzierl. catchy acid rock songs. These were sung by Renate Knaup. Fortunately the band decided to follow a similar path in 1971. while the loose and mellow closing track was a re-union session with members from the other AD fraction. Percussionist Dieter Serfas left before the sessions for their double album Yeti. "The Marilyn Monroe-Memorial-Church" on side three was a fascinating otherworldly trip into the floating reigns of the unconscious. The second record realized their full potential as makers of improvised music: the title track "Yeti" spawned 1 1/2 sides of stunning instrumental material. As such. Apparently Amon Duul II had calmed down a bit by now since the intense acid images of their first three albums. He was a talented musician with his roots in jazz. The soundtrack for the film "San Domingo" was recorded later the same year and for this they were awarded a Bundesfilm prize. Tanz Der Lemminge. in March. some of which were segued once again! The collage editing technique on these tracks recalled Grateful Dead's classic album Anthem For The Sun. It was constructed very much the same way as Its predecessor: one record of reasonably tight compositions and the other dominated by more experimental instrumental material. an old friend of Chris Karrer. the group never surpassed this material: a tour-de-force of changing moods. In the Spring of 1970. it offered more time for their large variety of ideas: the first record had prewritten (i. became their new bassist. manipulated guitars. resulting in a musical cult movie "Amon Duul plays Phallus Dei". For me. reasonably consistent) acid rock songs. Along with Jimmy Jackson he then played in a band named Tambarin around 1969-70. while Dave Anderson returned to England and joined Hawkwind. guided by echo ridden. but quit before their debut album. Both were divided into several sub-titles. In 1969 he co-founded Embryo. sitars and strange vocals. piano. They were voted the "best underground group" by readers of the magazine Musical Express.

Fichelscher also left . their engineer). Karrer and Weinzierl did their best to keep the band in some shape. Lothar Meid and Keith Forsey (drums). With three members gone. After a third and last UK tour (without a regular bass player) in the Spring of 1973. edited and manipulated in the studio. This album release also included two out-takes from the Dance Der Lemminge sessions. guitarist and vocalist. At the end of 1973 Amon Duul II were in disarray and to make things worse. This album was surely a great success. but Amon Duul II were now becoming more accessible and song-oriented. The next studio album Vive La Trance (1973) revealed a band in the process of losing their previous musical direction. Weinzierl. Only the longest track "Apocalyptic Bore" was memorable. "Sleepwalker's Timeless Bridge" displayed Fichelscher's talent both as a drummer. Soon after. Knaup and new drummer (and guitar player) Daniel Fichelscher pulled off the tour with the guest appearances from Reinhold Spiegelfeld (bass) and Rainer Schnelle (organ). Al Gromer (sitar). Falk-U Rogner and Lothar Meid were back in action again. For this reason the album was tighter than their 1970 and 1971 studio left albums. Amon Duul II were soon scheduled for their first UK tour (in June 1972). loud and aggressive Amon Duul II playing interesting versions of songs mainly from their 1972 and 1973 albums. The album introduced a new member: Robby Heibl (bass). Almost every track was outstanding in its own right: "Wie Der Wind Am Einer Strasse" was an ethnic rock fusion. A whole lot of guests were involved as usual. although fans of Hawkwind's style when they featured Robert Calvert might enjoy it. but presumably they weren't able to foresee the next week's line-up! They managed to accomplish a French tour in Winter 1973-74 with Jutta Weinhold (vocals). In December 1972 and January 1973 this line-up toured UK. sounding almost like Popol Vuh.straight performance. They reveal a chaotic. as Hausmann left the group again at the end of 1971. Conny Veit (guitar). Recommended particularly for those who may find their earlier albums too weird! When Peter Leopold returned to Amon Duul II in late 1972 the band was extended to a septet. also Lothar Meid left to join Doldinger's Passport. Rolf Zacher (the strange vocals on the infamous "Deutsche Nepal"). Lothar Meid left after this to record with Achtzehn Karat Gold. This relationship didn't last for long. Most people agree that the album is uneven. A more important departure around the same time was Peter Leopold who wanted to study medicine. The title track was a forceful rocker with vocals from Lothar Meid. Karrer. United Artists also released a collection of singles and shorter LP tracks in 1975: . Some rumours about disbanding were brought to an end by the release of Wolf City (recorded in July 1972). Falk Rogner contributed to this album as 'guest' only. among them Jimmy Jackson (organ). It included as many as 11 tracks. almost as many as all their earlier ones altogether. few believed the group would survive. Andy Wix (bass) and Peter Leopold (drums). At this stage. BBC recordings from this tour were released in 1992 as Live In Concert. In August 1974 the seventh album Live in London was released to fulfil the contract with United Artists.to join Popol Vuh as a full-time member. members drifted in and out of the band all the time. their regular keyboard player was now Karl-Heinz Hausmann. This comprised old material from the second UK tour (December 1972 and January 1973). Guests were Peter Kramper (piano. Some recordings found their way onto album Live in London (see below). a firm Amon Duul II favourite among many people. Nick Woodland (guitar). from which the repertoire was chosen. Olaf Kubler (sax) and Pandit Shankar (tablas). The result wasn't really too bad.

Their ambitious project Made In Germany was recorded in July 1975. Meid. ANALOGY Personnel: • MARTIN THURN g . Robby Heibl returned to the group. guitar). Due to bad sales. Leopold and Rogner for the recordings of Hijack (released October 1974). At last. The tenth album Pyragony X was released in October 1976. He made some solo albums. Although better than the two preceding studio albums.Lemmingmania was a highly enjoyable collection of the group's shorter acid rock classics and was a good opportunity for the fans to hear the tracks "Light". who composed more material this time than on the previous albums. in many ways equivalent to the Dutch group Ekseption. as Meid left soon after the album was completed. all previously only released on singles. Nando Tischer. guitar) and Klaus Ebert (bass. He added strings and brass to some tracks. vocals. "Rattlesnake-plumcake" and "Lemmingmania". much like a second Achtzehn Karat Gold album. none exceeding six minutes in length. to whom this album was dedicated. AMOS KEY Personnel: ALBUM: • • • THOMAS MOLIN kb. v ANDREAS GROSS g. Beethoven and Schumann. It was their third double album and told the story about a certain and fictitious Mr. with the help of two new members: Stefan Zauner (keyboards. This was the first of four albums to be produced by Jurgen S. A fairly competent outfit. the two new members had almost taken full control over the band's musical direction with their fairly good keyboard-dominated symphonic pop rock. was also added. v LUTZ LUDWIG d NB: re-issued on CD by Germanophon in 1994. Rogner and Knaup) to leave in frustration. The session musician Thor Baldursson contributed with additional keyboards. Karrer and Weinzierl surprisingly managed to re-assemble Knaup. The album surprisingly contained many tracks. compared to other combined classical one progressive albums: nine in all. Many of the best contributions came from Lothar Meid. it was still lacking a bit in energy and inspiration. The bass player from the Vive La Trance sessions. vocals. It was packed in a nice silver sleeve with lemmings. the original issue was soon withdrawn and replaced with a condensed single LP version in a different cover. Only the eastern sounding opening piece "Flower Of The Orient" bore any resemblance with the old Amon Duul II sound. Kraut. Regrettfully the album was a patchy collection of mediocre pop rock songs. Tischer. Unfortunately. again expanding the group to a septet. The group's financial account was in deficit. They were a keyboard dominated trio. Weinzierl and Leopold still managed to keep the band running due to their strong will. Amos Key had a great admiration for classical composers like Bach. "First Key" (Spiegelei SU 26413) 1974 This group made one single (and a rare) album for Spiegelei. Korduletsch. A third guitarist. Strangely enough. "Between The Eyes". which caused half the group (Heibl. b. Karrer. They had signed a new record deal with Nova in Germany and Atlantic in the UK. but failed to gain commercial and artistic success.

Julian's Treatment. gaining the young group some attention in Italy. ANIMA Personnel: ALBUMS: (up to '76) • • • • PAUL FUCHS fuchshorn. Rettenbacher (bass) and Friedrich Gulda (piano.000. Their style has been compared to Nosferatu and the Belgian band Waterloo. RETTENBACHER b FRIEDRICH GULDA piano same (Pilz 20290972) 1972 "It's Up To You" (private) (AUT) 1974 Anima Sound was the title of Paul and Limpe Fuchs' album on Ohr. Thurn's and Pankoff's impressive instrumental skills on guitar and organ respectively and the overall dark atmosphere of their music. released in 1971. It was released by the Produzioni Ventotto label in a cover that pictured the group nude out in the fields! Included were magnificent songs as "The Year's At The Spring". All people with a keen interest in early seventies progressive rock will love this album. A. Shortly thereafter Martin Thurn composed a 30 minute set of thematically-linked musical pieces simply entitled "The Suite". vicious vocals. A single ("Sold Out" coupled with "God's Own Land") was released in 1971. Their album is indispensable and highly recommended. a well known . ("The Suite" was at last completed and recorded in 1980). They formed in 1970 under the name The Yoice.000 DEM! same (Ventotto) (ITA) 1972 This band was based in Italy and had an Italian keyboard player. Analogy played this work several times live and received good reviews. The orogonal vinyl issue is extremely rare and copies sell for 2. In 1973 their stunning female vocalist left and was replaced by a classically trained flute player named Rocco Abate. In this work the classical music of the Renaissance-period was combined with progressive rock. In spite of this.ALBUM: (up to '76) • • • • • NICOLA PANKOFF kb WOLFGANG SCHOENE b HERMANN-JURGEN NIENHAUS d (JUTTA NIENHAUS v) A ROCCO ABATE flt B Re-issued in 1990 on CD by Vinyl Magic (VM 017). perc J. they failed to attain support from any record labels and duly disbanded in 1974. A. Analogy's distinctions were Jutta Nienhaus' unique. "Dark Reflections" and "Analogy". ANDROMEDA ALBUM: same (Vogue LDVS 17205) (F) 1970 A little known early progressive group who released an album on the French Vogue label in 1970. They gradually developed a more "progressive" and experimental style and changed their name to Analogy in 1972. Strangely enough. perc LIMPE FUCHS voice. The album is a masterpiece of progressive rock comparable to Circus 2. Sandrose or Earth &Fire. The year after they were joined by J. the band remained practically unknown outside of Italy. In Milan they recorded their self-titled first album. voice.

voice. ANNEXUS QUAM Personnel: ALBUMS: • • • • • • • • PETER WERNER g. perc OVE VOLQUARTZ sax HARALD KLEMM flt. ANTON. In 1968 bassoons and trumpets were incorporated in the band. a typical sample of the German fusion sound. The two-part "Leyenburg" improvisations. Only of interest to hard-core free jazz fans. and became Anima. I don't know the Austrian album. perc) A (JURGEN JONUSCHIES b. The purpose of this album was to reveal the music hidden deep inside man from birth. voice. voice. v HELMUT HACHMANN sax. perc) A (WERNER HOSTERMANN clarinet. like parts of the 16 minute track "Dreh Dich Nicht Um".Austrian free jazz musician). Their two albums for Ohr were disparate in musical style: Osmose (1971) was a "progressive jazz rock" album. Spanish g. ARDO DOMBEC Personnel: • • • HAROLD GLEU g. by way of totally free improvisation. I think. were almost free-form music. The other tracks were often spiced with strange sounds and noises. harm. perc (UWE BICK d. They started in September 1967 as Ambition Of Music. This interesting album also had a unique fold-up gimmick cover. at feast for fans of progressive rock. flt WOLFGANG SPINNER d. The two lengthy tracks were excerpts from even longer live performances. Most interesting was the opening piece. The four tracks were untitled. Altogether. voice. both in Germany and abroad. kb. On the second album Beziehungen (1972) the group attempted to combine the fusion elements from the first album with free-jazz improvisations. and they began to play jazz influenced live shows. Only some parts of this album were successful. MICHAEL & AMOK ALBUMS: "Jesus Makes You High" (Metronome MLP 15419) 1971 An amazingly entitled album dating from a time when 'pop' musicians apparently loomed about several ways to get high! I've not heard this obscure album. which in some ways predated the sound of Faust. which occupied half the album. perc HANS KAMPER bassoon. voice. The musical value of their atonal experiments is strictly limited. voice. v . There's an exclusive track on the 1970 Ohr sampler (A)"Osmose" (Ohr OMM 556 007) 1970 (B)"Beziehungen" (Ohr OMM 556 028) 1972 This was a weird experimental jazz rock outfit from Kamp-Lintfort. perc) A MARTIN HABENICHT b B Ohrenschmaus named "Kollodium".

boring and jazzy' (I know those words are synonymous for some people). the band was ignored by the major labels. guitar and flute dominated their sound. Just 200 copies were released. 2 re-issued on CD in 1994 by Penner records with 2 bonus tracks. October 1973. The four tracks on it have a rudimentary garage rock sound featuring tons of multi-backed wah-wah and fuzz guitars much like Baumstamm. Thus Arktis was recorded in two days at Tonstudio am Dom. Klaus Blachut wrote nearly all their material and executed all the neckbreaking guitar pyrotechnics. Unfortunately. same (Bonbons 4040) 1974 "Tapes" (Bonbons 7502) 1975 "76 . most of them given away free to concert booking agencies. Arktis released Arktis Tapes in May 1975 in a pressing of 500 copies. As a last resort. Grave. The group had two further tracks included on the Pilz' Heavy Christmas sampler. radio stations and the music press. The two . Once again Arktis failed to gain attention and the band split. Klaus Blachut later recorded his solo album 1982. Colosseum were also a likely inspiration to them. Still their attempts were in vain. Only 300 copies were pressed and released in March 1974. During the Summer of 1973 the band rehearsed a set of original compositions. but the band is charmingly enthusiastic and Karin Toppig's tough vocals matched the powerful music. ARKTIS Personnel: ALBUMS: • • • • KARIN TOPPIG v KLAUS BLACHUT g KLAUS GOLLNER b HARRY KOTTEK d NB: 1 re-issued on CD in 1993 by Penner records with 3 bonus tracks. again as a promotional tool.On The Rocks" (private) 1976 This band from the surroundings of Bonn was formed in March 1973. but their album was actually quite good! Sax. They were also good musicians and enjoyed playing strange or complex rhythms. Some songs had interesting lyrics: "Clean Up Sunday" dealt with a nun who believes salvation can be secured by dropping some coins into the collection box each Sunday. a recording contract the band decided to produce a self-financed record. hopefully. In order to get publicity and. The album consisted of tracks recorded in a rehearsal room during 1974 and 1975. record companies. publishers. Such a guitar-based album could easily be judged as 'simpler' than the majority of progressive rock albums. as Soft Machine did before them.ALBUM: • MICHAEL UFER b "Ardo Dombec" (Pilz 20210952) 1972 Here is another one of those albums with a very funny cover! The sleeve of the Hamburg band Ardo Dombec's only LP pictured a melting ice cream cone containing a cactus! Inside the foldout cover the group were standing posing with ice cones. Cologne. Particularly good (apart from a short boogie part resembling Status Quo) was the 20 minute track "Rare Girl" with its never ending guitar digressions. "Downtown Paradise Lost" told about getting busted in Hamburg's red light district. harmless ones this time! The group has often been dismissed as 'bad. In December 1974 three demos was recorded by Konrad Plank in his studio for a possible second album on a proper record label. Florian Geyer or Da Capo.

b. and Armaggedon soon broke up.000 numbered copies). and two of them were cover versions. ARMAGGEDON Personnel: ALBUM: • • • • FRANK DIEZ v. Michael Nurnberg and Jurgen Lorenzen provided a strong backing. Luckily the Armaggedon album was released on CD in 1991 with a sharp and clean digitally remastered sound (in a limited edition of 1. v MICHAEL NURNBERG b. both Frank Diez and Manfred Galatik wrote great songs.Arktis albums have rocketed in price on the collectors' marked during the eighties. Both are recommended for collectors of private pressings and obscurities. Diez never played material with a similar energy again. Their third album was recently re-discovered and featured one great long track in addition to shorter tracks in a more mainstream direction. This track had some of the greatest heavy guitar riffing to appear on a German record. Most impressive was the 10 minute version of Jeff Beck Group's "Rice Pudding". synth (H) (HARTMUT ENKE b) A-D (KLAUS SCHULZE d) A. kb. Their version of Spooky Tooth's "Better By You. due to the ever increasing interest. as typified by the tracks "People Talking" and "Open". demand for the group was poor way back in 1970. g JURGEN LORENZEN d Re-released on CD by Ohrwaschl in 1991. Hendrix-influenced guitar work and vocals by Frank Diez. D(+synth) (WOLFGANG MULLER d) B (MICKY DUWE v) C (STEVE SCHRODER kb) C (DIETMAR BURMEISTER d) C (DIETER DIERKS b) E (HARALD GROSSKOPF d) E (ROSI MULLER v) E (LUTZ ULBRICH g. ASH RA TEMPEL Personnel: • • • • • • • • • • • • MANUEL GOTTSCHING g. kb) G ALBUMS: . However. Armageddon was the start of his long and impressive career. In addition. Better Than Me" was also competent enough. same (Kuckuck 2375 003) 1970 Why didn't this group record more than just one album? Their self-titled album is a heavy progressive masterpiece with excellent. g MANFRED GALATIK kb. Armageddon's album has rocketed in price during recent years. Their album had six tracks. his next step was to join the 'slightly-above-average' jazz-rockers Emergency.

Gottsching was beginning to experiment with fuzz. sounding close to their raw and sometimes really WILD live shows at the time. in the wake of psychedelia. "Communication-Best of" (PDU PLD SQ 6074. however. a previous member of Agitation Free. Together they formed the first Ash Ra Tempel line-up in August 1970. which was playing versions of then current pop hits for school parties. dreamy track. Side one included vocals by John L. who then played drums as well as experimenting with strange tape loops and effects. The French release was credited to Ash Ra Tempel and had a completely different fold-out cover. Irrlicht would start off his impressive solo career. Already as a 15 year old boy. fuzzy acid guitar nightmare. etc. 1976) is an Italian-only sampler with tracks and extracts from 1-6. Six months later. "Amboss" is a kind of teutonic "Careful With That Axe. Gottsching had lessons in classical guitar for five years. instrumental improvisations. bass and drums trio format. It was a highly impressive start. Gottsching admitted that Pink Floyd's innovative experimentation was a huge influence at that time. This diversion between the first and second album sides became a trade mark for several later albums. and soon begun to play live. This formation was. This was designed by a friend of the group that later also did the cover for Schwingungen. Zibell now lives in Norway and has recorded with several Norwegian new wave bands. Wolfgang Muller from the Steeple Chase Blues band took his place. With Volker Zibell (harmonica) and Wolfgang Muller (drums). It starts off calm and soft. It was released on Rolf-Ulrich Kaiser's legendary Ohr label in a most beautiful gimmick cover. F) 1994 The story of the embryonic Ash Ra Tempel started in Berlin 1967 when school friends Manuel Gottsching and Hartmut Enke decided to form a blues band together.NB: 7 was available in France a year before the international release.. Eugene" without the keyboards. in sharp contrast. wah-wah and echo effects. He was fired from this group . while Enke just was starting to play bass. In an interview I did with him in December 1989. The front side of it could be opened up in the middle (like the Dr. but gradually increases to a furious. but still very much based on long. Enke & Gottsching appeared live on German TV early in 1970 as Steeple Chase Blues Band. Enke & Gottsching studied experimental composition at avant-garde composer Thomas Kessler's studio in Berlin. Their strength was their ability to make the most unearthly sounds in the usually very limited guitar. There they met another eager student named Klaus Schulze. His artistic ambitions far exceeded the task of being just a drummer in the band. and they soon found out that they shared musical ideas. Ash Ra Tempel's second album Schwingungen was released in the Summer of 1972. Their self-titled first work was recorded early March 1971 (with the late Konrad Plank engineering). Other youngsters drifted in and out of the band. "Traummaschine" is. This is a more structured work. symbolising a double temple door. The first album included just two extended tracks. In September 1971 Klaus Schulze decided to leave. Z album released on Vertigo the same year). He had just quit Tangerine Dream. just as the title implies. a floating. short-lived. (A)same (Ohr OMM 56 013) 1971 (B)"Schwingungen" (Ohr OMM 56 020) 1972 (C)"7 Up" (Kosmische Courier KK 58 001) 1972 (D)"Join Inn" (Ohr OMM 556 032) 1973 (E)"Starring Rosi" (Kosmische Musik KM 58 007) 1973 (F)"Inventions For Electric Guitar" (Kosmische Musik KM 58 015) 1973 (H)"New Age Of Earth" (Isadora ISA 9003) (F) 1976 (G)"Le Berceau De Cristal" (Spalax 14275) (CD-only.

when I come back from my lysergic day-dream. this was just a renamed relaunch of the Ohr label. Turn In. high pitched vocals. the exception being Tangerine Dream.R. Ash Ra Tempel at that time certainly would be a more fitting place for him! The first recording by the new line-up was the track "Gedanken".it sounds like the usual hippie ideology to me. and then travelled to Bern (Leary was denied a residence permit in Berlin!) to record it. recorded in the Summer of 1972 for the Ohr sampler Kosmische Musik. Drop Out". but each side (subtitled as "Space" and "Time") run continuously. "Right Hand Lover" is boogie blues with numerous spacey sound effects. As on their previous albums. It's certainly their most psychedelic! Leary's vocal performances are comparable to John L. The reason for this resurrection was the need to promote Kaiser's visions and cosmic message. The group made a rough musical score. The first part is dominated by soft vibes and electronics. "Power Drive" sounds very close to Hawkwind's space rock..T. it was a mono recording. In reality. The acid-blues rocker "Downtown" starts off the album. strange electronic effects and new variations on the "Saucerful of Secrets" organ chord sequence. whose leader Edgar Froese simply refused to be associated with Kaiser's "cosmic circus" (in Froese's words). but perhaps the real message has been lost by the passing years. The album included seven tracks .. in Switzerland. Standing in the middle of the glass and neon forest with an unhappy name: City Flowers must die! And I feel that I die too with a dusty flower A lost God in the dust of the city Flowers must die!" (From "Flowers Must Die") The instrumental side was filled by the title track. Some reasonably freaky guests also took part in the studio recordings. Part of his 'cosmic' philosophy was: 'we humans are all a big family!' . The resulting album Seven Up is one that the acid heads can't live without.'s previous attempts on Schwingungen. while "Velvet Genes" closed side one with a reprise of "Downtown". divided into subtitles "Suche" and "Liebe". while the conclusion is very much like Pink Floyd in their Saucerful phase. with celestial choral voices and slow chord progressions. Wolfgang Muller quit shortly after this album and Ash Ra Tempel were now expanded with the addition of Micky Duwe. It was decided to record a concept album dealing with Leary's theories about the seven levels of human consciousness. It featured wordless. If this really was the case. A. Dr. and has become quite valuable nowadays. met the famed American acid guru and author of "Turn Out. All Ohr artists that were still alive and recording.in 1968 because of general freak-out and the quite significant fact that he couldn't sing! The lyrics contained some common hippie philosophy about going back to the country and leave the cities behind: "I see. This sampler also included a Schulze track not released elsewhere. Timothy Leary.one to describe each level of consciousness. Steve Schroder and Dietmar Burmeister. A brave album. Schroder had been a member of Tangerine Dream (at the time of Alpha Centauri). but had been fired. would eventually appear on KM. Leary was living there in exile after being thrown out of USA by the authorities. indeed many people consider it as their best (I don't). as Edgar Froese thought of him as 'freaking totally out'. indeed! Seven Up was the first release on Kaiser's brand new label Kosmische Courier. . Due to a technical mistake in the recording process. side two was more subdued and dream-like in style.

Jerry Berkers (bass) and Harold Grosskopf (drums) along with Walter Westrupp (ace. It was soon decided to make another great concept album. loose Ash Ra Tempel line-up with his session friends Dieter Dierks (engineering). When Schulze left to continue his solo career. harmonic and accessible style now dominated. none of the musicians involved was presumably able to tell which group he or she was really working with! It was time to re-group. He got very involved in the Timothy Leary philosophy.. "Laughter Loving" sounds like an improved "Freak'n'Roll". namely Jurgen Dollase (keyboards). Ash Ra Tempel also met a local 'underground' figure: the painter and artist Walter Wegmuller. according to rumours. Kaiser and Gille Lettmann later edited the vast amounts of material. Join Inn was a pleasant enough recording. Some additional material was also used on the KM samplers Sci Fi Party and Gilles Zeitschiff. "Day-dream" is a most . Contained therein were two lengthy improvisations! "Freak'n'Roll". the original Ash Ra Tempel trio (Gottsching. which was included in the lavish German double album package. dominated by Schulze's freshly developed synthetic sound painting techniques. He now participated in the extensive Cosmic Jokers jam sessions. Between the endless parties. but brought no new landmarks for Ash Ra Tempel. several hours of music also were recorded. this time about the Tarot. Gille Lettmann. For more information about this project.T. After all the freaky jam sessions of the previous years. Gottsching formed a new. Dieter Dierks (bass) and Rosi Muller. Gone were all those freaky jams. Gottsching was suddenly left alone in the group. Manuel Gottsching: 'we were in the middle of a number when he suddenly stopped playing. Lizz Elliott & David (all occasional voices). Involved this time were basically the same musicians as on the Tarot sessions: Gottsching. a showcase for Gottsching's talented. now totally occupied by experimenting with electronics.R. This track had spoken lyrics read by Rosi Muller. full and versatile sound. known for his albums with Bernd Witthuser) also contributed. Some gigs in France at the beginning of 1973 were however very erratic. when I and Klaus asked him why he stopped playing. On this occasion. But this double set didn't become (as first proposed) just an A. Schulze nowadays dismisses those recordings as 'awful'. Gottsching's long time girl-friend and new part time member of the group.' Enke obviously had to quit Ash Ra Tempel. consult the Wegmuller entry. Kaiser had rented a studio for four months (February to May 1973) where all the musicians. Grosskopf. Walter Wegmuller composed all the lyrics and painted a brand new Tarot card set for the occasion. and released three albums under the pro-forma group name (Cosmic Jokers) in 1974. as Hartmut Enke tended to increasingly do very strange things on stage. Enke & Schulze) recorded the fourth album Join Inn in just hours. Brian Barritt. recorded in December 1972. During breaks in the Tarot recordings. Schulze. lived partly on a diet of marijuana and LSD. After the gig. The resulting album Starring Rosi was a big surprise. Attempts to assemble his own group came to nothing and his musical career was finished. A more melodious. Three members from Wallenstein. bill on the other hand Gottsching still regards them as 'pleasant recordings'.. guitar.While recording Seven Up in Switzerland. All these releases were made without the knowledge or permission of the musicians involved. This line-up also performed live. he said that it was all too beautiful so he just couldn't play'. Harald Grosskopf and Rosi Muller. they were also temporarily re-united with Schulze. Both Gottsching and Enke played lead guitars on the Tarot sessions. Dollase. bluesy up-beat improvisations and "Jenseits" (meaning 'beyond'). resulting in a rich. & Wegmuller project.

This gave the impression that synthesizer sequencers had been used . Just a few gigs were played with the helping hands of Lutz Ulbrich (guitars. previously a member of Agitation Free. ASTERIX ALBUM: same (Decca SLK 16695) 1970 Lucifer's Friend recorded the Asterix album before they changed their name. The next Ash Ra Tempel album. Under the leadership of Manuel Gottsching. The 22 minute long "Nightdust" recalled Klaus Schulze's 'picture music' at the time of Timewind. the extracted name Ashra was used. Tape loops were recorded at different speeds and treated with echo effects. "Schizo" a melancholic fragile guitar number. Valued by collector's at around 125 DEM in mint condition it's quite good musically.B ADRIAN ASKEW kb C FRANK DIEZ g A. After Inventions. "Cosmic Tango" a little joke (or a side-kick to Kaiser?). keeping the Ash Ra Tempel name. It was recorded on a primitive TEAC four track player. This was another great musical triumph: Manuel now pioneered the 'new age' genre with his harmonic and meditative synthetic music. This contained shorter tracks with a typical hard rock edge. New Age Of Earth. ATLANTIS Personnel: • • • • • INGA RUMPF v KARL-HEINZ SCHOTT b (JEAN-JAQUES KRAVETZ kb) A. complete with vibes. featuring guitar as the one and only instrument. The only long track. a floating world of swelling electronic waves and pulses (and even some distant guitars). keyboards). "The Fairy Dance" was a strange little ditty for acoustic guitar and mellotron. when British Virgin released the album world-wide with a different cover in March 1977. and all alone he recorded the all time classic Inventions For Electric Guitar (which was exactly what it was!). this quite successful album (artistically) was a turning point that gave Gottsching the confidence to start his solo career. "Interplay of Forces". "Bring Me Up" represented the first time Göttsching experimented with funky rock (later he would repeat this on Correlations).D . Together they also made some soundtrack music in 1975 . In many ways.beautiful meditative ballad..it was actually a minimalistic sequencer album without a sequencer in sight! The recordings were complex and took a long time to complete. Gottsching's own Studio Roma was ready for use in 1974. It was even more difficult to recreate these sounds live. The title track was at long last released on an Edelton sampler in 1990. Manuel was 'fed-up' with guitars for a little while and released a very keyboard-dominated album. does sound closer to the older Ash Ra Tempel style. However. Ash Ra Tempel have been among the most important bands of the Berlin electronic rock scene. was first released in France (where the group had its largest following) by Polydor in late 1976. Strongest of all was "Ocean of Tenderness". directed by Philippe Carrel.. Look at the Lucifer's Friend entry for more info. but used all its possibilities to make a unique album.for the film "Le Berceau De Cristal".

Along with Rumpf from Frumpy came Jean-Jaques Kravetz and Karl-Heinz Schott.ALBUMS: • • • • • (DIETER BORNSCHLEGEL g) B ALEX CONTI g C (CURT CRESS d) A RINGO FUNK d B. and Rumpf of course sang the some blues and soul influenced tracks in her characteristic way. Diez was brought back along with a second guitarist. named after Plato's mythical continent that sank into the water. 1 & 2 were also re-released on CD by Repertoire circa 1992. One further LP was recorded. The keyboards were quite dominant. The two additional members of Atlantis had recently left Emergency Frank Diez and Curt Cress. Bornschlegel also soon left Atlantis. g FRANK BAIER v. Inga Rumpf has since recorded several solo albums. The band soon secured a contract with the German branch of Vertigo. three of the members formed the 'super group' Atlantis. Cress and Diez quit the group again at the same time as the album was released. the latter had previously played guitar in Curly Curve. Along with Diez. Dieter Bornschlegel became the new guitarist and Ringo Funk from Jeronimo took up the drums. Baby (1974) were Adrian Askew and Alex Conti.C REINER MARZ g D Atlantis also released three singles for Vertigo. particularly during their first two years of existence. This had a rockier sound. There were further changes in the line-up when Jean-Jaques Kravetz quit to record a solo album (and then join Randy Pie). Their replacements in time for the third album Ooh. BAIER-WESTRUPP Personnel: ALBUMS: • • WALTER WESTRUPP v. for Get On Board (1975). Atlantis finally disbanded in 1976. Their first album was recorded in London and had a laid-back US West Coast feel to the music. which veered still closer towards funky soul rock. Tile double live album released in 1975 contained different live recordings from 1973-1975. gutsy blues voice. These two new members wrote most of the new material. considerable commercial success in Germany. but was a less inspired work than the previous albums. g "Unterwegs" (Der Andere Song 25795) 1975 . Vocalist Inga Rumpf was arguably the German answer to Janis Joplin with her distinct. (A)same (Vertigo 6360 609) 1972 (B)"It's Getting Better" (Vertigo 6360 614) 1973 (C)"Ooh Baby" (Vertigo 6360 621) 1974 (A-C)"Live" (2LP) (Vertigo 6360 900) 1975 (D)"Get On Board" (Vertigo 6360 630) 1975 (D)"Top Of The Bill" (Venus V78AT 1002) 1972 When Frumpy disbanded in 1972. but not released until 1978. Rainer Marz (ex-Jeronimo. she composed all of the songs. In the Summer of 1975 the group was again transformed. The group had. It's Getting Better (1973) was similar to the first album but had an Afro-percussion player guesting on three tracks to make a more funky sound.

The album contained 12 such tracks all arranged by the band. named I Will Go (1975). It was recorded In October 1973. mandolin. pno DIETMAR DOMBROWSKI g. The great treasure of this album is the mean and growling guitar sound. mandolin "I Will Go" (Happy Bird 5005) 1975 This group made a folk-rock album of Irish folk songs. "On Tour" (BMF BS 6232 855) 1972 A little known band which made one single and a tremendous album. The second edition of this is re-mixed. blues based hard rock songs. acc. b COTCH BLACK perc (JAMES GALWAY flt) A . acc. Their albums contained standard acoustic folk in the German language. In 1990 a re-release at last appeared on CD (released by TRC). Part of the album was recorded live. BAUMSTAM Personnel: ALBUM: • • • • ULRICH KLAWITTER g. which could be acquired a bit more cheaply! BEDA FOLK Personnel: ALBUM: • • • • MANFRED JASPERS fiddle. produced by Fred Christmann and released on the short-lived Highdelberg-based label Happy Bird. banjo. mandola.NB: 1 and 2 released as "Die Walter HC Meier Pumpe"! "Pumpt Den Skiffle aus dem Boden" (Songbird 1C062-31140) 1976 "Dat Muss Doch Auch Wat Spaken Bringen" (Plane S66601) 1976 A folk duo comprising Walter Westrupp (known for his albums with Bernd Witthuser) and Frank Baier (previously of the folk group Kattong). with the fuzz effects exaggerated to the extreme! The original private issue is a real "monster" at auctions and sells for crazy prices (600 DEM). similar to rural sounding loud rockin' bands like Reaction and Incredible Hog. bodhran ANDREAS STANISAK tin whistle. g EITEL TIMM g. v MICHAEL LOBBE g VOLKER WOBBE b GERHARDT MEYER d NB: Re-released on CD by TRC in 1990. Their album consisted of nine standard length. BETWEEN Personnel: • • • • • PETER-MICHAEL HAMEL kb ROBERT ELISCU oboe. flt ROBERTO DETREE g.

left to concentrate on classical music in 1972. The same year Between also made music to poems by the actor Gerd Westphal Hesse. recorded at the Staatliche Musikhochschule in Munich. Also worth mentioning is Eliscu's beautiful 11 minute piece "Joy. the name was soon shortened to Between. Roberto Detree was an Argentinean and had played Spanish guitar in classical folk music ensembles in his homeland. It was Between's only release on the legendary "swirl" Vertigo label (the next one had the "spaceship" artwork!). This resulted in Hesse Between Music. He also built musical instruments. (released October 1971 on the Wergo label) he was a critically acclaimed musician well known for his classical music recordings. it was a better and more homogeneous merging of styles than their first album. This left more room for Hamel and Eliscu to develop longer tracks and more meditative music. a direction already explored to full effect by Limbus 3 and 4. who also recorded with Popol Vuh and Amon Duul II) and Tom . Also interesting were the tracks grounded on Detree's roots in South-American folk music. The album included several short tracks.. This only had acoustic instruments and included a new member: Charles Campbell. Hamel had studied composition since 1967 and wanted to create a new musical genre (an ambitious man!). who recited his own poems. Galway and Stranz. flute and organ. plus a 9 1/2 minute avant-garde piece. Dharana from 1974 was a kind of world music symphony recorded with the aid of the SWF orchestra. On the whole. Sadness. The second Between album And The Waters Opened (1973) included six tracks. The other German of the band. bongo rhythms. Those tracks had a dramatic atmosphere with wordless vocals. released January 1975. like Al Gromer (sitar. played tablas and percussion. "Space Ship". oboe. Another American citizen.. The front cover artwork was quite remarkable: a drawing of a gigantic splash of colours . James Galway joined briefly as sixth member before the recording of Einstieg. Eliscu guested on several Popol Vuh albums. folk and avant-garde). The American Robert Eliscu came to Germany in the late sixties to play with the Munich and Berlin philharmonic orchestras. between (pun!) all the existing ones. The group were formed in 1970 on the initiative of Peter-Michael Hamel as Between The Chairs.. but did not manage to merge these styles. Besides Hesse. Ulrich Stranz. The more free-form numbers "Memories" and "Flight Of Ideas" were uninspired improvisations with an ethnic touch. Cotch Black. Joy". Hamel released his first solo album in 1972 and guested on the first Agitation Free album. This work was based more on improvisation than composition. both of whom had kept a very low profile on the album. recorded in Berlin. particularly the 20 minute long title track. several guests also appeared on the album.illustrating the event when the waters opened. but as this expression has different meanings in German and English. Most successful was Eliscu's "Katakomben" and Hamel's "Triumphzug Kaiser Maximillian". had a similar academic background. Between demonstrated their ability to play different styles (jazz..ALBUMS (up to '76): • • (ULRICH STRANZ vla) A CHARLES CAMPBELL perc B (A)"Einstieg" (Wergo SM 1001) 1971 (B)"And The Waters Opened" (Vertigo 6360 612) 1973 (B)"Dharana" (Vertigo 6360 619) 1974 (B)"Hesse Between Music" (Electrola 1C 062-29546) 1975 Between has to be one of the most international bands of all times! The six members that recorded the debut album Einstieg (1971) came from four different nations.

BIRTH CONTROL Personnel: ALBUMS (up to '76): • • • • • • • • • • (REINHOLD SOBOTTA kb) A. a vocalist and a trumpeter. what were for many people. which gave these talented musicians time to express their ideas through the improvisations. in many ways similar to British hands like Spooky Tooth and Deep Purple. but the new members brought with them rock influences (particularly evident on the material composed by Bruno Frenzel). Graham Bond. v) A (EGON BALDER d) A BERND NOSKE v. The cover had a drawing of a baby eating ant monster.van der Geld (vibraphone). imitating a box of contraceptive pills. thoughtprovoking covers.B (WOLFGANG NEUSER kb) C ZEUS B. Their next album Operation was indeed a great improvement. some containing music reminiscent of Between. none were better than Birth Control! They were formed in 1968.E (ROLF GURRA sax. HELD kb D. Their first single "October" coupled with "Freedom" was released on Amadeo in 1969. The best cut was the opening track .566) 1970 (B)"Operation" (Ohr OMM 56. in those early days. The music was still grounded in jazz-rock (particularly the material composed by Sobotta). heavy guitar and organ based sound. They played mainly instrumental jazz rock cover versions of Brian Auger.019) 1976 When it comes to German progressive hard rock based on the Deep Purple formula. Their strength was in their more extended tracks. For some live engagements they were expanded with a guitarist. they had now found their own. Eliscu has mostly concentrated on classical music. released in a round cover. etc. It was a work of average quality. An outrageous cover for sure! Musically. lacking a bit in experience and musical craftsmanship. The album also had a cover version of Doors' "Light My Fire".E BRUNO FRENZEL g B-E (BERND KOSCHMIDDER b) A-C PETER FOLLER b D. The band name was a reaction against the Pope's declaration that contraceptives were sinful. Line-up (B) recorded an album for Metronome. d B-E (DIRK STEFFENS g) D (B)same (Metronome MLP 15. Between are best remembered for their albums in the period 1973-1975.015) 1971 (C)"Hoodoo Man" (CBS 65316) 1973 (D)"Rebirth" (CBS 65963) 1973 (E)"Live" (2 LP) (CBS 88088) 1974 (E)"Plastic People" (CBS 80921) 1975 (E)"Backdoor Possibilities" (Brain 60. watched by an excited Pope. Inside the fold-out cover another drawing revealed the group members being part of a baby eating machine. It also suffered from a thin production. This came in the first in a series of. but generally more experimental and minimalistic. Hamel has recorded several solo albums.

Hoodoo Man was released in January 1973 and contained 6 tracks that refined their sound even more. Steffens left again to form his own hard rock trio. vln PETER BELY kb.007). again causing much controversy! The steady sales resulted in a contract with the major company CBS. flt. fat woman repressing a little wind-up man! At this time the band had the ambition to break through internationally. failed to keep pace with the ambition."Stop Little Lady". v Personnel: . In 1983 founder member Bruno Frenzel died after a long illness. Noske's voice had improved (he was one of the best German male vocalists) and he also drummed better than ever. comprising five tracks in all with much instrumental work. The cover showed a foetus lying in a dustbin. The guests Jochen von Grumbkow (cello). since CBS had lost faith in them. shooting at a baby carriage. The cover art wasn't as outrageous as the usual Birth Control standard: just a drawing of a very big. Held and Foller recorded Rebirth (1974). Plastic People was their best album since Hoodoo Man. Steffens. They therefore felt a reorganisation of the band was necessary. Founder member Koschmidder left before a long German tour and was replaced by Peter Foller.007) and "Believe In The Pill" (1972 B-side OS 57. Frenzel. but not for the masses. "What's Your Name" (1972 A-side OS 57. all from Holderlin.003). Backdoor Possibilities (1976) was a partly failed attempt to include more jazz and classical elements into their hard rock. The other four undertook another German tour that resulted in a double live album. Birth Control were now recording for Brain. This was appealing for the convinced fans. Regrettably the group were not able to develop this style in any proper way. appeared on the track "My Mind". "Buy!" (7:10) and "Get Down To Your Fate" (7:56). Plastic People (1975) was a concept album attempting to create a more varied sound beyond the standard heavy progressive formula. The key tracks this time were the classic 10 minute "Gamma Ray" (a live favourite). Christoph Noppeney (viola) and Friedemann Leinert (flute). All tracks were this time composed by Frenzel. This must have been one of the best selling Ohr albums! Ohr also released Believe In The Pill in 1972. The quintet of Noske. previously only available on Ohr singles: "Hope" (1970 A-side OS 57. BLACKBIRDS Personnel: ALBUM: • • • • • • • • WERNER BREINIG g HEINZ KOOP b HUBERT KOOP kb HELMUT VIGNEROM d "No Destination" (Saga FID 2113) (UK) 1968 WERNER BREINIG g. This was a brilliant album with very confident guitar and organ riffs and interplay. a sampler featuring six tracks from their first two albums and three rarer tracks. On the rover the group was pictured sitting in car armed with machine guns. v WOLFGANG BODE b.

If you go for originals though. Dirt Box had a promisingly weird cover. This is one of many albums of which the original copies sell for small fortunes today. It consisted of psychedelic beat music comparable to the first Petards album. poetic and classical influenced progressive style. To meet the increasing demand. He also wrote all the lyrics. Their album No Destination (1968) was only released in the UK on the Saga label.ALBUM: • CHARLES SIKORA d. characteristic for the early seventies progressive music we all have learned to love. When Blackbirds resurfaced in 1971 with Touch Of Music (1971). . the new underground scene had just began flowering with fresh bands like Amon Duul. The album included six tracks in all and was released on the hideous Opp label where a Hairy Chapter album also found an outlet. expect to part with 250 DEM. The songs (ten in all) were short. His first incarnation of Blackbirds was a beat group formed in Saarland 1965. but the music was quite common for the period: guitar-based hard blues-rock in the Anglo-American style. There was also room for some more powerful passages in-between. who released a project album named Sitar & Electronics on GASP about the same time. It is worth noting that German 'underground' albums were real rarities way back in 1968. BLUES & ELECTRONIC ALBUM: same (BASF 20 21150-9) 1971 I have no available information about this obscure name. The album also included a good cover version of the Beatles' "For No One". but included some interesting organ work. They had adopted a nice. "Rock Song" and "Indian Summer") was the best. Both the Blackbirds albums are now very rare. This might be a project of Okko Bekker. v • "Touch Of Music" (Opp 5) 1971 The story of Blackbirds is the story of two different groups. "Dirt Box" (BASF 20 21238-6) 1971 Another one of those German bands with a British vocalist (Andreas Scholz came from the recently disbanded Murphy Blend!). it's hard to pinpoint the current asking price as it very much depends on what YOU are willing to pay. BLACKWATER PARK Personnel: ALBUM: • • • • RICHARD ROUTLEDGE v. Second Battle re-released the album in 1990 in its original sleeve. Guru Guru and Tangerine Dream. both led by Werner Breinig. A very rough estimate would be 125 DEM for No Destination and 175 DEM for Touch Of Music. Presumably the Blackbirds didn't quite match the musical revolution of the late sixties (as the above mentioned groups did!) and disbanded. recalling the brilliance of Armaggedon. g MICHAEL FECHNER g ANDREAS SCHOLZ b NORBERT KAGELMANN d NB: Also re-released on CD by Second Battle. The material written by Fechner and Scholz ("Mental Block". Routledge's material tended towards boogie blues and sounded more like Free.

a future member of Guru Guru. d(C) (HORST SCHREIBER g) A BERND ADAMKEWITZ g B. Their albums contained quite average quality jazz rock. v RAINER BODENSOHN b. previously the guitarist of the sixties beat group German Bonds. It is also worth mentioning that his old fellows in German Bonds. which received a . had a passion for the old German children's song "Meister Jakob". Line-up (A) recorded the first album Both Sides (1972). flt. Rainer Degner. but also some great acid guitar parts in the typical late sixties style. also made several strange albums under pseudonym beside their normal career in Lucifer's Friend . One of the few German psychedelic albums in existence.: ALBUM: • RAINER DEGNER g "Psychedelic Undergrond" (Fass WY 1532) 1969 Mr. CHRIS BRAUN BAND Personnel: ALBUMS (up to '76): • • • • • • • • CHRIS BRAUN v ELMAR KROHN g(A). On Second Smile (1974). Peter Hecht and Dieter Horns. kb. v EDDY VON OVERHEIDT kb. and for this reason a quite interesting and uncommon item! Members of The Rattles also contributed to this album. v JOACHIM KEINZER d ENNO DERNOV g. but due to the arrival of psychedelia. probably influenced by the British so-called Canterbury scene. strange things were happening.C (JIMMY JACKSON kb) B HARALD NEUKIRCH kb C JOCHEN BERNSTEIN b (BILL BAKINE d) A (A)"Both Sides" (BASF 20 21399-4) 1972 (B)"Foreign Lady" (Pan 87586) 1974 A straight rock band. In fact. BRAINSTORM Personnel: ALBUMS: • • • • • ROLAND SCHAEFFER g.BOKAJ RETSIEM Personnel incl. this is also the real name of this studio project (with session musicians). a fifth member was added: Enno Dernov. and the letters 'bokaj retsiem' must be reversed to make any sense! Degner's album included some absolutely perverse arrangements of "Meister Jakob". b B (A)"Smile A While" (Spiegelei 28505) 1972 (B)"Second Smile" (Spiegelei 28596) 1973 This was a jazz rock group led by Roland Schaeffer. sax.

although he wrote the lyrics for the Randy Pie albums Highway Driver (Sophisticated) (1974) and Kitsch (1975). Above are the musicians that appeared on Impressions On Reading Aldous Huxley (1972) plus Thomas Kuckuck (imaginative engineer). vocals). strange percussion. Shaa Khan. The band went through many changes in 1973. Horst Schreiber departed to form Sperrmull. BRAVE NEW WORLD Personnel: ALBUM: • • • • JOHN O'BRIEN-DOCKER g. It's Time For Breakfast (1976). v "It's Time For" (Sky 004) 1976 A quite unknown group that released just one album for Sky. extended tracks to be explored here' The album was recorded at Konrad Plank's studio. Foreign Lady (1974) was another rather ordinary rock album with influences from blues and soul. This was no ordinary instrumental fusion. but in 1980 he formed a new band. little has been heard from O'Brien-Docker. "Impressions On Reading Aldous Huxley" (Vertigo 6360 606) 1972 Brave New World was a studio project expressing the ideas of the Irishman John O'BrienDocker. Braun's musical activities were few for some years. previously leader of City Preachers. Horst Schreiber (guitar. v. perc EBERHARD VOELZ b. perc HORST SCHREIBER g. GUNTMAR FEUERSTEIN kb. perc LUCAS LINDHOLM b. previously played in Chris Braun Band (with Bill Bakine) & Spermull. . perc JURGEN KAMPERT g. sax. v.bad press. and therefore there are no interesting. kb HERB GELLER flt. at one time even Jimmy Jackson (wellknown as the organist of Embryo. This album was stylistically similar to other late seventies 'light progressive' bands like Octopus. At the end of the year a quintet settled to record a new album. cor anglais REINHART FIRCHOW recorder. flt NB: A Polydor album by a group named Brave New World Oh Calcutta has nothing to do with this Brave New World. Breakfast's music had a slight folky touch and good multi-voice arrangements. All their material was quite song-oriented. Since 1972. kb. Passport. BREAKFAST Personnel: ALBUM: • • • • • • FERDI KUHNEL v. v. v BILL BAKINE d. etc. The overall sound was quite original: mainly instrumental music with lots of flutes. flt.) was a member. studio manipulations and sound effects. rather a druggy kind of excursion through folk. BRIDGE ALBUM: "Overdrive" (Tempo 5003) 1972 An unknown group performing standard jazz-rock of an average quality. rock and jazz in a dramatic and/or melancholic mood. Straight Shooter and Ramses.

Some of these people brought with them experiences from Irish and British folklore. It is one of the best German folk rock albums ever recorded! Regretfully Broselmaschine disbanded about a year after this release. he has issued several hand books on how to play acoustic guitar. Other tracks like "Schmetterling" had a more eastern flavour with sitar. perhaps it was another exploitation album featuring Lucifer's Friend members? BULLDOG Personnel: • • • GERHARDT STONING pno. Phil Ochs and Joni Mitchell. Besides the Broselmaschine albums. inspired by the American folk music of Bob Dylan. tuba • same (Xenophone 161. a master of acoustic guitar. although quite different from the 1972 album.012) 1976 This was the project of Peter Bursch. now dubbing themselves 'Peter Bursch & Die Broselmaschine' They were helped by Mani Neumeier and Roland Schaeffer from Guru Guru and Jan Fride from Kraan on a new LP project.BROSELMASCHINE Personnel (Broselmaschine): ALBUM: • • • • • • • • • PETER BURSCH g JENNI SCHUCKER v. In spite of these guest appearances. flt WILLI KISSMER v. In 1975 Peter Bursch formed a new Broselmaschine. Some of the members travelled to India. It included six tracks in all. b. Their first album was recorded in August 1971 and released on Pilz. most outstanding was their Steeleye Span-ish version of the Scottish traditional song "Lassie". During the early seventies the band lived as a commune in Duisburg. g KLAUS DAPPER flt. sax. g LUTZ RINGER b MIKE HELLBACH mellotron. which came with perfect multi-voice harmonies electric guitar and mandolin. perc same (Pilz 20 2100-2) 1971 Personnel (Peter Bursch & Die Broselmaschine): ALBUM (up to '76): PETER BURSCH g WILLI KISSMER v. the resulting album was still in a clearly defined folk style. Joan Baez. v MICHAEL EHRHARDT g GUNTHER OEMICHEN g . He formed the first Broselmaschine line-up way back in 1968. BROTHER T & FAMILY ALBUM: "Bralling Of The Rock" (Fass 15008) 1970 No further information available about this one.

BULLFROG Personnel: ALBUM (up to '76): • • • • • SEBASTIAN LEITNER g GERD HOCH v HARALD KALTENECKER kb VINCENT TROST b BRUNO PEROSA d same (Sky 003) 1976 The group was formed as Bulldogg. The sleeve pictured some very long haired and freaky musicians with a mean look. but this name was already used by another group so they changed to Bullfrog just before the recording of their first LP.C (DAMO SUZUKI v) C.ALBUM: • • GERD OPPERMANN b RAINER PAEGEBIV d. Most noteworthy was the front cover. His albums are filled up with relaxing and silent short acoustic folk songs (or sometimes folk-blues). v same (private 135/51662) 1976 A very obscure group. Recommended only for folk fanatics! CAN • • • • • • • Personnel: ALBUMS (up to '76): IRMIN SCHMIDT kb (DAVID JOHNSON flt) A MICHAEL KAROLI g HOLGER CZUKAY b JAKI LIEBEZEIT d (MALCOLM MOONEY v) B. FRANZ De BYL ALBUMS (up to '76): same (Metronome MLP 15383) 1971 "Und" (Thorofon ATH 114) 1972 Franz de Byl was and is a relatively unknown folk artist. that also released the first Emtidi album. perhaps comparable to the style of Jane. where the two guys were pictured completely naked! Und (1972) was released on the Thorofon label. Their music was typical mid-seventies hard rock with a pompous touch. It failed to make any lasting impression as it lacked originality. The first one was recorded with the violin player Heiner Hohnhaus.D (B)"Monster Movie" (Music Factory SRS 1) 1969 (C)"Soundtracks" (Liberty LBS 83437) 1970 (D)"Tago Mago" (2 LP) (United Artists UAS 29211/12) 1971 (D)"Ege Bamyasi Okraschoten" (United Artists UAS 29414) 1972 . Their instrumentation was guitar-based.

being released by themselves as a private pressing of 600 copies. the recordings were of a high technical quality.playing. Indeed this album was the reference point for most of their subsequent albums. It is possible that the Delay 1968 album (1981) was compiled from these tapes. In addition to this. At the end of 1968 he left the new-founded group and returned to his homeland. Can usually recorded their music live in the studio . heavily distorted guitars. toying and improvising to great effect! Amon Duul II's first album Phallus Dei (1969) was the result of a similar process. repeated and spoken vocals. Their first set of finished tapes were circulated to several record companies. It was Jimi Hendrix who inspired him to play in a rock band. All albums are now available on CD. a recording contract with Liberty / United Artists was signed. unique style. Can finished their own primitive studio and dubbed it Schloss Norvenich in January 1969. Pink Floyd and Velvet Underground. on the initiative of Irmin Schmidt (keyboards) and David Johnson (flute). Irmin Schroldt and Holger Czukay had both studied under Karl-Heinz Stockhausen and had some background in jazz ensembles. David Johnson was an American avant-garde composer. If Monster Movie had been the soundtrack to Can's very own. Some of the original Music Factory copies had a rear sticker with the Liberty order number. Schmidt had been educated at the Dortmund Academy. flute and percussion. This was indeed one of the rock history's most radical and inventive debut albums! In December the same year. which for some unknown reason was only credited to Irmin Schmidt! In 1984 one had the opportunity to hear Can's first ever concert (as a five piece featuring Johnson) on the cassette release Prehistoric Future (Tago Mago TM 4755. (D)"Future Days" (United Artists UAS 29505) 1973 (E)"Soon Over Babaluma" (United Artists UAS 29673) 1973 (E)"Landed" (Harvest 1C064-29600) 1975 (E)"Flow Motion" (Harvest 1C062-31837) 1976 This very important and legendary group was formed in Cologne in July 1968. particularly the classic tracks "Father Cannot Yell" and "You Doo Right". not released elsewhere until 1981's Delay 1968. The only recording of these six musicians playing together is the very obscure single "Kama Sutra Parts I & 2" (Metronome M25-128).NB: A Liberty sampler named Electric Rock featured the Can track "Thief". all their recordings were made there.000 copies released in France). partly due to the great technical ability of Holger Czukay (acting as their engineer and tape editor). resulting in a handful of reasonably structured "songs" and one lengthy full blown improvisation as a conclusion to the album. another American citizen had joined the group to complete the line-up. imaginary headmovie. studying walthorn and orchestral direction. Jaki Liebezeit had since his early schooldays played trumpet. but he eventually settled behind the drum kit in a free jazz band. Just before that. All Liberty and United Artists albums were re-issued on Spoon in 1981 (005-010). resulting in Monster Movie (1969). and the only one not to have an academic background. As Can didn't get an initial response. limited edition of 2. shimmering organ. a simple and ritualistic bass and sensitive rhythms. Can definitively managed to create their very own. His musical training came from several unknown jazz-rock groups. a black vocalist named Malcolm Mooney. For most of their career. 1 was re-issued on Liberty LBS 83342 (1969). and Monster Movie was repackaged and released again. If inspired by a number of avant-garde composers as well as Jimi Hendrix. They aimed to make a totally new music by merging very different musical styles. Michael Karoli was ten years younger than the other members. In spite of just having a four track tape machine at their disposal. A second re-issue appeared on Spoon (004) in 1981. they were . This was characterised by gasping. they wasted no more time approaching record companies but made further recordings.

A. "Aumgn" was a very strange and ritualistic sound collage. thus ending the first phase in Can's history. coupled with "Shikaki Maru Ten" (on United Artists 35304). non-verbal vocal sounds and crashing percussion.soon contacted by several movie directors to make real film soundtracks. A 45 was also selected for release from the Tago Mago sessions: "Turtles Have Short Legs" coupled with "Halleluwah (edited version)" (Liberty 15465). but at the same time bizarre! The best example of this was "Spoon". As many of the Amon Duul II albums from the same period. short and quite melodious. a strange styling that was indeed appropriate for Can's rhythmic and repetitive music. At the same time. His strength was his peculiar phrasing technique rather than his vocals. but nevertheless the album had its share of classics: "Soul Desert". In spite of these elements. here with strange echo and reverb effects added. The new album Ege Bamyasi (released August 1972) had Can's distinctly rhythmic music in focus. "She Brings The Rain" (these two tracks were also the A and B sides of a single on Liberty 15340) and "Tango Whiskyman" are worthy of note in this respect. "Paper House" lifted the album off with menacing slow. with lots of weird echo effects directed by Irmin Schmidt. This varied double album. rambling Can rhythms. "Halleluwah" was a foretaste of the rhythmic music Can were to work with on their next album Ege Bamyasi. "Oh Yeah" started off with an explosion gradually evolving into a hypnotic and repetitive melody with added backwards effects. peaking at number 38! (This would never have happened if the album had been released nowadays!) International rock critics had great difficulties when they attempted to describe Can's music. and the other containing much weirder. by Can standards. Can were virtually forced to play live gigs. is usually considered to be their best work. reputably taking the name from a magician. It was a triumph for the whole wave of new German rock (the so-called "kraut-rock") when this single actually sold more than 200. In October 1970 the album Soundtracks was released. Many of the tracks' arrangements were unusually sparse . Malcolm Mooney had become mentally ill. Many of them saw the group as: 'the German Velvet Underground or Mothers Of Invention'. 35472). left the group and returned home to the USA in December 1969. far too insane to be described! "Bring Me Coffee Or Tea" closed the album in a. it sold enough to enter the German best-seller lists. Can had searched for a new vocalist for four months. Can went on rehearsing and recording Tago Mago for the rest of 1970. more normal way. Ege Bamyasi wasn't as exciting as Tago Mago. the album did surprisingly well. This was a real masterpiece of German rock containing abnormally imaginative music! In fact.000 copies and reached number 1 on the singles' charts! Due to this rather unexpected success. The recordings were produced over a twelve month long period. Other tracks were songs in Can's unique style. these descriptions were only used for lack of better Anglo-American reference points. and featured new vocalist Damo Suzuki on four tracks. Luckily they came up with .featuring ritualistic percussion and Suzuki's spoken and/or breathing voice. With Suzuki in their ranks. Further soundtrack projects brought Can even more attention. Their first British tour (in the Spring of 1972) received much enthusiastic support. progressive rock and "Mushroom" introduced the unique. "Peking O" was probably the weirdest Can track ever. containing music from five different movies. improvised experiments. before they discovered the Japanese replacement Damo Suzuki busking in the streets of Cologne. Most of it was more accessible than Monster Movie. Liebezeit played contrabass on this track. it had one record with a somewhat structured work. Instead it featured plenty of strange. Can also launched their third single: "Vitamin C" (another movie theme) coupled with "I'm So Green" (U. The track "Spoon" was the main theme from a German television series and was released as a single in time for the Christmas of 1971. For sure. lacking ordinary rhythms or melody lines.

Different vocalists were tried out at this time: the Japanese female singer Michiko Nakao. "Dizzy. Dizzy" was a fast number with whispering vocals. and revealed (in my opinion) the first signs of Can's forthcoming creative stagnation. Damo Suzuki performed his last concert with Can on the 25th August 1973 in Edinburgh and then returned to Japan. United Artists. released 15. Sides three and four offered a new selection of previously unreleased tracks. 35596). The track named "Unfinished" really sounded as it never was finished. Flow Motion (1976) was an attempt to make more commercial music with funky rhythms and new guest vocalists (Peter Gilmour and Rone Timmer).complete madness! "Quantum Physics" calmed things down a bit. for their part. Unhappy with this new direction.. but none of these remained with the group. a characteristic Can instrumental. There are many really bright moments in this collection. The long title track (which opened the album) was a particularly good example of their new style. a single was lifted off the album: "Hunters And Collectors" coupled with "Vernal Equinox" (Harvest IC006 31392). this collection was made available again by EMI and Virgin as side one and two of the double album Unlimited Edition.with EMI Electrola in Germany and with Virgin world-wide. while "Moonshake" also was released as a single with an edited version of "Future Days" on the other side (U. like the strange story of "Mother Upduff" (told by Malcolm Mooney) and "Gommorha" (another soundtrack theme). This was an even better collection than Future Days containing further lively experiments with refined rhythms from all around the world.A. The group was now expanded by two former Traffic members: the bassist Rosko Gee (who actually was brought in on the initiative of Czukay!) at the end of 1976 and the percussionist Reebop Kwaku Baah in . the inventive Future Days. though they remained somewhat eccentric. In 1975 Can signed new recording contracts . Tim Hardin (performed a song live with the group on one occasion).another big one in l973. Karoli played his most fuzzy guitars since Monster Movie on the tracks "Full Moon On The Highway" and "Vernal Equinox". Can's British live sound engineer Peter Gilmour contributed lyrics to this and their two subsequent albums. as it rolled more on atmospherics. The abnormal group Can had finally turned normal. In 1976. 35749). Tile track "Spray" parodied rock riffs.And More" (Harvest ICOO6-31727 in Germany and Virgin VS 153 in the UK) climbed into the British charts. As usual. covering a full album side (edited from a very long session!). This Can release. "Bel Air" was a lengthy improvisation. radio talk over and bird screams caught by Czukay and a perverted tango rhythm from Liebezeit. Schmidt and Karoli now shared the lead vocals parts. You've never heard such a tango before! "Chain Reaction" (11:12) had furious percussion with several tempo shifts . La Luna" had melodramatic vocals by Schmidt. Holger Czukay began his withdrawal process from Can. For Christmas 1976. This time Can relied more on atmosphere than power.. "Come Sta. Can released a disco version of "Silent Night" coupled with "Cascade Waltz" (Harvest ICOO6-31973 and Virgin VS 166). was as great as most of the conventional Can albums! Landed (1975) was their last album of sheer excellence and at the same time their first 16 track production. Their funk rock single "I Want More" coupled with ".000 copies of a retrospective album aptly entitled Limited Edition. Soon Over Babaluma must be regarded as Can's best album after Tago Mugo! Short versions of "Dizzy Dizzy" and "Splash" were released on a single (U. It contained previously unreleased tracks recorded between 1968 and 1974. Things had certainly changed since the agony of Monster Movie. The group recorded their 1974 album Soon Over Babaluma as a foursome. Michael Cousins and the Indonesian Thaiaga Raj Raja Ratnam. electric violin and echo drumming.A. recorded live in their studio in countless styles and moods.

of Tanned Leather . CHERUBIN Personnel: ALBUMS: • • • • • ANDY MARX g BO BORN kb WOLF GRAF b PIT TROJER perc. CHECKPOINT CHARLIE Personnel (approx. However the band reformed regularly during the following years. bearing the same CPM LPS 3 item number! Checkpoint Charlie disbanded in 1971. For a large part it contained political agitation and theatrical pieces with violent screaming and some really obscene German language. If you still are interested in checking them out. v LOTHAR STAHL drums "Gruss Gott Mit Hellem Klang" (CPM LP-S 003) 1970 Checkpoint Charlie was formed in 1967 and named after the infamous checkpoint between the Eastern and Western zones of Berlin. Many guest musicians appeared on both Cherubin albums. and just in time for the Saw Delight sessions. among them Thor Baldursson (keyboards). v HARKY WILHELM d. To listen through the whole album all at once is a real treat! The album was re-released in 1987 in a limited edition of 300 numbered copies.the beginning of 1977. Their live recorded album Gruss Gott Mit Hellem Klang (1970) is probably the worst album of all time. and in 1977 on a more permanent basis.. recorded August 1971.a related studio project group). v "Our Sunrise" (United Artists UAS 29688) 1974 "Safety Match" (United Artists UAS 29780) 1976 Guitarist Andy Marx played on Udo Lindenberg's first solo album.): ALBUM (up to '76): • • • • • UWE Von TROTHA voice WILFRIED SAHMEN g JOACHIM KREBSSALAT kb JURGEN DRAUTIGAM b. Their music comprised conventional mainstream light-rock. Dieter Bauer (bass) and Frank Baum (steel guitar). Rainer Pietsch (vocals. Wolfgang Crude (sax). They were part of the same pout rock wave as Floh De Cologne and Ton Steine Scherben. Keith Forsey (drums). He then recorded a solo album for Spiegelei in 1973 and later formed Cherubin.. they were a unique group with a unique sound. Can's legacy to the German rock scene is indispensable. often with a country or folky touch. . their first album was their best. at least when speaking about it in musical terms. I'm afraid it sounds very dated nowadays.

The first Cluster album was re-released in 1980 on Sky 047 in a different cover as Cluster '71. The rest of the edition came in a plain black paper sleeve (folded. so the original is mega rare. This is now a mega rarity.: ALBUM: • RAINER GEUECKE v. grew up in East Berlin and had reached the age of 34 when he started to . For Kluster Zwei: Osterei. rumored to be only 300-400 in all. Some people say there were only 100 copies of Klopfzeichen totally. This album has an excellent and well-balanced sound for a private release. In 1980 both these albums were re-released with the same item numbers on Schwann (also limited editions).116. i. 50 all in all) were issued in a special printed plastic relief cover. The two longest tracks are the highlights: "Water" with the whisper of the sea and some beautiful acoustic guitar and "Factory Girl" which was in a more typical hard rock vein. a plastic relief cover was used for the whole edition. The recordings were done in only one week live in the studio . CLUSTER / KLUSTER / HARMONIA Personnel (Kluster): ALBUMS: • • • HANS-JOACHIM ROEDELIUS DIETER MOEBIUS CONRAD SCHNITZLER Personnel (Cluster): "Klopfzeichen" (Schwann AMS 511) 1970 "Zwei: Osterei" (Schwann AMS 512) 1970 • • HANS-JOACHIM ROEDELIUS DIETER MOEBIUS ALBUMS (up to '76): Personnel (Harmonia): same (Phillips 6305 074) 1971 "II" (Brain 1006) 1972 "Zuckerzeit" (Brain 1065) 1974 "Sowieso" (Sky 005) 1976 • • • HANS-JOACHIM ROEDELIUS DIETER MOEBIUS MICHAEL ROTHER ALBUMS: NB: The first pressings of Klopfzeichen (ca. 3 was re-issued twice: first in 1978 in the original cover but with the brown Brain label and the number 60. He was born on 20 October 1934. Second Battle made and numbered 600 further copies in 1989 when they re-released the album in its original cover. Originals of 2 & 3 came on the green Brain label.g "Hard Rock In Concert" (private) 1976 The title of Chicken Bones' album Hardrock In Concert (1976) says it all! There are six "very hard rocking tracks" included therein.or more probably a barn! Only 300 copies were pressed. but in sleeves totally different from the originals. open on three sides). 1st Harmonia LP was re-issued in 1980 on the "Rock on Brain" series as Dino (40. Most of the album is instrumental.116. and offers Rainer Geuecke plenty of opportunities to reveal his musical skills.123). performed in the good old tradition of the early seventies heavy progressive scene.e.CHICKEN BONES Personnel incl. worth about 500 DEM. Originals of 1 & 2 were on the green Brain label "Musik von" (Brain 1044) 1974 "De Luxe" (Brain 1073) 1975 Hans-Joachim Roedelius must be considered as the grand old man of German rock. then in 1980 on the "Rock on Brain" series with the brown Brain label and in a different sleeve with the number 80.

play the piano and guitar (self taught) in 1969. His youth was very colourful, working in more than a dozen different places in just a couple of years. He was also a member of the DDR Nationalen Volksarmee, but deserted and had to spend two years in a prison camp. The legend says that Dieter Moebius (born on 16 January 1944) came across Roedelius when he was a barkeeper in a pub! Moebius had previously studied graphics in Berlin. In November 1969 they formed the trio Kluster with Conrad Schnitzler, who was simultaneously a member of Tangerine Dream (please see their entry for details of Schnitzler's past). Klopfzeichen was recorded on 21 December 1969 in Rhenus Studio, Gedorf. It was released on Schwann, a publishing company usually associated with church music!!! The liner notes presented a totally unconventional new group: 'the ensemble Kluster is a progressive pop group. They personalise the perhaps most radical German underground music. Their playing technique is that one of Stockhausen and the group Nuova Consonaza'. The trio played piano, guitar, cello, percussion and organ that was electronically manipulated by engineer Konrad Plank. Their collaboration with Plank lasted for more than ten years and was extremely important for the development of the music. Technically he really has to be considered as a member of the group. The two long pieces of very radical music that made up Klopfzeichen were untitled. It contained what seems to be free improvisation. There were no rhythms, rather a floating continuum of creepy, unearthly and manipulated sounds. Side one ran for 24 minutes, and featured lyrics by radical German writers like Liselotte Raunes, Rudolf Otto Wiemer, Dorothee Solle, Wilhelm Wills, Eva Zeller and Uwe Seidel read by Christa Runge. Side two ran for nearly 22 minutes and was instrumental. Why someone chose to dub them a "pop band" on the liner notes is a mystery to me (was it a joke?), for they played a kind of weird contemporary classical music. Their next work Kluster Zwei: Osterei was constructed In the same way as its predecessor, recorded live on 23 February 1970. This time the lyrics (poems) on side one were read by a male, Manfred Paethe. Both albums have a remarkable technical quality considering their age, courtesy of Konrad Plank. They are milestones in the development of German electronic music. Schnitzler occasionally performed live with Tangerine Dream, until September 1970, when he was re-united with Roedelius & Moebius for Kluster's first live appearance at a pop festival in Fehmarn. He then returned to Berlin and his forthcoming Eruption project after a final Kluster live performance in Gottingen, May 1971. Moebius and Roedelius continued their work as a duo, but they changed the letter 'K' to 'C' to mark Schnitzler's departure. Their next album was in fact already finished by then. Cluster was recorded in Hamburg in January 1971. This time Plank was also credited as co-composer. Released on Phillips in Autumn 1971, this was their first issue on a proper record label. This time there were no lyrics or poems, but the three pieces included were still untitled, comprising spontaneous and free electronic music, no rhythms, just a continuous flow of ascending or descending sounds. It received great reviews in the German music press and was voted the tenth best album of 1971 in a magazine. The second Cluster album was recorded in January 1972 in the Star Studio, Hamburg, and marked another change of record company, being their first for the Brain label. The six pieces were for the first time in Kluster/Cluster history titled, and it even sounded a bit more planned and structured than before. It was a step closer to what Tangerine Dream would do the next year on their Atem album. Cluster now utilised electric guitars and generated patterns of repeating stanzas. For the rest of the year there was little recording activity. Cluster were busy finishing

their own studio in the little village Forst, Niedersachsen. Their successive albums were all recorded there and/or at Conny Plank's studio. Occasionally they performed live at art galleries and museums. In May 1973 Cluster met Michael Rother (from Neu) and together they evolved into the trio Harmonia. Between June and November 1973 they recorded Musik von Harmonia. It seems likely that Rother taught Cluster a lesson or two about using monotonous, repetitive rhythm loops, like the first Neu album. The tracks "Watussi" and "Sonnenschein" were most characteristic in this sense. However, Harmonia were quite different from Neu, as they used electronic percussion and rich keyboard textures of synthesizers and piano. "Dine" and "Veterano" were more up-beat examples of electronic rock (almost predating the Ashra sound), where Rother picked up his guitar. Other parts of this very versatile album were more ethereal and cosmic ("Sehr Kosmisch") or experimental ("Ohrwurm"). Moebius and Roedelius recorded the third Cluster album Zuckerzeit in Autumn 1974 with Rother co-producing. This was a milestone in the history of electronic music, and probably Cluster's most influential album. In contrast to the urbane and cold electronic music (although sometimes romantic in its own way) of Kraftwerk and Tangerine Dream this was a rural, vivacious and often humorous use of synthesizers. What a musical change this was from the Cluster II album! This was the first album to display their individual talents: Moebius' passion for strange sounds and quirky rhythms (later explored to full effect on his solo albums and collaborations with Plank') and Roedelius' charming, tuneful little ditties. With Rother (and special guest Mani Neumeier of Guru Guru) the second Harmonia album De Luxe was recorded in the Summer of 1975. The title track featured some nonsensical lyrics. The music was surprisingly light, far less experimental than the first Harmonia album. One is left with the feeling that the musicians did this more or less as a holiday project. In 1976 Rother started his successful solo career (enjoying instant chart success with the album and single Flammende Herzen), while Cluster recorded their fourth album Sowieso, developing the style of Zuckerzeit furthers seven sweet drops of witty sequencer music, all wrapped in light and pretty colour tones like some aural sweets! 1976 was also the year Cluster did their first collaboration with Brian Eno. This well respected Englishman had always admired their music very much, and met them for the first time backstage in Hamburg in 1974.

COBRAA
Personnel:

ALBUM:

• • • • •

KLAUS SEBASTIAN v, g ROLF SONDERMANN v, b, flt FRIEDEL AHRENS kb WOLFGANG HAUSMANN g, v BERND KLIEMT d, perc, v

same (EMI 1C062-29507) 1974 A little known group. Their album consisted of 10 mainstream rock numbers, only occasionally getting vaguely progressive. A band to leave to rest in peace! Harvest collectors may buy the album as a curiosity as it was originally intended for release on the Harvest label.

CODE 3
Personnel:

ALBUM:

• •

MANFRED SCHUNKE ED KEY

"Planet Of Man" (Delta Acustic 251251) 1974 The sleeve of Planet Of Man showed the visual message impressed in gold and sent with the Voyager satellite on its journey into deep space. Yep, this is a real sci-fi concept album! In fact, so conceptual that there is no real division into single tracks, rather a continuous flow of musical themes. The makers of it all were Manfred Schunke and the mysterious Ed Key, surely a pseudonym?! Klaus Schulze was also involved, offering a helping hand with the artificial head stereo mix and even some drumming! Fans of Schulze's early, cosmic music will love this album for sure! The album was released in a fold-out cover on Delta Acustic, a short-lived, minor label releasing productions made with the freshly developed artificial head stereo system, offering a unique stereo effect when listening to the music via headphones. The Code 3 album is now very rare and seldom seen offered for sale.

CONDOR
ALBUM:

"Rathbone Hotel" (CBS 82529) 1976 Their original name was Improved Sound Limited (look al this group entry for more information). Rathbone Hotel continued the adaptation to country rock that began with ISL's Catch A Singin' Bird (l973). Realising that few people found their German country music enjoyable, the band folded after one album.

JEFF COOPER & THE STONED WINGS
ALBUM:

"Tribute to J. Hendrix" (Europa E454) 1970 This was a tribute recording to Jimi Hendrix, released just months after his death. As usual for the Europa budget price project albums, there's no information about the involved musicians. There was a Jeff Cooper involved in the early eighties British heavy rock group Midnight Star (playing guitar), but I don't know if this is the same person. I don't know who the other musicians playing on this album are either, though there could be members of Lucifer's Friend and Wind involved. The music included cover versions of "Hey Joe" and "Fire" and eight compositions by Betty George (a pseudonym!) in a style reminiscent of Hendrix.

CORNUCOPIA
Personnel:

• • • • • •

WOLFGANG KAUSE v WOLFGANG BARTL b CRISTOPH HARDWIG kb, g WOLFGANG GAUDES d KAI HENRIK MOTLER g HARRY KOCH effects, perc

guitar and song based cover versions of "Paranoid". "Morning Sun" (3:07) was a tuneful little pop rock song. v ANDREAS BUELER b LUCIAN BUELER kb LUCKY SCHMIDT d "On The Rocks" (Europa E460) 1970 If you like the idea of the legendary group Wind playing in a more straight forward rock style. The result was erratic. Sergius Golowin: Lord Krishna von . along with seven original compositions. but not very much in demand. The remaining two tracks fall between these extremes. so collectors don't need to go rushing out to buy this one! The best thing I can say is that at least the material is quite well played. On the other end of the scale. On Full Horn (1973). The sleeve looked very cheap as well. but quite interesting and unusual. This one was an attempt to link very different pieces of music (and twisted weirdness). The same could be said of their label mates Thirsty Moon.ALBUM: • RUDY HOLZHAUER perc "Full Horn" (Brain 1030) 1973 This was a band of considerable size. All were written by the Cornucopia leader Cristoph Hardwig. "Into The Fire" and "I Hear You Knocking". There are very few similarities to the Wind albums. this was (and is) the most famous German session group! The musicians appearing at the Cosmic Jokers sessions were basically the same as on the preceding Kosmische Kuriere jam projects of 1972 (these were Ash Ra Tempel: Seven Up. this is the album for you! Under the pseudonym Corporal Gander's Fire Dog Brigade (who invented this stupid name?) they had On The Rocks issued on the budget label Europa in 1970. who released an album for the Plus label. please look at the Wind entry. previously a member of the little known group Ikarus. and therefore still affordable. CORPORAL GANDER'S FIRE DOG BRIGADE Personnel: ALBUM: • • • • THOMAS LEIDENBERGER g. You'll get short. The album started with a 20 minute suite called "Day Of A Daydream Believer". There were also important musical contributions from producer Jochen Pedersen. Cornucopia presented a weird and eccentric jazz-rock fusion that is so varied and continuously shifting that it is hard to describe the music. For more information about the group. COSMIC JOKERS Personnel: ALBUMS: • • • • • MANUEL GOTTSCHING g KLAUS SCHULZE electronics JURGEN DOLLASE kb DIETER DIERKS b HARALD GROSSKOPF d same (Kosmische Musik KM 58 008) 1974 "Galactic Supermarket" (Kosmische Musik KM 58 010) 1974 "Planeten Sit In" (Kosmische Musik KM 58 013) 1974 Presumably. The album is rare.

Goloka and Walter Wegmuller. with a cleverly edited flow through their material. Schulze and Wallenstein styles. but enclosed a poster. along with extracts from the other Kosmische Kuriere and Kosmische Musik releases. all supervised by Kaiser and Gille Lettmann without asking the participating musicians! The first of these..R. CRAVINKEL Personnel: ALBUMS: • • • • R. etc. On some album extracts new vocals were added. In my view this album doesn't turn out so well as the two preceding ones. Finally. The first mentioned was a tool for Kosmische Musik to promote its artists..a kind of potpourri of alternating cosmic improvisations. In fact. THOENES K-G. KRAWINKEL same (Phillips 6305 055) 1970 "Garden Of Loneliness" (Phillips 6305 124) 1971 The sleeves of both Cravinkel records only stated their last names and contained no further information about these four guys. his ideas. The album came in a poster fold-out cover which showed the band lazing in a haystack. accompanied by Schulze's VCS 3 synthesizers and more extracts from previously released Kosmische Kuriere and Kosmische Musik records. quite similar to early Ash Ra Tempel. spacious float-out dominated by Schulze's explorative electronics. edited down from longer sessions . and generally better albums"). From February to May 1973. There were also some overdubbed vocals by Rosi Muller and Gille Lettmann. Rolf-Ulrich Kaiser organised psychedelic jam sessions (sometimes more reminiscent of acid tests!) at Studio Dierks. Garden Of Loneliness (1971) had a single cover (nice psychedelic artwork on the front!). verging on minimalistic surrealism. but indeed a . "Cosmic Joy" was a weird. Planeten Sit-in had continuously running (cross-faded) shorter tracks. hut it's still indispensable for all cosmic freaks. Cosmic Jokers. was a nice album. more time for instrumental work. the Tarot project. the 'sternmadchen' Gille Lettmann spoke about how Timothy Leary came to Germany.. as on the edit of "Galactic Joke". Their music had by now become heavier and more "progressive" (which can be defined as: "longer tracks. two "samplers" released the same year included yet more material from the previous Studio Dierks sessions.T. Cravinkel (1970) had short tracks with a firm country rock touch. Besides these three original Cosmic Jokers albums. Cosmic Jokers typified how Kaiser wanted to communicate with the world to spread his evolving cosmic philosophy. covering well-known A. as Wallenstein member Jurgen Dollase was more in the limelight here. heavily over-dubbed. "Galactic Joke" was a nice workout for Manuel's talented guitar improvisations. Galactic Supermarket had more conventional music on its long tracks "Kinder Des Alles" and "Galactic Supermarket". which I think was a bad Idea. Side two had a 20 minute jam session called "Stoned". Sci Fi Party and Gilles Zeitschiff. Gilles Zeitschiff was a sort of biographical concept.. MEIER G. KAISER G. Still it was a great album with a cosmic-symphonic flavour to it overall. The best moments from these four months in the studio were released as three albums in 1974. the album was recorded in London at the IBC studios and produced by Rainer Goltermann (Phillips' "house producer"). an apt title! It was quite a change from their first one.

Lady Pig (1974) was basically more of the same. Anyway. but they were merely a quite conventional jazz-rock fusion septet. although this probably made it a little "dry" and predictable as well! You know the way technically perfect jazz-rock tends to be! CRY FREEDOM Personnel: • • • • RUDI MADSIUS g. CREATIVE ROCK Personnel: ALBUMS: • • • • • • • KLAUS WEBER g. he left Doldinger's Passport in 1977 to form Snowball. the demand for them is not too great and they can still be acquired at about 35 DEM each. Curt Cress belongs to the most famous group of German drummers. Possible inspirational sources were Chicago. flt HUBERTUS KREUTNER tpt. neither track being included on any of the albums. Creative Rock added their own Teutonic slant. This album too was a Goltermann production. v GERHARD BILLMANN kb. CURT CRESS ALBUM (up to '76): "Clan" (Atlantic ATL 50079) 1975 Along with Udo Lindenberg. The album benefited from its experienced musicians. flugelhorn GUNTER SCHNEIDE g. he had recorded his first solo album Curt Cress Clan (1975) with Volker Kriegel (guitar). Dave King (bass) and Ack van Rooyen (fluegelhorn). Atlantis and Emergency. Instrumentally the album contained equal amounts of brass and guitars. These two green Brain releases have never been re-issued. although by now Creative Rock were beginning to run out of ideas. perc RAINER ERBEL v BENNY STREMMEL sax. Kristian Schultze (keyboards). though. He started his recording career at the age of 17 in the progressive rock group Orange Peel.logical development. b MICHAEL MAAS b. Cooky" (Phillips 6003 158). Gorilla (1973) was a good album with eight tracks produced by Konrad Plank at Windrose studios. In-between. synth KLAUS BRAUN d KLAUS KUKLA b . Harald Grosskopf and Carsten Bohn. Consequently the band broke up. Nucleus and particularly Colloseum. Mani Neumeier. After four successful years. Blood. Later he worked mainly with jazz-rock in groups like Passport. There is also an obscure single from 1971: "Keep On Running" coupled with "Mr.an ambitious name. Hamburg. Sweat & Tears. g HEIKO STEINSIEK d "Gorilla" (Brain 1017) 1973 "Lady Pig" (Brain 1074) 1974 Creative Rock .

v same (Brain 1040) 1973 "Forgotten Tapes" (private) 1981 This band was from Berlin and regularly appeared at the Zodiac club between 1968 and 1970. The long instrumental track "A . The album of 'forgotten tapes' was compiled from rehearsal recordings on a TEAC four track tape machine in 1974. There were plans for a second album. Strange to note that Herkenberg was a member of the 1967 Tangerine Dream line-up! DA CAPO Personnel: ALBUM: • • • • PETER STANEK g. Also re-released on CD. v HANNO BRUHN g. v HANS WALLBAUM d. a contemporary green Brain release.melodic and tuneful songs that were in no way inferior to those of the American bands mentioned earlier. had a nice fold-out cover but sadly wasn't particularly impressive musically. v CHRIS AXEL KLOBER kb. This makes the original album one of the rarest German rock albums. which never saw the light of day. Very American sounding music with the tendency to get trapped in boogie-mode. the sound quality isn't very professional. as they were dissatisfied with the recording. as revealed on a limited private release in 1981.ALBUM (up to '76): • DIETER URBASSIK sax "Volcano" (private 6621 313) 1976 A little known group of little importance. More than half of these were soon destroyed by the band. Only 500 copies were originally pressed. they were heavy influenced by the laid back American west coast sound of bands like Quicksilver Messenger Service and The Grateful Dead. I would compare it to the Gash album. Probably their music was more psychedelic in those early days than revealed later on vinyl. The music. Brain apparently lost interest in Curly Curve. perc. was more heavier but didn't hint at anything outrageous. Standard rock songs with a slight heavy blues touch and the key changes and guitar solos you have all heard before. From the start. For this reason. v KURT HERKENBERG b. v PETER WIESNER b. "Young Man" and "Free" . Their privately recorded (in two days) and released (in a few hundred copies) album. Cry Freedom played a straight rock fusion with a touch of funk comparable to a slick version of Karthago or Randy Pie.. The Brain album. Da Capo included excellent tracks like "Find My Way Home". v ALFRED URBAN d NB: Re-issued in 1988 on Litttle Wing LW 1001 with a different cover. b. same (private) 1971 Da Capo were a part of the South German progressive scene. CURLY CURVE Personnel: ALBUMS: • • • • • MARTIN KNADEN g. the group was a quintet. recorded at the Dierks studio in July 1973 with Frank Oeser producing. Taking their name from the second Love album. v PETER TREIBER g.

I'm sure he also has been involved in the making of numerous other albums. according to Mr. the result of a 1969 live session with Eberhard Weber. it's now available once again. LARRY CORYELL g GUNTHER LENZ b JON HISEMAN d FRED GRACEFUL perc ALBUMS (other rock): "Knirsch" (BASF MPS 21-21432-2) 1972 "Live" (BASF MPS 29-21754) 1973 "Rischka's Soul" (Brain 1016) 1972 "Psalmus Spei" (Metronome 15209) 197? Wolfgang Dauner is one of Germany's best jazz musicians. Da Capo's legacy is as one of the best German early seventies private pressings. Jon Hiseman. DADA ZUZU ALBUM: same (private) 1971 An almost unknown private pressing. Willi Oertel (a well-known German record collector and dealer).Day In the Rest of My Life" was a nice twin guitar jam. Zbigniew Seifert. Its existence is doubtful. The listed albums are collaborations. Through the years he has collaborated with Siegfried Schwab. Siegfried Schwab (who played with Embryo for a while) and Roland Wittich. featuring a superior. electronics. Fred Braceful. Gunther Lenz. and therefore falls a bit outside the remit of this book. Arild Andersen and other famed jazz musicians. Psalmus Spei is rumoured to be an interesting recording for Metronome (I haven't heard it and don't know the line-up). It is sad that the band never recorded in a studio again. Thanks to the Little Wing label. reflecting their live sound. Matthias Thurow. WOLFGANG DAUNER / ET CETERA Personnel (Et Cetera): ALBUMS (Et Cetera): • • • • • WOLFGANG DAUNER kb. Eberhard Weber. Larry Coryell. new sleeve design and also a bonus track. Four albums should be of special interest for fans of progressive jazz: Rischka's Soul is an excellent vintage progressive jazz album. DENNIS Personnel: • • • • • • CARSTEN BOHN d MANFRED RURUP kb MICHAEL KOBS kb THOMAS KRETSCHMER g KLAUS BRIEST b JIM WILEY b . Et Cetera made two albums on BASF MPS that were quite experimental. group projects and 'solo' recordings. disbanding about a year later.

and was signed up with Kuckuck. India. clarinet. Their first album is reputably their best. aesthetic music. flt OLAF CASALICH perc "Hyperthalamus" (Nova 6. In 1970 he embarked on an extended journey to Persia. Manfred Rurup. It is one of the better recordings in this field. psychedelic sound collages and backwards tapes. The groups in which the musicians previously played give a good indication of what to expect here. but more electronic. When he returned to Munich. DEUTER ALBUMS (up to '76): NB: There was a promotional issue Soundtracks of 200 copies (according to Mr. Bohn then formed his Bandstand. a band which existed merely for months and didn't make any albums. he began to perform at clubs as a one man band. Their music was basically instrumental progressive jazz-rock with much improvisation. but it was defenitively not on the 2375 series. Their compositions were usually short. guitar and harmonica. DESIREE • • • • Personnel (approx. Deuter also acted as producer and engineer. A real psychedelic treat! As with all future albums. Like Florian Fricke in Popol Vuh. but well played and often quite memorable. In the sixties he worked as a graphic designer and newspaper columnist in Munich. "D" (Kuckuck 2375 009) 1971 "Aum" (Kuckuck 2375 017) 1972 "Celebration" (Kuckuck 2375 040) 1976 The multi-instrumentalist Georg Deuter (born 1 February 1945) should really be acclaimed as the first new age musician in the world. Willi Pape and Carsten Bohn went on to Kickbit Information. so it's a pity that the band didn't exist for long.): ALBUM (up to '76): ROLF REGLIN v. Thomas Kretschmer (ex-Frumpy). His blending of beautiful meditative Eastern-influenced music and nature sounds was way before his time. I don't know its catalogue number. he found his guru in Bhagwan Shree Rajneesh. Aum (1972) was something totally different. Olaf Casalich (ex-Release Music Orchestra). from childhood onwards he taught himself to play flute. resulted in an addictive.22352) 1975 A one-off project featuring Carsten Bohn. raga rock rhythms.ALBUM: • • WILLI PAPE sax. making massive use of distorted electric guitars. philosophy and religions. Walter Geertsen) with a sound close to Aum. tablas and flutes to the sounds of birds. In Poona. wind and water (reflecting Deuter's deep relationship with nature). However. searing organ. The band was named after Bohn's son Dennis. His first attempt at merging sitars. D (1971) was totally different to his later style. Michael Kobs and Willi Pape (ex-Thirsty Moon). g KARL RICHTER g JORG REGLIN b. . awakening his passion for Eastern ethnic music. Deuter experienced a religious revival and converted his name into Chaitanya Hari Deuter. v SIGGI BRANDT d "Make It With A Smile" (Lava TCH 76006) 1976 A little known guitar-based hard-rock group.

Broselmaschine and Popol Vuh. "1st" (Pilz 20 21114-7) 1972 This was a great "heavy progressive" quartet from Saarbrucken (near the French border). his albums grew increasingly celestial. DIES IRAE Personnel: ALBUM: • • • • CORD WAHLMANN v. This group proved to be an inspirational source for the lyrics as well. Their first and only album (entitled First) was recorded in just two days (during June 1971) in the Star Studio. The peaceful music was full of joy and warmth. dealing with drugs and the occult. During the following years. rather folks playing hard rock' They were consequently dropped by the label. harm ROBERT J. he used little of his long musical experience for . Emtidi. DIEZ & BISCHOF Personnel: ALBUM: • • FRANK DIEZ g PETER BISCHOF v "Daybreak" (Atlantic ATL 50156) 1975 When Emergency disbanded in 1974.G. A staggering version of "Silent Night" with air defence sirens and bombing noises was Dies toe's fantastic contribution to the Heavy Christmas album! When Rolf-Ulrich Kaiser later took over the responsibility for Pilz. CORNELIUS d NB: Re-issued on CD by Ohrwaschl. However. Randy Pie.Celebration (1976) did indeed celebrate Center's spiritual revival and focused on beauty and harmony. "Harmaggedon Dragonlove". v ANDREAS F. Karthago and Ihre Kinder). SCHIFF b HARALD H. almost like the early Ash Ra Tempel. and. "Witches' Meeting". THOMA g. meditative and beautiful. Deuter lived and recorded his music in Poona. Musically they were inspired by several British heavy rockers. from this point on. Included were titles like "Lucifer". comparable to the first Black Sabbath album. he changed the label's musical focus more towards folk-rock. The last mentioned track was the highlight of the album: an eight minute long spacy instrumental crescendo building up to a frenzy. Dies Irae were indeed hardly folk-rockers. Dies Irae's finest moment was not to be found on their album. Their album is indispensable for heavy progressive collectors. but much in demand. two of their members. Hamburg and produced by the then Pilz' label manager Jurgen Schmeisser. "Red Lebanese" and "Trip". Atlantis. continued to work together as a duo. even if not in the same class as Armageddon! It's not very rare. releasing classic albums by Hoelderlin. he had now found his own distinctive and personal style. Konrad Plank was (as ever) engineering. The harmonica gave many tracks a bluesy feeling. Although Diez was a very experienced musician (he had served bands like Armaggedon. Indeed.

Atilla Zoller (guitar). resulting in several albums: Paul Nero's Blue Sounds had the line-up of Klaus Doldinger (winds). Among the participating musicians were: Siegfried Schwab (pre-Embryo. In l962 he formed his first Klaus Doldinger Quartet with Ingfried Hoffmalln (piano). On Second Passport (1972) Doldinger had acquired an entirely new line-up. sax on both) and Florian Schneider-Esleben (preKraftwerk. Passport were at last a stable unit for a couple of years. Doldinger assembled (A) lineup in the studio to record seven of his compositions. This and the subsequent albums established Klaus Doldinger as one of the leading German performers of conventional jazz rock fusion. Sahib Shilab (bass). keyboards). flt. flute on the 1970 album). Peter Trunk (bass). He played in diverse amateur jazz bands from 1952 onwards. KLAUS DOLDINGER('S PASSPORT) Personnel: ALBUMS (up to '76): • • • • • • • • • • • KLAUS DOLDINGER sax. Steffan von Dobrcinsky (winds). He was born in Berlin on 12 May 1936. Featured musicians on this album were Curt Cress (drums). Ingfried Hoilmann (organ). Kristian Schultze (keyboards). kb (OLAF KUBLER sax. For the first Passport album. Dave King (bass) and Tato Gomez (bass). The name was aventually shortened down to Paul Nero Sounds for the subsequent releases Nero's Soul Party (1968) and Nero In South-America (1970). . an album containing virtually nothing of interest: ten dreadful jazz-pop songs similar to Emergency. guitar on both). They recorded The Big Beat in 1965. Helmut Kalldberger (bass) and Klaus Weiss (drums). g B-D (UDO LINDENBERG d) A (BRYAN SPRING d) B CURT CRESS d C. flt) A (JIMMY JACKSON kb) A (JOHN MEALING kb) B (FRANK ROBERTS kb) C KRISTIAN SCHULTZE kb D (LOTHAR MEID b) A WOLFGANG SCHMID b. The third Passport formation (C) was ready for concerts and a new album Hand Made in 1973. Klaus Voorman (bass) and Gibson Kemp (drums). bass on both). flute. it was produced and engineered by Dieter Clerks. Doldinger also made pop. jazz and blues in the sixties under the pseudonym Paul Nero. Lothar Meid (pre-Amon Duul II.D (A)same (Atlantic ATL 40299) 1971 (B)"2nd" (Atlantic ATL 40417) 1972 (C)"Hand Made" (Atlantic ATL 40483) 1973 (D)"Looking Thru'" (Atlantic ATL 50024) 1973 (D)"Doldinger Jubilee Concert" (Atlantic ATL 50070) 1974 (D)"Cross-Collateral" (Atlantic ATL 50111) 1975 (D)"Doldinger Jubilee '75" (Atlantic ATL 50186) 1975 (D)"Infinity Machine" (Atlantic ATL 50254) 1976 One of the German jazz musicians best known internationally is Klaus Doldinger (saxes. but much worse! Surprisingly enough. When Roberts was replaced with Kristian Schultze in 1974. Olaf Kubler (renowned Amon Duul II producer.Daybreak (1975).

"Edge Of Time" (9:01) sounded as if Kalacakra and Tangerine Dream jammed together out in space. It was an interesting melange of psychedelic. "Dom" was the groups reference name for an acid trip that lasted for two days.Doldinger's Jubilee Concert (1974) was performed with famous guests like Brian Auger. . v. The von Baksay's escaped from Hungary in 1956 and settled in Dusseldorf. acoustic guitar. "Introitus" (8:50) opened the album in an almost spooky way with acoustic guitars. DOM • • • • Personnel: ALBUM: LAZLO VON BAKSAY b. Edge Of Time is unreservedly recommended for all fans of the early Pink Floyd (ca. but I'm afraid it's hard to find. v. lyrics GABOR VON BAKSAY v. perc. "Edge Of Time" (Melocord ST-LP-D 001) 1972 A group originating in Dusseldorf. Later in the track an organ created a spirited mood akin to the vintage Pink Floyd's "Cirrus Minor". heat. waters. 1968-69) and Tangerine Dream (ca. Eugene" and "Quicksilver". but it is dubbed from disc and has inferior sound quality. The spoken lyrics of the track summarize the trippy mood of the whole album: "You will meet me there at the edge of time the fire-sea licking my feet gas and damp. the city's leading club for rock music. Pete York and Alexis Korner. flt. A legal CD re-issue with good sound quality appeared in 1991 on Witch & Warlock limited to 500 numbered copies. flute and hand percussion. Featured on the album were four long and mostly instrumental tracks. Their private pressing Edge Of Time was recorded in 1972 at the Neubauer studio. flt HANS GEORG SLOPKA kb. v NB: A re-issue also with Melocord label (red) appeared in the first half of the 80's. perc REINER DUZALOWSKI g. snow. The band Dom came into existence in 1969 and performed live at Cream Cheese. By the way. unintelligible voices. wind and rain. cosmic and folk music in a rather dark and low key meditative atmosphere. ice and pain damned souls cry "forgiveness!" the past will be future and future will be past not one thing in our world that will ever last only you and me until eternity shall that spirit one containing two wander through space and peace we knew" (From "Edge Of Time") "Dream" (9:33) concluded the album much like the quiet parts of Floyd's "Careful With That Axe. 1971-75) style. "Silence" (8:46) was a sinister trip into deep space with organ. This is hard to distinguish from the original. electronic effects and flute.

DROSSELBART Personnel: ALBUM: • • • • • • PETER RANDT v. Several members wrote material for the album but Randt did the largest share. Bremen and produced by Rolf Jenzen.DORIAN GRAY ALBUM: "Idaho Transfer" (New Blood) 1976 A little known group responsible for a rare private pressing.it is a great album! The lack of originality is nonchalantly replaced by sheer power. apart from a track on the 1973 sampler Mama Rock & The Sons Of Rock'n'Roll (Bacillus BLS 5526. They wrote all nine tracks together. Not even a single was lifted from their eponymous album and the group disappeared . the lyrics were extremely important for the total view of the album. it's a quite conventional type of hard rock. "Jemina" coupled with "Du Bist Der Eine Weg" and "An Einem Tag Im August" coupled with "O'Driscoll" (a non-LP B-side) were also released. though . DSCHINN Personnel: ALBUM: • • • • PETER LORENZ v. a character unknown to me. except for the cover version of "For Your Love". It comprised eleven excellent. Their music is reputed to be in the early seventies heavy progressive vein. harp BERND CAPITO g SILVIA VERFUHRT b ULRICH MUND d same (Bacillus BLPS 19120) 1972 The Dschinn record had a very convincing Dali plagiate painting on its sleeve. classical-influenced. named "Rock'n'Roll Dschinny". Sadly this one album is their sole legacy. They dealt with religious symbols and mankind's vicious nature. It was recorded at Tonstudio Mitte. Maybe the group had to express their feelings about mankind's deeds here on earth? The band was from Munich. courtesy of one Klaus Holitzka. 2nd edition BAC 2025). g. g JEMINA v CHRISTIAN TRACHSEL kb DIETMAR MAINKA g WERNER SCHULER b MARTIN HONEMEYER d same (Polydor 2371 126) 1970 Drosselbart's album will always be remembered for its outrageous cover showing a damaged globe containing worms. The German lyrics were well-written. This is not meant as a criticism. both in the music and the vocals. As with Ihre Kinder. very doomy and aggressive. I can reveal that the music isn't as surrealistic as the sleeve would imply. Their only album was recorded October 1970 with some help from Ralf Nowy (flute). lyrical and/or heavy rock tracks. Two singles.

After just two months the self-titled debut album was recorded. hut sometimes played a dreadful sort of soul-rock. This first line-up of the band was just a studio project and promptly disintegrated. I have no information about the musicians involved. The strongest cut on the album was the 18 minute long title track. inspired by King Crimson and perhaps jazz records released on the ECM label. who later became the organist and vocalist on Jane's 1975 album Lady.B (CORD EHRMANN sax) A. ethnic number featuring saz. and then released on the minor Aronda label in April 1972. In Studio Dierks. • DULL KNIFE Personnel incl. quite similar to Embryo. The band look their name from the Indian book of creation. The album opened promisingly enough with the hard rocking "Plastic People". August 1971 (mixed at Windrose. "Kabisrain" was an Eastern-oriented. Dzyan's second album for Bacillus (also recorded by the Hauke & Dierks team) was recorded in . voice C PETER GIGER d C NB: 2&3 re-released on CD by Bacillus in 1994 (A)same (Aronda AS 10006) 1972 (C)"Time Machine" (Bacillus BLPS 19181) 1973 (C)"Electric Silence" (Bacillus BLPS 19202) 1974 Dzyan recorded a unique kind of electric ethnic jazz-rock. This was another Rainer Goltermann production in the Dierks studio. before he joined Virgo. This was an excellent jazz-rock album consisting of four tracks. Lothar Scharf played drums in a revamped Dzyan's first live gigs. Dull Knife are often mentioned in second hand record lists as 'killer heavy progressive' or something like that. They formed in January 1972 as a quintet. DZYAN Personnel: ALBUMS: • • • • • • • • REINHARD KARWATKY b (JOCHEN LENSCHNER v) A. Hamburg).B (DIETER KRAMER g) A. hut unfortunately the rest of the music on this side will scare the shit out of you.B (LUDWIG BRAUM d) A (LOTHAR SCHARF d) B EDDY MARRON g. as they are not mentioned on the album sleeve. produced by Peter Hauke and released on Bacillus in November 1973.without trace. they recorded Time Machine. In November 1972 Dzyan were reduced to a trio. v NB: Re-released on CD by Second Battle "Electric Indian" (Phillips 6305 107) 1971 Another of those hitherto unknown groups that made only one album which has recently shot up in price on the collector's market.: ALBUM: GOTTFRIED JANKO kb. saz. but far too late to save the album. The composition credits for all tracks went to Gottfried Janko. Stommeln. The other three tracks were electro acoustic. if you're not keen on artists like Joe Cocker or Tina Turner! Side two improved again. putting you into the right mood.

Ebert's solo album was dominated by a similar pop rock. characterised by sitars and percussion. Late in 1974 Reinhard Karwatky. Presumably. Along with Embryo. Their first album had the standard (for such bands) 20 minute suite. the album was a bit too diverse to make pleasant listening. Their two albums were recorded in Hamburg. It had a similar style to their first. Between and Agitation Free they were pioneers of the world music. After Eiliff's demise.. comparisons could be made with Colosseum. along with three mid-length tracks. Nucleus and Miles Davis. King Crimson. Eiliff recorded it in the Star Studios with Konrad Plank engineering. incorporating as many different styles as it did. either.with F. Eiliff also occasionally added ethnic touches. probably justied by their musical content. EILIFF Personnel: ALBUMS: • • • • • RAINER BRUMINGHAUS kb HERBERT J. KALVERAM sax HOUSCHANG NEJADEPOUR g DETLEF LANDMANN d BILL BROWN b same (Phillips 6305 103) 1971 "Girlrls!" (Phillips 6305 145) 1972 Eiliff were one of the so-called "progressive jazz rock bands" of the early seventies. others sound a bit dated nowadays. Lenz & Marron (Niagara MIX 1011-N). Some sections were good. Today Eiliff's albums are in the collector's mid-price rank of 60 to 80 DEM. In general. I don't know if I'm very keen to hear it. Giger and Marron eventual recruited Gunter Lenz In 1976 and recorded one further album as Giger. Nejadepour played for a short while in Guru Guru at the time of Dance Of The Flames (1974). perhaps a comparison with Xhol. but was a bit more acoustic and Indianflavoured. It was recorded at the other famous recording studio of Hamburg: Windrose studios . Their music is hard to describe accurately: a complex blend of many different styles. On this private release they play four long titles with funny titles like "Dei Geborstenen . the last remaining original member. Cornucopia or Thirsty Moon is appropriate. With regard to German bands. This concluded the story of Dzyan. decided to leave the group. although I have not heard the album. produced by Rainer Goltermann. Bischoff engineering. Their second and last album Girlrls! (1972) was closer to progressive rock otherwise it was quite similar to the first..October 1974. particularly the jazz improvisations. EJWUUSL WESSAHGGAN ALBUM: same (private) 1971 This was a three piece group that named themselves after a surrealistic book by Clark Ashton Smith. JOHANNES EBERT ALBUM: "1st Album" (private) 1971 Johannes Ebert made his solo album the same year his group Petards concluded with their double album Pet-Arts.

there are no moog versions of classical music as there had been on the Pink Mice albums. flt. With its melodic electric guitars. the label bore the blue and white Bavarian colours. recorder. All of these aforementioned records should be avoided by any other than the hard core collectors. A record to search out for those willing to part with a small fortune. Only 300 were made. v WOLFGANG MERKENS d HANS DIETER WAGNER soundmixer NB: Re-issued in 1994 on CD by Lost Pipe Dreams "Frost" (Attacca 7625) 1976 Another largely unknown group who produced a difficult-to-get album in 1976.its instrumental. the music is comparable to Minotaurus. There are better ways to spend your hard-earned cash! ELECTRIC MUD Personnel: ALBUM: • • • • MANFRED SIMHAUSER g UDO PREISING b. keyboard-based music could be compared to a roughly produced Tetragon. EL SHALOM Personnel: ALBUM: • • • • • • GUNTER CHRIST g. v AXEL HELM kb JOCHEN DYDUCH d . these two albums featured cover versions of then current heavy rock hits. no information was given on the record sleeves. Instead.Kuppeln von Yethlyreom" . for example Corporal Gander's Fire Dog Brigade and Jeff Cooper's Stoned Wings . ELECTRIC FOOD ALBUMS: same (Europa E424) 1970 "Flash" (Europa E453) 1971 Two further low budget albums for Europa. v HELMUT METER b. Europa put out several such albums. v KARLHEINZ SCHMITZ g. The group originated from the southern part of Germany. As usual for these low budget Europa label releases.featuring both German and English lyrics. apart from the track listings. I suppose the triumvirat of Hesslein. A primitive recording of brave improvisations featuring a strange seven string instrument called a "filouphon" (this description is courtesy of Mr. rich string synthesizer textures and lyrical mood. performed by the members of Lucifer's Friend . Frost contained eight tracks . On this occasion. v JOACHIM BRANDS kb. Hecht and Horns all were involved in the Electric Food project. Wilfried Oertel). sax.

There are four tracks in all. picturing a fancy. It's not my bag really.B (LUITJEN JANSSEN b) C KLAUS-PETER MATZIOL b D (HELMUTH DRAHT d) A (FRITZ RANDOW d) B-C JURGEN ROSENTHAL d D NB: 1 re-issued as a limited edition by Second Battle in 1990 in its original die-cut dustbin cover. possibly the album was recorded live in the studio (or was it a garage?!).NB: Re-issued in 1993 on CD by Lost Pipe Dreams (LP 017) same (Forderturm BL 3020) 1971 This relatively unknown band made a political rock album with German lyrics in 1971. kb) A-C DETLEF SCHMIDTCHEN kb. Side two mellowed a bit. the 8 minute instrumental "China". but some other collectors like it very much. ELOY • • • • • • • • • • Personnel: ALBUMS (up to '76): FRANK BORNEMANN g. Other tracks had an impressive electronically treated sax style reminiscent of Ian Underwood. percussive rhythm and fuzzy wah-wah guitar. large parts of the album were instrumental. Again this was a Dieter Dierks production. "Devil's Dream" and "Nervous Creek" had a slight blues feel and loud rock arrangements. sax. harm • WOLF FABIAN d same (Brain 1018) 1972 Electric Sandwich's only album had a most outstanding opening track. but the creaky vocals less impressive! Fortunately. Most albums are now available on CD (A)same (Phillips 6305 089) 1971 (B)"Inside" (Harvest 1C062-24479) 1973 (C)"Floatng" (Harvest 1C062-24521) 1974 (C)"Power & The Passion" (Harvest 1C062-24602) 1975 (D)"Dawn" (Harvest 1C062-24787) 1976 . and one you should check out! It was released on the green Brain label in 1972 in a funny fold-out cover. kb • KLAUS LORMANN b • JOCHEN CARTHAUS v. Parts of the album are comparable to Necronomicon's Tips zum Selbstmord. v(B-) (MANFRED WIECZORKE g(A). The sound quality is rather primitive and raw. complex instrumental passages dominated by guitar and organ. although definitively inferior to this. g D (ERICH SCHRIEVER v) A (WOLFGANG STOCKER b) A. The guitar work was fine. electric sandwich! The quintet was probably from Bonn. with a repetitive. with softer Jazz and slow boogie blues styles. ELECTRIC SANDWICH Personnel: • JORG OHLERT g. dominated by angst-ridden lyrics and long.

among them opening for Deep Purple and Uriah Heep during their respective German tours. Musically this was heavy progressive rock for sure. Floating (1974) was indeed more powerful. and also one of their best. He now assumed to take the role of H. and wrote an ambitious sci-fi concept about a teenager being able to travel back in time to 1358. Still it was a conceptual work of pompous grandeur. Wells himself. Surprisingly enough. benefiting from better songs and arrangements. Phillips. Eloy played strongly Anglo-influenced heavy progressive rock at the beginning of their career. A recording contract with Phillips was secured and the band set off to Star Studios. Wells' story "The Time Machine". . Apparently this is exactly where Bornemann has wanted to put the album ever since. This was Floy's most "progressive" album. This sequel was an improvement musically. This heavy kind of space rock was most successful on the track "Light From Deep Darkness". comprising five tracks the arrangements of which were far too complex to be dubbed "heavy metal". "Land Of No Body" was a great 17 minute opus of space rock. Hamburg.One of the best known German bands internationally was (and still is) Eloy. G. in turn. pompous form of space rock. G. Their American manager Jay Partridge organised a three month USA tour in the Spring of 1975. "Inside" and "Up And Down" were also good. taking the name from the futuristic people appearing in the H. Freiherr von Lopel. Erich Schriever had the idea for the novelty fold-out dustbin sleeve. which finally appeared in November. As a result. vocals) formed the band in February 1969. Frank Bornemann (guitar. They also did countless live appearances. Alter some months of reappraising his future. In 1970 Eloy won a talent contest in their hometown Hannover. After a period of much arguing Bornemann took full control over the band. and fired Draht and Schriever. Luitjen Janssen replaced Stocker on bass. he wrote the continuing story of the teenager Jamie for Dawn (1976). the band got their first opportunity to record in a studio. For their new recording company (EMI Electrola Harvest) they recorded Inside during the next Winter and released it in February 1973. as well as the mysterious producer Mr. It was also their first album to sell more than 100 000 copies in Germany. playing a self developed. Peter M. This line-up re-launched Eloy live May in 1972 at Germesheim. However. Fritz Randow became their new drummer. The music itself was pompous. but the outstanding track was "Future City". polished and 'produced' down to the smallest detail. Bornemann mostly worked on his forthcoming full blown concept album Power And The Passion. Eloy disintegrated at the beginning of 1976. but it lacked a distinctive sound and haunting melodies. Schriever and Wieczorke dominated the writing. this sounded like a combination of Pink Floyd at the time of Meddle and Ian Anderson with a German accent. a catchy tune with great guitar riffing and a strong rhythm backing. Late in Autumn 1973. Rosenthal wrote the lyrics for this album. Wieczorke went to another pompous Hannover rock band: Jane. The album featured both spoken dialogues and massive sound effects just like a radio play. Bornemann became lead vocalist and Wieczorke switched from guitar to organ. resulting in the privately-issued single "Walk Alone" coupled with "Daybreak". Bornemann now wanted to make a heavy rock album. Bornemann came up with a new version of Eloy. It was one of the few Eloy albums he didn't have full control over. dropped Eloy. Due to the failure of this album and the lack of success of the USA tour. Randow joined the re-vitalised Epitaph. For the rest of the year. Indeed it seems that the failure of the previous album hadn't concerned Bornemann at all. to record their first album in April 1971. Also present was Konrad Plank.

Three years later they attempted to expand the boundaries of free Jazz with Chris Karrer. An album named This Is (Brain 2001. E (MAL WALDRON kb) D DIETER MIEKAUTSCH kb G. d (B-) (JOHN KELLY g. Dieter Serfas and Jimmy Jackson. B (HANSI FISCHER v. Re-issue of 4 on the 'Rock on Brain' series ca. Son & Holy Ghost" (United Artists UAS 29344) 1972 (D-F)"Steig Aus" (Brain 1023) 1973 (E)"Rocksession" (Brain 1036) 1973 (G)"We Keep On" (BASF 20 2186-3) 1974 (H)"Surfin'" (Buk 17 22385-3) 1975 (I)"Live" (April 0003) 1976 (I)"Bad Heads & Bad Cats" (April 0005) 1976 Still active today. flt G-I MARIA ARCHER v I (RALPH FISCHER b) B (LOTHAR MEID b) A ROMAN BUNKA b.52) is probably a sampler with tracks from the two Brain albums. Re-issue of 2 & 3 as Classic German Rock Scene (2 LP) on United Artists UAS 29774 in 1976. flt) C (SIEGFRIED SCHWAB g) E. the Munich band Embryo has been one of the most important and inventive bands of the German jazz-rock school. Re-issue of 5 on the 'Brain 2001' series (Brain 201. Embryo's founder Christian Burchard had started his musical career by playing organ in several local rhythm and blues bands. Edgar Hoffmann and Lothar Meid (bass). 1979) with the same item number. 1 & 2 re-issued on CD by the Italian label Mat. 1978 (Brain 40. F UWE MULLRICH b H.109). These musicians soon rose to fame in . F (JIMI JACKSON kb) A. just think of Mani Neumeier (Guru Guru) and Christian Vander (Magma). (B)"Opal" (Ohr OMM 56 003) 1970 (C)"Embryo's Rache" (United Artists UAS 29239) 1971 (F)"Father.EMBRYO Personnel: ALBUMS (up to '76): • • • • • • • • • • • • • • • • • • • CHRISTIAN BURCHARD vibes. D. Sonori including bonus tracks. vln) A-F (INGO SCHMIDT sax) A CHARLIE MARIANO sax. Their formation in 1969 revolved around a nucleus of Christian Burchard. saz (H) C. In 1964 he switched to vibraphone and jazz when he founded the Contemporary Trio with Edgar Hoffmann (I don't know the third member).121). I (WOLFGANG PAAP d) A (DIETER SERFAS perc) A NB: Originals of 1 had a rubber balloon attached to the front cover. It seems to be a continental phenomenon to have drum playing band leaders. Re-issue of 8 & 9 on Schneeball (ca. G-I (JORG EVERS b) D (DAVE KING b) E. I (EDGAR HOFFMANN sax. Peter Leopold. v) A.

jazz. Embryo's Rache (1971) without a guitarist. Guitar riffing as used on the track "You Don't Know What's Happening" was never to be heard from Embryo again after Kelly quit in June 1970. Opal was a highly inventive fusion of rock. Mal Waldron is an internationally well-known black American piano player who has worked with jazz legends such as Billie Holiday and John Coltrane. Ingo Schmidt and John Kelly were early members of Embryo. At this time he was only 19 years old. with only occasional vocals.Amon Duul II. This wasn't exactly what their record company United Artists wanted. He brought to Embryo two of the musicians he had played with in a sixties jazz and soul quintet: Jimi Jackson and Wolfgang Paap. His replacement was Ralph Fischer. Unfortunately no recordings are known of this exciting combination. soul and psychedelia. Bunka and Fischer soon went their own ways. Lothar Meid left to join Doldinger's Motherhood. However. Waldron and Jorg Evers (bass) late in 1971. Roberto Detree (motocello. later a member of Between) and Holger Trultzch (bongos. the legendary gimmick of the first Ohr albums. Burchard and Hoffmann rerecorded the Waldron composition "Call" in a great 18 minute version close to conventional jazz with Jackson. Christian Burchard was a guest on their first album Phallus Dei (1969). Hermann Breuers (electric piano. In 1967 he also played with future Between members Peter-Michael Hamel (keyboards) and Roberto Detree (guitar) at the Song Parnass in Munich. noticeably on the opening track "Tausendtussler" . helping to define a unique German fusion sound also explored by Xhol and Out Of Focus. organ) and Franz Bontgen (vocals). In fact I don't know of any other German group with such a complex family tree as them! This may be due to the prototype jazz musician's fear of being locked up in the group format as in rock music. Also Dieter Serfas. This was really an album of fantastic instrumental duels more jazzy in direction than Opal. and they turned down both this recording and the subsequent . Also Roman Bunka joined Embryo (replacing Ralph Fischer). Natan Davis and Lucky Thompson. Fischer and Kelly. They also performed live with Mal Waldron. Kelly came to Germany touring with a Scottish hard rock band and had played blues with Alvin Lee before he formed Ten Years After. In Autumn 1969 the first personnel changes took place in Embryo. the group had been reduced to a quartet of Hoffmann. Burchard and Hoffmann also joined the Mal Waldron Quartet in 1967 and stayed for two years. Lothar Meid also had a jazz background. Early live tracks are included as bonus tracks on the CD issue of Opal. Don Menza. Bettsy Allech (vocals). Hoffmann's electric violin and sax graced tracks like "Revolution". the first of five forthcoming classic albums. blues. but nevertheless was one of their most important members. Before the recording of Opal in April 1970. it was Fisher's flute and Jackson's keyboards (particularly on Jackson's own contribution "Revenge") that dominated this time. "Call" (a Mal Waldron composition) and "People From Outer Space". The original copies of Opal had a cover cut-in with a balloon attached. Burchard (now playing drums besides vibraphone). The disbanding Xhol supplied Embryo with Hansi Fischer upon their demise at the end of 1970. Embryo's long lasting passion for refined rhythms began to shine through on this album. He was to quit and rejoin Embryo several times. and got to know proficient jazz soloists such as Steve Lacy. previously part of a folk trio that also included Peter-Michael Hamel. Copies with the balloon still intact are now of course extremely rare and usually sold for more then 250 DEM. Stu Martin. If Hoffmann was the instrumental backbone of Opal. The album was recorded at the Dierks studio. later a member of Popol Vuh) contributed to the album as guests. On this album they were also aided by friends: Jimi Jackson. the soloist who really was given time to excel was Edgar Hoffmann.

Embryo's first two April albums didn't seem to benefit much from this freedom. Again reduced to a quartet Embryo at last managed to please United Artists with Father. driven by organ. recorded in March 1972 at Studio 70. along with the already recorded "Call". Live (1976). The album found some recognition in the USA. . but most importantly he now introduced Burchard to another black American jazz musician: Charlie Mariano. This appeared on Embryo's other Brain album Steig Aus (1973). now being a member of Embryo and Missus Beastley simultaneously). partly with the new bassist Uwe Mullrich. As a consequence. Bunka and Jimi Jackson recorded the last track for Steig Aus: "Radio Marrakesh/Orient Express". A guitarist (he also played more exotic string instruments) firmly rooted in jazz. along with Embryo. particularly the only extended track called "Dance Of Some Broken Glasses". Also a fourth jazz instrumental. and ending in an energetic jazz-rock fusion.Rocksession recordings from February to March 1972. The album was recorded in the Summer of 1974. At the beginning of 1975. Burchard had assembled Roman Bunka (apparently talked into rejoining) and Dieter Miekautsch (fresh from Missing Link. also joined Embryo. Siegfried Schwab. and brought important ethnic influences Into the band. They were now heading into a lighter. Later the band also got a female vocalist in Maria Archer. a gentle and atmospheric track with Mariano on flute. The absence of keyboards made this album sound remarkably different from Rocksession. Also the album had a more accessible style. In December 1972 they recorded We Keep On (1974). Miekautsch quit the group in July 1973 to join Missus Beastley. Schwab's stringed instruments were the highlight this time. which was a good album though it couldn't match any of their previous ones. ethnic bouzouki and vibraphone interplay. previously a guitarist with Lokomotive Kreuzberg and an old friend of Roman Bunka. a brilliant 10 minute two-part piece starting with some exotic. He came from Wolfgang Dauner's Et Cetera . Missus Beastley's music had also suffered from artistic compromises on their 1974 album. partially forced on them by their record company. "Dreaming Girls". Burchard. Burchard's steady rhythm was the engine of the Orient Express while Jackson's mellotron blew the whistle. The Rocksession album started with a short "rock" song ("A Place To Go"). Bunka on saz (a stringed instrument from Turkey) and Burchard on violin appearing one by one.one of their weakest albums ever. a company dedicated to independent music and offering artistic freedom. The tracks were extracts from long jam sessions in the studio. Munich. The latter was at last released on Brain at the end of 1973. but the other three tracks were extended jazz instrumentals of a high quality. Dieter Miekautsch returned to Embryo. at times almost relaxing. Son & Holy Ghost (1972). electric piano and guitar. Burchard and Hoffmann was joined by Dave King on some of the recordings when Evers quit for Amon Duul II and later Achtzehn Karat Gold. was recorded during these sessions. When Embryo appeared live in Munich during the Olympic games in September 1972. partly due to the Mariano involvement and partly due to international distribution. The ethnic styled sections were best. Sparifankal and Checkpoint Charlie they founded April. funky jazz-rock direction. Bad as Heads And Bad Cats (1976) featured very standard and unimaginative funky jazz-rock. Ton Steine Scherben. Surfin' (1975) was a very mixed affair . As usual the group disintegrated some months after the recordings. Jackson still played with Embryo live from time to time.

due to larger doses of inspired instrumental work. No Compromise (1974) was recorded by (E). soul and funk rock. Get Out Of The Country (1973) was recorded by (D). Arguably. 1976 with "The Bad Times Are Gone". as jazz combos tend to be! Udo Lindenberg was replaced by John Redpath and sometimes the famous drummer Curt Cress also performed with the band. and signed with Brain. most of the band was changed. resulting in a merging of jazz. this was their best album. At the end of 1972. comprising four Czechoslovakians. Frank Diez and Peter Bischof recorded a similarly-styled album together for Atlantic in 1975. After an extended stay in Las Vegas. b E.E ROLF TOURSEL kb F (OTTO BEZLOJA b) A-C (YERZY ZIEMBROWSKI b) D.E HANS STOER b F (MARTIN HARRISON perc) D (UDO LINDENBERG d) A (JOHN REDPATH d) B (CURT CRESS d) C (BERND KNAAK d) D (TODD CANEDY d) E (A)same (CBS 64381) 1971 (B)"Entrance" (CBS 64528) 1972 (D)"Get Out Of The Country" (Brain 1037) 1973 (E)"No Compromise" (Brain 1052) 1974 (F)"Gold Rock" (Brain 201. . February 1976) was only marginally better. Emergency was re-organized again. After Emergency disbanded.F (JIRO MATOUSEK kb) A-C (VEIT MARVOS kb) D. Hoffmann was now enlisted as a 'guest'! Embryo were also featured on the live festival samplers Umsonst & Draussen Vlotho Winterberg of 1975 with the track "Sidetrack". The best track was the 12 minute title track. EMERGENCY Personnel (approx.104) 1975 Hanus Berka from Prague came to Germany for the first time in the mid-sixties. Bischof had a soul-ish voice. For Entrance (1972). one German and an Englishman! Their debut album proved them to be more related to the European jazz scene than the German one.): ALBUMS: • • • • • • • • • • • • • • • • • • • HANUS BERKA sax A (DUSKO GOYKOVIC tpt) A ("REDDY" v) A PETER BISCHOF v D-F (BARRIE NEWBY g) A-C (RICHARD PALMER-JAMES g) D FRANK DIEZ g. Some members were exchanged with Missus Beastley in the last half of 1976. quite song oriented and mainstream. he settled in Munich and formed Emergency at the end of 1970.recorded during a tour of Austria.

but had no fold-out! (A)same (Polydor 2371 225) 1971 (A)"Stop. The 1974 re-issue on Membran 22-131-1 used the white cover.the first half of it was a quiet. the single A side "London Girl" and two previously unreleased tracks "I'm Trying" and "Changing World". which Holmes sang in her most angelic voice. but far more cosmic sounding than the previous track. was a short folk-rock song recalling British groups like Fairport Convention or Steeleye Span. The music presented here was a somewhat ordinary kind of acoustic folk. this album is now available on CD on the Galaxis label. sung by Hirschfeldt. Tile title piece "Saat" was another acoustic showcase. v KLAUS WALZ g.EMTIDI Personnel: ALBUMS: • • MAIK HIRSCHFELDT g. mellotron. Far more interesting and completely different was Emtidi's classic second album Saat. mellotron. For several minutes an electronically treated organ created a cosmic atmosphere similar to vintage Klaus Schulze or Ash Ra Tempel. Then the track developed into a beautiful folk ballad. floating keyboards. An original Pilz copy in decent condition will set you back at least 100 DEM. flt. Black Sabbath. Luckily.001 in 1979 again used the black and white cover. "Traume" was a nonsensical interlude with wordless vocals. but otherwise it was a great track. synth. b. released in a very limited quantity on the minor Thorofon label. same (Thorofon ATH 109) 1971 "Saat" (Pilz 20 29077-8) 1972 Emtidi were a duo comprising the German Maik Hirschfeldt and the Canadian Dolly Holmes. while the long track "Touch The Sun" finished side one. Here is a complete run-down of this absolutely essential album: "Walkin' The Park" started side one . A second re-issue on Babylon 80. g BERND KOLBE b. Billingsgate inner sleeve and label logo in typed letters. percussion) in the Dierks Studio. the whole second album. THere are many editions of 3: A promo edition of 1. vibes DOLLY HOLMES v. vibes and jew harp. kb. bass. opening side two. It could be argued that the energetic sections of this track ruined the relaxed atmosphere elsewhere on the album. v (JIM MCGILLIVRAY d) A (ACHIM WIELERT d) B NORBERT LEHMANN d C NB: The sampler Handicap (Babylon 80. presumablya lost single. Uriah Keep and Led . Their first album was a low budget production. lush folk song with treated acoustic guitars and electric piano. Stommeln in February 1972. this running into a furious acid guitar solo. Look & Listen" (Polydor 2371 274) 1972 (B)"Outside The Law" (Billingsgate BG 1009) 1974 British progressive heavy rock bands like Deep Purple. mellotron NB: Re-released on CD by Galaxis in 1988. made with a solid involvement from Dieter Dierks (engineer.000 copies on Billingsgate with a white cover. "Love Time Rain". EPITAPH Personnel: ALBUMS (up to '76): • • • • • • CLIFF JACKSON v. The concluding track "Die Reise" was the only one with German lyrics.002) (2 LP) (1979)included 4 of the 5 tracks from their first album.

v B (MICHAEL ERTL b) A HEINRICH MOHN b B HARTMUT PFANNMULLER d PETER KOCH perc B NB: Originals of 1 had the black and white Bacillus label and the 6494 001 catalogue number. and aimed at an international break-through. Hamburg. EPSILON Personnel: ALBUMS: • • • • • • • MICHAEL WINZKOWSKI g. . v) A JOHAN DAANSEN g. Epitaph had laid out on an extensive (and expensive) USA promotional tour (with ex-Karthago member Norbert Lehmann on drums) in October 1974 . The Germans usually preferred to use English lyrics. Look And Listen in Audio Tonstudio. Possibly some of these still had the 6491 001 sleeves.on their return they had to sell their gear to survive! Their new album was part of the bankrupt estate of Billingsgate. For reasons unknown to me. as the band abandoned progressive elements for a more straight forward heavy rock style. kb. as Billingsgate soon went bankrupt and all their money was lost. Berlin. On this album. This album also contained five tracks. The first sessions for their debut album. Ortel had previously played in an early incarnation of Jeronimo. When Bellaphon took over the distribution in 1972 a new edition was issued with an identical cover (except for the order number!) and the coloured Bacillus 'cell'label. In early 1973. Epitaph recorded their second album Stop. After this promising start.Zeppelin inspired many young bands in Germany. There were both fast rock'n'roll numbers and slow ballads with mellotron textures. 2 followed the same pattern: 1st re-issue on Bacillus BAC 2004. The music sounded more polished this time. and Epitaph were forced to disband in 1975. when Michael Winzkowski joined. In 1972. it seems as if the band was promised a bright future by the newly founded American record company Billingsgate. 2nd Re-issue on Bacillus 260-09-012. McGillivray was replaced with Achim Wielert.from 5 to 7 minutes. it was however finished in Windrose Studios. but didn't record any further albums until 1979. The band secretly reformed later the same year. 2066 & Then and Epitaph. The five resulting tracks sounded similar to the groups mentioned above. that they eventually signed to. Both albums are recommended for fans of the heavy progressive genre. had British vocalists! Epitaph were founded in Dortmund in 1969. using the catalogue number BLPS 19070. released 1971 on Polydor. (A)same (Bacillus 6494 001) 1971 (A)"Move On" (Bacillus 19078) 1971 (B)"Off" (Phillips 6305 216) 1974 Epsilon is a group well-known to most collectors of German progressive rock. Epitaph's Cliff Jackson didn't attempt to copy Byron's operatic vocal style. were recorded in an Essex studio in England. Epitaph released two non-LP singles on the Polydor subsidiary Zebra: "Autumn '71" coupled with "Are You Ready" (2047 003) and "We Love You Alice" coupled with "Paradise For Sale" (2047 005). They adopted the name Epsilon in October 1970. and particularly the earliest incarnation of Uriah Heep. 1977) had the catalogue number BAC 2002 and a third one (early 80's) 260-09017. The band invested much time and money into their third album Outside The Law (1974). A second re-issue from the mid-70s (ca. Sadly all their dreams of success were brutally shattered. They started up in 1969 as a Nice-influenced trio. though. like Blackwater Park. stylistically similar to their first offering. where a fourth member was added to the group: Klaus Walz. usually in the 'heavy progressive standard song length' . and several bands. v (WALTER ORTEL kb.

The nine compositions were an improvement on their debut. and "Every Day's Pain". for the freshly established Bacillus label. aka Wyoming) and Christian Felke (flute. resulting in two commercially unsuccessful singles for Ariola. and formed Michael Wynn Band that also Daansen eventually joined. during their German tour of 1972. Stommeln. a good album. At this stage. except for a cover version of "Paint It Black". ERLKONIG ALBUM: same (TST 77679) 1972 Erlkonig's album was one of the better private pressings of the early seventies. It was another Hauke & Clerks production. ex-Jeronimo). 1975 brought another change of record company. Pete Bender (backing vocals. Musically. Epsilon's third and last album was recorded at Europa Sound Studios in Offenbach-Bieber (engineered by Manfred Screier). proved to be their most straight forward album. EROC ALBUMS (up to '76): same (Brain 1069) 1975 "II" (Brain 60. Epsilon's music improved considerably on their second offering Move On (1972). often adapting themes from classical music. guitars and flute and their slightly jazzy mood . adding the guests Curt Cress (drums). both Ortel and Ertl had already quit.just listen to the tracks "Feelings" and "Move On". . but not as bad as on the Dull Knife album. but Murphy Blend would be a better choice for those keen to listen to classical influenced. Rainer Marz (backing vocals. The group used German lyrics. The Epsilon sound was dominated by Ortel's prominent organ work. they stand out as his best recordings. featuring a blendtag of spacey electronic excursions. released on Phillips in 1974. Instrumentally. Off. Indeed. Other parts of the album were a bit easy-going and too close to conventional pop rock at that time. instrumentation of organ. Winzkowski adopted his artist name Michael Wynn. resulting in Epsilon's best album. It was characteristic early seventies 'progressive' rock in every respect. This was an early Peter Hauke production in co-operation with engineer Dieter Clerks in the Dierks Studio. weird sound collages and jokes.007) 1976 Grobschnitt's enigmatic drummer Joachim Ehrig shares his jokes and music with the rest of the world on his five solo albums. Epsilon disbanded shortly thereafter.They were able to record their first album in January 1971. At the time of Move On's release in December 1971. Peter Koch (ex-Jeronimo) was temporarily added as a fifth member during this year. Ortel and Winzkowski wrote all the tracks. guitar. Winzkowski's vocals were sometimes dangerously close to soul. the strangely entitled opening piece. organ dominated rock. but their album was mainly instrumental. The music on his first two albums was originally part of the stage music for Grobschnitt's live shows in 1974 and 1975. as Virus already had included a version of it on their Revelation album! The best moments of Epsilon's debut album were "Two-2-11". sometimes bordering on ordinary pop rock. featuring lots of guitars and organ. Epsilon were the second German progressive band to record this Rolling Stones composition. they could be seen as a German parallel to Traffic. this album had more guitars. very much in the heavier Emerson Lake & Palmer tradition. Epsilon virtually moved on! This revamped group warmed up for the British band If. exNosferatu). In general. with their soulish vocals.

unused tapes recorded between 1969 and 1978. dating from 1969 and 1970. burying a chicken! Since the burnt chicken sleeve had caused controversy. were in German. It presents a half-burned chicken lying in a frying pan. vln CORNELIUS HAUPTMANN flt KARLHEINZ GROSSHANS kb. containing rare. Otherwise. guitar). live Autumn 1978 and some of ace's stage music from this tour. harmonica. London. Lupo (guitar). jazz and classical. the album contained rare Grobschnitt tracks: live September 1971. Musically this was quite similar in style to their first album. July 1971. named Wutpickel: Eroc (drums). drawing equally from heavy rock. The magnum opus was the 22 minute "Abfall". It's indispensable for Grobschnitt fans and actually featured some great music. If you have wondered why Eulenspygel named their first album 2. it was because they also counted the album issued under their previous name Royal Servants! Their first album was recorded at Studio Maschen. mostly of historical interest. v RONNIE LIBAL b MULO MAULBETSCH v. "Kasi" Klassen (vocals. All lyrics. Eroc 3 (1979) was more a documentary of Eroc's (and Grobschnitt's) career. The oldest recording was from January 1969 with the beat group Crew Blues Session: Eroc (drums). the band then disappeared from the scene. Edd Huber (bass). Edd Huber (bass).All of it was recorded at his home studio. Mellotron and moog were used as well as organ and piano. and produced by Wolfgang Schmidt and Peter Springer. for example the jolly "Wolkenreise". This really disgusting design (by Wolfgang M. folk. "2" (Spiegelei 28760-7U) 1971 "Ausschuss" (Spiegelei 28780-5U) 1972 When it comes to outrageous German sleeve designs. were with the free music group succeeding Crew Blues Section. harm GUNTER KLINGER d NB: A second issue of 1 with the offensive chicken removed came in 1972 on Spiegelei 28770-6U. Ausschuss (1972) was issued in a plain corrugated paper sleeve! It was recorded at the Apple Studios. Schmidt) upset so many people that the cover was withdrawn. which went through innumerable changes in mood and melody. The six tracks were cleverly arranged. in April 1972 with the same production team. Inside the fold-out cover there was a Black Sabbath like shot of the band at a graveyard. with rich instrumentation and sudden shifts of tempo. Hamburg. EULENSPYGEL Personnel: ALBUMS (up to '76): • • • • • • • DETLEV "KEUCHER" NOTTRODT g. . A very diverse album. but in my ears not as good as this. later the title track of an Eroc sampler. No future re-releases are known. studio out-takes from 1974 and 1976. it's impossible not to mention the first Eulenspygel album. For some reason. It offered a typical German progressive blend. Lupo (guitar) and Wildschwein (guitar. Other old recordings. containing anti-war messages and other critical political views on different aspects of society. Wildschwein (guitar). vocals). v MATTHIAS "TILL" THUROW g.

another one ("Why Do People Cry" coupled with "Run Through The Past") featured original songs. "Join The Club" and "Love Circle" These were the last traces of Excalibur. g HEINZ MIKUS g. Exmagma are only recommended for enthusiastic admirers of jazz-rock! FAITHFUL BREATH Personnel: ALBUM (up to '76): • • • • MANFRED VON BUTTLAR kb. voice. Three more Excalibur songs were.EXCALIBUR Personnel: ALBUM: • • • WERNER ODENKIRCHEN g. If You Want" coupled with "Hollywood Dreams") was lifted from the album. Balluff later became a member of the 1982 Guru Guru line-up while Goldner resurfaced on solo albums by the Kraan members Helmut Hattler (Bassball) and "Alto" Pappert (Alto). the story of Autumn. it is somewhat easy-going. v HARTMUT SCHLOGENS kb. Braceful was formerly a member of the Wolfgang Dauner Band from 1970 to 1973. Moog. voice FRED BRACEFUL d. of life's last faithful breath. The resulting product was in many ways similar to Propeller or British band Family in their heaviest mood. v NB: 1 was re-released on CD by the American label Laser's Edge (LE-1011). As a whole. v JURGEN WERITZ d. v HORST STABENOW b. perc. flt ANDY GOLDNER b. g. The hard rock material (nine tracks in all) was lacking in both originality and catchy tunes. included on the obscure Hells Angels In Rock sampler. perc. The album was recorded at Windrose Dumont Time Studio in Hamburg with Tarrach as producer and additional help from Achim Reichel (bass) and Hans Lampe (percussion. which contains both the sadest and the most terrified sensation a living individuum will ever be able to feel. later member of La Dusseldorf and Neu). tpt. A single ("Get Me. drummer in The Rattles. Propeller. v MANFRED TERSTAPPEN b "First" (Reprise 44163) 1971 According to the cover of First Album. sax. EXMAGMA Personnel: ALBUMS (up to '76): • • • THOMAS BALLUFF kb . "Fading Beauty" (Kopec AA 6963 233) 1974 'This is the story of each of us. voice same (private) 1973 "Gold Ball" (Urus Disjuncta 9) (F) 1974 A jazz-rock trio whose music was comparable to mid-seventies Soft Machine and Kraan. this trio was discovered by Dicky Tarrach. released on Jaguar 1974: "Danger Zone". . perc. perc. possibly scheduled for a second Reprise album (which never appeared). g. Wonderland and Brave New World. tpt.

the group Faust saw the light of day in the beginning of 1971.1972 Fantastic Pikes were yet another of those low budget album projects with Lucifer's Friend musicians involved. Hamburg.B JEAN-HERVE PERON b) A. The revolutionary music of The . kb) A. The good old Beatles used a similar. This was one of the first German albums (along with Can's Tago Mago) to use studio wizardry. This record proved that they flunked their apprentice examination. Parts of a subsequent live performance in Wumme 21 Sept. Recommended have also compiled the CD-only release 71 Minutes Of Faust. (A)(B)same (Polydor 2310 142) 1971 (B)"So Far" (Polydor 2310 196) 1972 (B)"Outside The Dream Syndicate" (Caroline 1501) (UK) 1973 (B)"Tapes" (Virgin VC 501) (UK) 1973 (B)"IV" (Virgin 87739/ V2004) (Ger/UK) 1974 (B)"Munich & Elsewhere" (Recommended RR25) (UK) 1986 (B)"Last Album" (Recommended RR36) (UK) 1988 Many people consider Faust the most important and innovative of all early seventies German rock groups.B ULI TREPTE b C (ARNULF MEIFERT d) A RICHARD DIERMAYER d B. edited down to a 20 minute track named "Miss Fortune". melancholia very much like the track "Gravedigger" by the British group Janus.an "Autumn fantasia" in two long movements. Pepper and Frank Zappa frequently used massive studio manipulation on his recordings from the late sixties onwards. but more primitive. which they performed live for the first time at Musik Halle. the band rehearsed their innovative repertoire.B GUNTER WUSTHOFF sax. Indeed.B PETER BLEGVAD g C HANS-JOACHIM IRMLER kb) A. before the recordings of the studio part of the first album. were included on Faust's debut album. However. Holger Czukay compiled many of Can's album tracks in this way. like editing tapes in cut and paste techniques. musically this was something else . 3.C NB: 1.before the everlasting Winter gently turns himself to nothing. The music journalist Uwe Nettelbeck was in 1970 given a large cash advance from Polydor to form a group and produce 'an epoch-making record'! As a result. 2 & 4 were re-released in 1979 and 1980 by Recommended (UK) in their original sleeve designs. This time they were attempting to be synthesizer wizards. For several months. 4 & 5 are also available on CD.' So ran the liner notes of Fading Beauty (1974). Meifert quit in September 1971. technique when they made Sgt. as a form of musical expression in itself. FANTASTIC PIKES ALBUM: "Synthesizer Sond Machine II" (Sonic 9044) ca. synth) A. in September 1971. FAUST Personnel: ALBUMS: • • • • • • • • (RUDOLF SOSSNA g. An old school hall near Wumme (outside Hamburg) was converted to a studio (the house engineer here was Kurt Graupner). His replacement was Richard Diermayer.

the album was more "together". not being much dominated by as many rapid edit changes as its predecessor. pop. Even so. take the banana. least.Mothers Of Invention was also a main source of inspiration for Faust. sounding much like a speeded up soundtrack to a charade of Syd Barrett's favourite nightmares! "Meadow Meal" was equally strange. the material was unconventional to say the. A spooky. The five shorter tracks were humorous pastiches on jazz. an xray image of a fist. The album's first piece "Why Don't You Eat Carrots" opened with a weird. but it is also evident that all this weirdness was carefully constructed! For every strange effect and strange happening. almost a direct cross between Velvet Underground and early Pink Floyd. this album wasn't too distant from what Can did at the same time either. "So Far" (an ever repeating pseudo western beat with early Floyd-like. etc. In fact. In October 1972. as were both of the record labels! Musically. Nettelbeck certainly thought: 'I'm sure everyone will find this one here really outrageous! Needless to say. tomorrow is Sunday". Among the great triumphs were: "It's A Rainy Day. printed on transparent plastic. the album was hardly noticed in Germany at the time of its release. Sunshine Girl" (so go the lyrics all the way through. Indeed. rhythmic nightmare noises recalling the atmosphere of their first album).e. manipulated organ tone then gradually increased in strength. to use the term "live" is to mislead . Faust recorded a collaboration with the American minimalist music composer . eerie sound collage with edits from "All You Need Is Love" and "Satisfaction". Overall.the tapes were manipulated with just as much studio wizardry as the other recordings.one lithography each for the nine "songs" plus a general info sheet. An improvement on their first album in my opinion. A somewhat permanent rhythm is at last established (although torn apart several times). and the vinyl itself. The sleeve itself was plain black. rapid drum beat). was a full-blown use of the original idea for Second Hand's first album Reality. Enclosed were TEN inserts . "No. Faust fans everywhere are delighted with the results and I still think it is a great and unique album! Buy it and judge yourself! The sleeve concept. was clear. particularly the nonsensical and humorous lyrics (also a result from cut and paste technique?): "You are a fruity fork And the money you look up and the Madame you look up and the middle you look up a wonderful wooden reason to stand in line keep in line line up crash the sound you loose your hand to understand the accident is red" (From "Meadow Meal") As mentioned above. i. (a more angst ridden amphetamine blow out with deranged treated guitars). their Death May Be Your Santa Claus displayed some ideas quite similar to the content of the first Faust album! In addition the insert. sound effects added) and "Mamie Is Blue" (dense. Truly a perverse and insane piece of music. over a silly. the album was a true musical manifestation of post-modernism: it was undeniably a peculiar album. combining many different styles. Still. in fact it actually sold better in the UK! The packaging of the second album So Far (recorded March 1972) was even more outrageous. Harm" (this time featuring another repeating hook line) "Daddy. side two contained the live recorded "Miss Fortune". However. with liner notes and general information by producer and director Nettelbeck.

performed live until Spring 1974. Then Uwe Nettelbeck found it impossible to keep the involved musicians together as a productive unit. If 60 minutes of extremely minimalistic music made up of repetitive sounds seem tempting. many dissatisfied (and horrified) customers promptly went back to the stores to exchange the record after one hearing! German experimental rock fanatics have nevertheless had a long lasting passion for it and many people regard it as Faust's best. released in 1988 numbered copies! Munich And Elsewhere (1986) was a second collection of great Faust tapes. This was the end for Faust. this is the album for you! However. Expect to pay 50 DEM for a original copy. England in June 1973 (but Kurt Graupner was as usual present as engineer). some previously unreleased material cropped up on two 7 inch EPs. mand THOMAS KAGERMANN v. was recorded at the Manor. g. FIEDEL MICHEL Personnel: ALBUMS (up to '76): • • • MARTIN HANNEMANN v. 2nd and 4th albums (numbered as below!) in 1979 and 1980. but the profound "Jennifer" and "Krautrock" (12 minutes of just that!) again captured an inventive group in action. but highly rewarding experience. and consequently withdrew from the project. Issued at the same price as a single. Their last album.Tony Conrad. but no further recordings are known. Disagreements about their future musical direction led Faust to disintegration in August 1973. Ever since 1974. The music of Faust Tapes ran continuously. A fine. fdl. it's hard to get hold of nowadays. banjo MICHAEL THAUT v. it sold so well in Britain that it entered the charts! However. centring around Diermaier. Then Faust returned to Germany. The album marked a downward turn. and a return to the common cut and pastel techniques. The British record company Recommended recognised Faust as true pioneers of the Rock-InOpposition movement and re-released their 1st. fdl. were all collected on Last Album in 1988. in addition to three alternative takes. but various re-incarnations. He had also been member of an early Velvet Underground formation and the group La Monte Young. both studio out-takes and live. Faust IV. g same (Autogram ALLP-191) 1974 same (II) (Autogram ALLP 234) 1975 "Live" (Stockfisch SF 5008) 1976 A trio playing traditional folk and thereby of marginal interest for collectors of German rock. posthumous sequel to the 1973 album. among others involving Uli Trepte (ex-Guru Guru) and Peter Blegvad of Slapp Happy fame. Oxfordshire. Peron and Sossna. there have been some obscure Faust reformations from time to time. These. Faust Tapes (1973) was indeed a collection of Faust tapes from 1971 to 1973. FIN-INT . as it never has been re-released. Some years later. The group performed live in London on the day of release on 19 May 1973. Diermaier. performed by Conrad. a bizarre. The British record company Virgin released their joint effort in 1973 on their Caroline subsidiary Outside The Dream Syndicate contained two very long pieces of) serious avant-garde and rock minimalism that crossed certain) pieces of So Far with Terry Riley's In C.

g.B VRIDOLIN ENXING kb. and Vietnam (1968) became the title of Floh De Cologne's first album. (German) humour and lunacy they became known as the German answer to The Fugs and Mothers Of Invention. Floh De Cologne was originally a radical theatre performance group of students that performed cabarets at the universities of Cologne from 1966 onwards. Few countries had so many politically active bands as Germany. First proper re-issue came in 1982. the result of a collaboration with Dieter Suverkrup (recorded several political rock albums for Plane). to my knowledge it has never been re-pressed. They recorded their album in the Electrola studio.010 figure also had dark red vynil. This was a somewhat unique rock cabaret where the group. Further copies of the first edition had the 56. FLOH DE COLOGNE Personnel: ALBUMS (up to '76): • • • • • • • GERD WOLLSCHON kb. but very little known folk group. It's a collection of 14 acoustic songs. (A)"Vietnam" (Plane 533101) 1968 (B)"Fliessbandbaby's Beatshow" (Ohr OMM 56 000) 1970 (B)"Profitgeier" (Ohr OMM 56 010) 1971 (B)"Lucky Streik" (Ohr OMM 556 029/30) 1973 (B)"Geier Symphony" (Ohr OMM 556 033) 1973 (C)"Mumien" (Plane S99201) 1974 (C)"Tilt!" (Plane S99202) 1975 This group was the most well known of the German political rock scene.000 figure. A natural target for political agitation at that time was the Vietnam War. A highly entertaining effort containing much silliness and a sort of Bonzo Dog-like nostalgia. The first original pressings of 2 had the infamous balloon attached to a cover cut-in.Personnel: ALBUM: • • • • EVA MARIA WESSELS v MATTI KONTIO g HOLGER MULLER g ANDREAS SCHEER b same (EMI Colorit 1C062-41009) 1973 A nice. b B. v) A. With their blend of political lyrics. The first of the later pressings with the 556. only that Floh De Cologne . b C DICK STADTLER g B. mainly with German lyrics. butthe rest of this edition had a lighter signal red colour. All royalties gained were transferred to a foundation for helping the Vietnamese. but no cover cut-in. Their approach was very traditional. parodied different rock styles. The first pressings (56.C NB: 1 is now a very rare record.C DIETER KLEMM d. Most of them were self-written. The sleeve pictured a trio.010) of 3 had dark red vinyl like cherries. It was the first of the legendary Ohr LPs. Cologne in October 1972. but the 'Pop Import' address imprinted on sleeve. also with the original Ohr label. lyrics (BRITTA BALTRUSCHAT voice) A HANS-JORG "HANSI" FRANK d. They appeared at the Essen song festival in Autumn 1968. offering mellow and relaxing tunes. tending towards orange. Fliessbandbabys Beat Show was released in the Summer 1970. kb (MARKUS SCHMIDT b. Later 1971-1973 pressings gained the 556. but four musicians were listed. Not surprisingly they were signed to the number one underground label then: Ohr records.000 figure.

72 in Gummersbach by Dieter Dierks. and their subsequent releases were only pale imitations of their previous political concept triumphs. It was recorded on 25 November. Anyway. making the plot difficult to understand for non-Germans. Florian Geyer was an obscure historical person 'lending' his name to a progressive rock group centuries later.v DIETER STIEG b JURGEN GLUGE d NB: Re-issue of 1 on CD by Penner in 1993 (CD 006) with 8 bonus tracks. in my opinion Wolff's vocals are not very good. captured on a peerless album. Still there were plenty of humorous tracks to enjoy. Two years later. A large poster was also included. this is hardly easy listening! The folding of Ohr brought Floh De Cologne back to Plane. 'profit vultures'. However. The sleeve showed a 19 point step by step guide on how to become politically active. Also the sleeve had a special gimmick . speaking with funny or strained voices. perhaps the closest the band came to The Fugs and Mothers Of Invention. the musical footage of this 'Kantate fur Rockband' was below par this time. He replaced the departing Markus Schmidt. the group's main lyric writer Gerd Wollschon left. After this album. Their next album Mumien (1974) was a concept album about the then recent coup d'etat in Chile. Regrettably. including even more parodies and silliness. and this detracts from an otherwise fine album with lots of powerful guitar work. "Beggar's Pride" (same) 1976 Just like Jethro Tull. A rich repertoire was featured. FLORIAN GEYER Personnel: ALBUM: • • • MANFRED WOLFF g. Florian Coyer were a power trio. as an audible. but as a whole. I wonder if anyone converted to Marxism on the strength of this record? Their next project was Profitgeier (1971). leftist newspaper it was excellent.guts to pull out from the wounded profit vulture' Musically this was a highly imaginative rock opera. . The record itself was pressed on glowing red vinyl. Unlike some other items of this kind. pressed by Teldec in a limited edition of 1. as if the group's political standing point wasn't evident from the agitated texts. lavishly packaged with a large booklet full of background information. heavy rock sound comparable to Reaction and Chicken Bones. this was the essence of Floh De Cologne. the group continued to make cabaret like live performances. If judged by Lucky Streik (1973). this time merging all their previously known styles into an outrageous rock symphony that has to be heard to be believed! But beware. Tilt! (1975) dealt with more local national problems like youth unemployment. that dealt with all of the disadvantages of the capitalist system. the double album didn't live up to the standard of the two previous albums. In 1974 they released the single "Candle Of My Burial" coupled with "Monday Afternoon" in an edition of 500 copies. the sound quality is good. The band was formed in late 1971 and played countless gigs during the seventies. The group members acted as different characters or proclaimed political views on the class divided society. However. the album Beggar's Pride followed. Geier Symphonie (1973) again caught the band in great shape. The six tracks have a simple. This was executed at a furious tempo. This was their first album with Vridolin Enxing.550 copies. mainly around their native Rheinland.were as German as the Bonzos were English! It was all produced by Julius Schittenhelm in Cologne during April 1970. This was also a private release.

FLUTE & VOICE Personnel: • HANS 'FLUTE' REFFERT g. but slower and more polished. flt • HANS 'VOICE' BRANDEIS sitar. Frame of Mind was recorded with Peter Hauke in the Dierks Studio. this may seem to be a singer-songwriter album. it was centred around a confident and forceful hammond organ. but I can assure you that it is far stranger than that. King Crimson's In The Court Of The Crimson King and traditional Indian music. In some ways their music was similar to Murphy Blend. selling for about 150 DEM in mint condition. pno CHERRY HOCHDARFER kb PETER LUTZ b. Instrumentally. b "Let It Out" (BASF 20 21241-6) 1971 Subtitled "Poems In Words And Music". in time for their great symphonic rock album Only A Star (1978). Originals are now very rare. FRANKIE DYMON Jr Personnel: ALBUMS: • • FRANK DOSTAL v ACHIM REICHEL g. v The music of Flute and Voice was of a tranquil and meditative character. This was a kind of 'project' album led by Frank . "Of Mind" (Bacillus BLPS 19701) 1972 A very talented group. v. Some years after the disappearance of Frame. perc WOLFGANG CLAUS d NB: An early re-issue with catalogue number BAC 2011 exists! Also re-issued on CD by Bacillus in 1994. Stommeln (have you ever wondered how they managed to produce such a great bunch of albums?). both Cherry Hochdorfer and Wolfgang Claus resurfaced in the group Pell Mell. v. Frame's sound was quite refined and lyrical . On their only album Imaginations Of Light they merged the most quiet atmospheres of Incredible String Band. This very appealing album had a great psychedelic artwork and of course a fold-out cover. g. The result was quite interesting and certainly different to the other folk artists on the Pilz label. Songs like "Winter" and "All I Really Want Explain" have an everlasting appeal: mellow heavy rock ballads from the golden age of 'progressive' music and long before The Scorpions completely destroyed this genre's reputation! Frame could also be more powerful and heavy in their approach. as documented by "If" and "Penny For An Old Guy". FRAME Personnel: ALBUM: • • • • • ANDY KIRNBERGER g. Flute & Voice also appeared on the concept album Heavy Christmas (1971) with the track "Ecce Navicula".melodic heavy progressive rock influenced by folk and classical music. My Solid Ground and Haze they were among those early Bacillus signings that disappeared after one promising album. perc DIETER BECKER v. Like Dschinn.

Let It Out (1971) comprised a great variety of styles. At first they played a kind of blues-jazz fusion. Rock In Deutsch (1973) was recorded one and a half years later and was quite a different effort. v STEFAN JOSEFUS d "Sensemann" (Phillips 6305 127) 1972 "Rock In Deutsch" (Zebra 2949 014) 1973 This was one of the groups pioneering the use of the German language. like "Aftermyth". an 11 minute track with manipulated electric guitar and awkward anti-war and anti-racism lyrics. perc RAINER BARTL d . It's the sort of album that sounds better after several spins. one of the most well-known German beat groups. The psychedelic cover art. Gone was the garage rawness and also their political awareness had mellowed a bit. The trio came together at the end of 1969. this time as "Wonderland Band". Reichel wrote most of the songs and produced the album (engineering was by a certain Konrad Plank). FRANZ K. Most of Reichel's then backing band also took part in the recordings: Rolf Kohler (bass). Lemmie Lembrecht (percussion) and Helmut Franke (percussion). recalling the Ikarus album on Plus. There were long inspired and loud guitar passages. ex-Wind). Additional musicians were Wolfgang "Zabba" Lindner (drums. Peter Hecht (piano. and Wonderland. Also strings were dubbed on at certain places. For some reason there was also reputedly a later private pressing of this on Ruhr 007 of only 500 copies. Hamburg. but vastly different project album together. Norbert Jacobsen (clarinet). Re-issued in 1993 on CD by Lost Pipe Dreams (LP 012). The album contained just two long tracks: "Das Goldene Reich" and "Sensemann" Their raw and undisciplined power trio rock in many ways crossed vintage Guru Guru with the political awareness of bands like Floh De Cologne. their name was a shortening of Franz Kafka. Personnel: ALBUMS (up to '76): • • • MICK HANNES g PETER JOSEFUS b.000 copies. In the same year. Instead there was a varied collection of rock songs.Dostal and Achim Reichel. Those of you who know the early Achim Reichel albums will know what to expect here! There were certainly many tracks to enjoy here. FRIEDHOF Personnel: NB: The quantity of copipies pressed is unknown . As you might have guessed. from Lucifer's Friend ).probably 300 to 500 copies. Their first album Sensemann (1972) was produced by Phillips' house producer Rainer Goltermann at Windrose Studios. sudden shifts in tempo and quite a bit of twisted musical anarchy. Dostal and Reichel have produced countless albums over the years. Many of the tracks had very unusual arrangements. The Phillips release was limited to 2. from December 1971 to January 1972. but soon moved towards rock. perhaps ending up a little over-involved. was also notable. Elga Blask (vocals) and Olaf Casalich (congas). previously members of The Rattles. • • • ERNST-ULRICH FREITAG g NORBERT SCHULZ b. Dostal and Reichel also made another complex.

The opening title track had a fascinating. On the other side. they recorded an album of instrumental jams. Edgar Froese has also felt the desire to record his personal music. partly due to Chris Franke's excellent moog work. an early classic of electronic music. Beware that the mixing on the German Virgin release is different to the German one on Brain. some mellotrons appeared here as well!) with spacey improvisation over a long running sequencer pattern. Da Capo and Grave had a similar garage sound. His first solo album Aqua (1974) was recorded at the same time as the Tangerine Dream album Phaedra ("Mysterious Semblance at the Strand of Nightmares" from this album was in fact also a Froese work!). resulting in seven solo albums released by Brain and Virgin between 1974 and 1983. C THOMAS KRETSCHMER g D (A)"All Will Be Changed" (Phillips 6305 067) 1970 . In 1973. benefiting from the artificial head recording stereo system.Friedhof were a basic heavy progressive trio. He named them after the plane he was sitting on. gloomy underwater feel with gurgling water sounds merging in with the electronics. nowadays selling for 500 DEM. For a run-through of his earlier career. Overall. "NGC 891" was. the most spacious work here.. Epsilon In Malaysian Pale (1975) had just two long tracks. also the one closest to the contemporary Tangerine Dream style. "Panorphelia" was a more abstract number. as the title implies. but have a more dubious view of Macula Transfer (1976) which consisted of pieces written by Froese during flights. so I doubt all collectors will enjoy the album. "Upland" rounded up the album with organ and more strange sounds such as backward tapes. Virgin didn't release the album in the UK at all. The title track was Froese's ultimate mellotron excursion. FRUMPY Personnel: ALBUMS (up to '76): • • • • • • • CARSTEN BOHN d JEAN-JAQUES KRAVETZ kb KARL-HEINZ SCHOTT b INGA RUMPF v ERWIN KAMA kb C RAINER BAUMANN g B. rooted in blues-rock. but who cares. Other German bands such as Arktis. Go for it only if you dig the groups mentioned above! EDGAR FROESE ALBUMS (up to '76): "Aqua" (Brain 1053) 1974 "Rock In Deutsch" (Brain 1074) 1975 "Macula Transfer" (Brain 1053) 1976 Along with his rich production of albums in Tangerine Dream (over more than twenty years). recalling the live improvisations of Cream. The sound quality of the Friedhof album isn't perfect. please look at the Tangerine Dream entry.. Tangerine Dream fans usually love this album (and so do I!). 43 minutes of jamming with the same three instruments is a bit too much. rhythmically driven by a moog tape loop and revealing Froese's passion at the time for the mellotron. "Maroubra Bay" was a moog excursion (well.

All Will Be Changed (1970) was a fine example of vintage German progressive rock. Indeed the packaging of their wonderful second album. Due to musical differences Jean-Jaques Kravetz left Frumpy in the Spring of 1972 (and made a good solo album). was spectacular: a round. Inside. if one discounts the solo sections of "Rosalie" and "Floating". There were five tracks in all. but rejoined halfway through the recording of By The Way (1972). Carsten Bohn recorded an album with Wolfgang "Zabba" Lindner (the drummer from Tomorrow's Gift ) and the group Dennis. Two of the short tracks were also issued as a single: "Life Without Pain" coupled with "Morning". released on the legendary "swirl" Vertigo label and including a poster. six part fold-out cover (with portraits of all members) put in a plastic bag. line patterns form a picture of the group if the plastic exterior is drawn out in the right way. but the technical quality was disappointing. By The Way was a more straight forward rock album. The album had a very uncommon gimmick fold-out cover: a semi-transparent printed plastic exterior picturing a chameleon on the front and back. the leader of the recently defunct Murphy Blend. The record was even pressed on multicoloured vinyl! Guitarist Rainer Baumann had joined in time for the recordings in 1971. now with Thomas Kretschmer on guitar.NB: 1 was re-released on CD by Repertoire (RR 4146-WZ) in 1991 including 2 bonus tracks. A double live set was released posthumously in January 1973. Rumpf. containing a good selection of their live repertoire. For those of you who are keen to hear more Frumpy. These songs were comparable to Traffic or Spooky Tooth. The four tracks revealed a heavier and more mature progressive rock with classical overtones in Kravetz' organ (occasionally mellotron) work. PAUL AND LIMPE FUCHS (Anima Sound) Personnel: • • PAUL FUCHS horns LIMPE FUCHS perc . Kravetz and Schott formed Atlantis in 1972. The other keyboard player on the album was Erwin Kama. In the Summer of 1972 Frumpy gave their last concerts. In August they recorded their first album in Hamburg (though some parts were recorded in Holland with the producer Rainer Goltermann. (B)"2" (Phillips 6305 098) 1971 (C)"By The Way" (Vertigo 6360 604) 1972 (D)"Live" (2 LP) (Phillips 6623 022) 1974 Frumpy were one of the few progressive bands to receive considerable commercial success in their own lifetime. Kravetz' very long solo passages of spacey organ excursions and Bohn's inventive percussion work-outs was both impressive and innovative. a group that released several albums in a more mainstream style. Frumpy's best ever track was the closing number "Duty" (12:09) . They had all departed from the Irish-German folk band City Preachers which had existed since 1965 and also included the later famous Slapp Happy vocalist Dagmar Krause. 2 was re-released on CD by Repertoire (REP 4339-WP) in 1993. The band was formed on the initiative of Carsten Bohn in November 1969. Rainer Baumann also got his share of the limelight with his stunning blues-based guitar solos.with organ and guitar solos galore! The album is highly recommended. Albums recorded without guitars were quite rare in this musical field! lnga Rumpf's forceful voice also made the shorter blues and soul influenced rock songs a delight. Frumpy performed their first concerts in France in March 1970. simply entitled 2. there are two contributions ("Duty" & "Floating") on the live sampler Pop & Blues Festival '70 .

Grave. Their very rare second album contained two further improvised cuts. The duo was later joined by Friedrich Gulda and J. Paul And Limpe Fuchs' (aka Anima Sound) music was more primitive in a way. v FRANK FELDHUSEN g MANFRED THIERS b REINHARD SCIEMANN d "A Young Man's" (Brain 1014) 1972 Gash were a short-lived group. Bernd E. Mammut and Kaputter Hamster). They were a quartet from Bremen. v STEFAN DORR d. Rettenbacher for the group Anima. GASH • • • • Personnel: ALBUM: JOCHEN PETERS kb. v PETER BELL b. which twice builds up from silence to a furious. giving tune for the progressive developments we all love (don't we?). helped by Peter Hecht (orchestral arrangements).027) 1972 The 'Anima' sound was extreme for sure: a very spontaneous music. "Auf Dem Bahn Zum Uranus" (Kerston 65014) 1974 I've seen originals of Auf Dem Bahn Zum Uranus sell for 1. full of screams.ALBUMS (up to '76): "Sturmischer Himmel" (Ohr OMM 56 011) 1971 "Rock In Deutsch" (Melocord ST-LP-NB 0. to record an album for Pilz in 1972.000 DEM or more nowadays. like a cross between Wallenstein and Necronomicon. but lacking the academic approach of this genre. Like the latter. GAA • • • • • Personnel: ALBUM: WERNER JUNGMANN v. acid-ridden guitar crescendo with cosmic sound effects. .A. On their album they play a nice heavy symphonic space rock was presented. responsible for a sole album that tends to be hyped up these days. Recommended. v NB: Re-released on CD by Ohrwaschl in 1992. v GUNTER LACKES kb. Also the closing track "Gaa" was very favourable. Gaa were brave enough to use the German language . For this reason Sturmischer Himmel isn't exactly everybody's taste! This was one of the few Ohr albums to have a standard (non fold-out) cover. perc WERNER FREY g. making it one of the most hunted and expensive "monsters" of German progressive rock (along with Necronomicon. goons. flt. Only about 300 copies were sold and the remaining copies were trashed! Since then the demand for their album has increased. causing the band to split. weird sounds and much percussion.to great success! There were six tracks in all. If you find that asking price ridiculous. Gaa (an ancient Greek name for the earth) were a group from Soarland in the Southwestern part of Germany. be aware that a limited edition CD (dubbed from disc) is available which most of you could afford. Best of all was the opening track "Uranus". Regrettably this released was largely ignored in 1974. close to extreme free jazz.

though it's still hard to find and expensive. v C RAINER BAUR g (NICK WOODLAND g) A HERMANN LANZE d NB: Re-issue of 1 on Second Battle in 1990. as the sound lacks clarity and the musical material isn't particularly inventive." (from the cover text. GIFT • • • • • • Personnel: ALBUMS: UWE PATZKE b. Apparently this limited edition album wasn't released until the early eighties. Maybe you will feel such impressions to. There had been fear. Hamburg. v (HELMUT TREICHEL v) B DIETER ATTERER g. Re-issue of 2 on Germanophon in 1994. recalling Joe Cocker. suddenly a strange atmosphere began to mork. The album had four tracks in all. during the invasion of Germany in 1944. between April and June 1972. The sleeve only stated then forenames. lacking enthusiasm. (B)same (Telefunken SLE 14680) 1972 (C)"Blue Apple" (Nova SDL 8002) 1974 Gift were one of those "no compromise" heavy progressive bands. The latter two were previously members of the beat group The Rattles and produced the album in Windrose Studio. The nice fold-out cover with a drawing of a dove promised much. The ghost of the past whispered. Musically it consisted of rambling long spacious guitar jams. who've now achieved a . "As we played down there in the old bunker. bass and drums trio joined by extra percussion and guitar for two of the four tracks. in their spelling!). desparation but also hope. Logically the recordings were done deep down in a bunker. Jochen Peters joined a late incarnation of the straight rock band Rattles and then adapted the name Ludi LaFayette and formed Wolfsmond. The acoustic conditions made the music sound distant and filled with echo. GERMAN OAK Personnel: ALBUM: • • • • • FRANZ HARRY ULLI MANNI NOBBY same (Bunker 1-72) 1972 The purpose of the album was to recreate the feelings experienced by the German soldiers. but musically the tendency was in the style of slow and laid back rock. Apparently this was a guitar. the title track. was the highlight.Schulz and Dicky Tarrach (all other arrangements). not really progressive at all! Peters' vocals were hoarse and soar. Tarrach and Manfred Thiers formed the musically related Randy Pie at the beginning of 1973 with Bernd Wippich from Petards and Werner Becker from Studiker. engineered by Konrad Plank. covering the whole of side two. by listening carefully. I don't find this album specially interesting.

except that Conny Veit's compositions replaced Florian Fricke's. but he had quit Gift before the recording session began to join Subject Esq. characterised by 12 string guitars. mellotron. but also featured keyboards courtesy of Dieter Frei (organ. They started up in 1969 as the school band Phallus Dei. The album was recorded in Hamburg at Teldec Studios with Hartmann and Thomas Kukuck engineering. In addition the album had a most beautiful psychedelic painting on its fold-out cover. vocals). Helmut Treichel left in 1973 and was replaced with Dieter Atterer.. dominated by the leader Conny Veit's excellent and imaginative guitar play. ist kampf gegen sich selbst' is a phrase owners of the first Gila album will remember well! The group was formed in Stuttgart in 1969. perc) A DANIEL FICHELSCHER d. b B SABINE MERBACH v B 1 included a poster! A New Zealand release on BASF is also known! Re-released on CD by Second Battle. Blue Apple (1974) was also basically a heavy guitar album. produced by Otto B. no woodwinds and no keyboards. Their highly ambitious first album appeared August 1971. (A)same (BASF 20 21110-9) 1971 (B)"Bury My Heart At Wounded Knee" (Warner K46234) 1973 'Unnachgiebiges aggressiv bekampfen. later Sahara. For this reason Conny Veit put new life into Gila. to be compared to Hairy Chapter. piano. They created a Floyd-like space rock bursting into heavy climaxes. dealing with one of the last and worst massacres of native Americans. recorded by Dieter Dierks during a week's intensive work that Summer. This was a concept album. 1981 (featuring the Warner logo on a cream coloured background). Originals of their first album sell for more than 200 DEM. so Conny Veit felt the desire for a live outfit. All issues include a lyric insert. Popol Vuh was (almost) exclusively a studio project. Hartmann. moog. and was busy working with different media using film. Stommeln 1973) was almost a Popol Vuh album. The acid touches of the first album were now replaced by a pleasant folky and more acoustic mood. Nick Woodland was listed on the sleeve of their first album. GILA • • • • • • • Personnel: ALBUMS: CONNY VEIT g (FRITZ SCHEILING kb) A FLORIAN FRICKE kb. Blue Apple sells for about 150 DEM. Some of the lyrics had clear anti-drugs messages. Three years later they recorded the first Gift album at Union Studios in Munich.considerable cult status. The Bury My Heart At Wounded Knee album (recorded at Dierks Studio. just plain hard guitar riffs. A new aspect of his guitar abilities was heard on Hosianna Mantra. the group regrettably disbanded and Veit became a member of Popol Vuh. "This Morning" and "In A . grand piano and Fichelscher's special drum style. This is one of the best German albums of all time! Some months later. The album comprised eight songs with no flutes. The continuous music was mainly instrumental. pno B (WALTER WIEDERKEHR b) A (DANIEL ALLUNO d. poems and music. 2 has been re-released ca. Both Gift albums are fine examples of German heavy progressive rock. The concept of the album was to reflect the group's (self-declared) progression from aggression to communication during their two-year lifetime. Recently (1990) Second Battle reissued this album in its original cover. slide show. adopting an almost meditative style.

Conny Veit joined Guru Guru for a short while. The sessions for this concept album in late 1972 were arguably the start of all the Cosmic Jokers-related sessions between 1973 and 1974. vibes. (A)same (Cornet 15038) 1970 (B)"Trauma" (BASF Cornet 20 20413-8) 1971 (B)"I Turned To See Whose Voice It Was" (Brain 1003) 1972 A group that gradually have acquired legendary status over the last twenty years. flt. The album's conclusion "The Buffalo Are Coming" was a more dramatic piece with its thundering percussion. the text lay put is identical. Schulze and Wallenstein fans (and I figure there ain't a few!). the sound is a bit thin and weary. it is a charming historical document of the development in German rock. all characterised by heavy psych guitar work and layered with sound effects. Add that to the talents of a certain Jorg Mierke and the mostly spoken. featuring three continuously running tracks likely to shuttle you into far distant realms of space.. Cosmic Jokers. at least among the dedicated progressive connoisseurs. The title track . but certainly out on a limb.! Of course this record is a necessity for Ash Ra Tempel. This album is a prime example of vintage progressive music in that it still had a lot of beat influence (it sounds as it was recorded in 1969). 2 was also re-ssued on CD by Second Battle in 1993 featuring 1 bonus track. now with English lyrics and more progressive arrangements. electronic spacious effects (Klaus Schulze) and traces of cosmic folk (Witthuser & Westrupp). mysterious lyrics of Golowin. v HELMUT POHL d. 2 had the word 'Trauma' pasted on a vacant space on the front. featuring most of the musicians above and more. The next logical step was to be the Cosmic Joker sessions. vibes. Also the picture of new member Peter Otten was pasted in-between the four others. as found on their debut on the Cornet label in 1970. v PETER OTTEN v B NB: The fold-out covers of 1 & 2 are almost identical. you've got the album in a nutshell. Trauma (1971) was actually a re-recording of the same material. GOMMORAH Personnel: ALBUMS: • • • • • AD OCHEL g. Not as trippy as Seven Up. Nevertheless. pno. kb. They were brave enough to write German lyrics for their early material. A fifth member had been added: Peter Otten. The Lord Krishna von Goloka album really sounds like a cross between the styles of the participating musicians (the cue word here is "space"!!!): Floyd-like space rock (Wallenstein). It brought Wallenstein together with Klaus Schulze and Witthuser & Westrupp.Sacred Manner" were songs of celestial beauty with dreamy vocal harmonies and lush arrangements. Fans are also in need of his album's logical successor: Walter Wegmuller's large scale opus Tarot. This is another essential album! When Gila's activities came to a halt in 1974. The group formed as a quartet in the late sixties. Even if produced by Konrad Plank (present on all three albums). v ALI CLAUDI g EBERHARD KRIETSCH b. containing eight short tracks and the 8 minute "Trauma".. SERGIUS GOLOWIN ALBUM: "Lord Krishna von Goloka" (Kosmische Kuriere KK 58 002) 1973 Sergius Golowin was (is) a Swiss painter (responsible for the original cover painting of Ash Ra Tempel's Seven Up as well as his own sleeve) and a friend of Walter Wegmuller. Apart from this.

"1" (private) 1975 Another one of those sacred "heavy progressive" legends! Grave were a band of teenagers that formed in a Brinkum (near Bremen) basement in 1975. The two first albums fetch equally large amounts. Sadly it is one of the rarest Brain albums. Joachim "Eroc" Ehrig and Gerd Otto "Lupo" Kuhn were members. GROBSCHNITT Personnel: ALBUMS (up to '76): • • • • • • • • STEFAN "WILDSCHWEIN" DANELIAK v. The album is recommendable on the musical strength of the title track alone. Some recordings from this time are featured on Eroc's third solo album. resulting in a full blown heavy guitar freak out verging on space rock. and that people are prepared to pay 1. With additional members Axel "Felix" Harlos. straight forward and simple garage rock. you'll hear the tremendous development. like the fast competent rehearsals from your neighbourhood teenage combo. If Trauma at least in part was a great album. flt. v GUNTER WENDEHAKE b KLAUS MORITZ d NB: Also Re-issued on CD by Penner in 1993. With a primitive tape recorder. v GERD OTTO "LUPO" KUHN g. I cannot understand why this has become such a hunted collector's item. GRAVE Personnel: ALBUM: • • • • WOLFGANG KIESLER g LUTZ WOWERAT g. This was plain.000 DEM for it! But of course. Their history can be traced back as far as 1966 to a band named Crew.had grown to 13 minutes long and been completely changed into a heavy psychedelic space rock experience! Buy both and compare. drew from its best moments. Deutsche Version" (Brain 1081) 1976 This band became perhaps Germany's most popular live act in the late seventies because of their very theatric and bizarre shows. The rest of the material was still quite average. resulting in a purchase price of 150 to 200 DEM in mint condition nowadays. g JOACHIM "EROC" EHRIG d.B WOLFGANG "POPO" JAGER b C AXEL "FELIX" HARLOS d A (A)same (Brain 1008) 1972 (B)"Ballermann" (2 LP) (Brain 2/1050) 1974 (C)"Jumbo" (Brain 1076) 1975 (C)"Jumbo. perc A. other people have different opinions. I Turned To See Whose Voice It Was (1972). v VOLKER "MIST" KAHR kb B HERMANN "QUICKSILVER" QUETTING kb A BERNHARD "BAR" UHLEMANN b. of which Stefan "Wildschwein" Daneliak. six tracks were recorded live in the studio (Summer 1975) and released as Grave I in a limited edition of 100 copies. never re-issued after the initial release in 1972. Bernhard "Bar" Uhlemann and Hermann . It contained six tracks of a distinctly German character.

We'll Call You" (Atlantic 50022) 1973 . Half the album was taken up by the 33 1/2 minute composition "Solar-Music". a version of Jumbo with German lyrics appeared in 1976 to shorten the waiting time for the next album.v (ULI TREPTE b) A-C (HANS SACHS v) A (JIM KENNEDY g) B (AX GENRICH g) C-E (BRUNO SCHAAB b) D (HANS HARTMANN b) E (HOUSCHANG NEJADEPOUR g) F (CONNY VEIT g) G SEPP JANDRISITS g H JARGEN 'JOGI' KARPENKIEL b H ROLAND SCHAEFFER sax. Grobschnitt decided to continue. Uhlemann left again. This consisted of spaced out instrumental passages dominated by synthesizers and guitars. GURU GURU Personnel: ALBUMS (up to '76): • • • • • • • • • • • • MANI NEUMEIER d. The best track was the opening cut "The Exercussion of Mr. The album starts with the extremely silly "Sahara" sung by Eroc. theatre and pantomime with tasteless costumes. The next album Jumbo (1975) showed a clear debt to Genesis. Grobschnitt created a flying circus. The four tracks were typical progressive rock with complex arrangements. Hamburg. Eroc's ethereal electronic effects and the crazy humour revealed in places gave them some distinction. it's now a highly regarded album with memorable tracks such as "Wonderful Music" (3:03) and "Symphony" (13:44). Their new strategies were planned during 1972 and 1973: a totally unbelievable blend of rock show. Early in 1974 the stage music of the show made it to vinyl. After some months of contemplating their future. Neither critics nor buyers found this album very tempting at the time. on the double album Ballermann. drawing some influences from classical music. it is perhaps overshadowed by their later albums. weird make up and general lunacy with even their roadies appearing as actors on the scene. g. Their new bassist was Wolfgang "Popo" Jager. and its' orchestra was expanded by the inclusion of Volker "Mist" Kahr. Quetting re-surfaced as the keyboard player of Blonker in 1979. Nevertheless. Due to their busy live schedule. with Frank Mille (producer) and Konrad Plank (engineer) and released on Metronome's Brain label in the middle of 1972. Looking back. wit. Their self-titled first album was recorded at Windrose studios."Quicksilver" Quetting they christened themselves Grobschnitt in early 1970. The long instrumental sections were dominated by Lupo's varied guitar play. gags. Harlos and Quetting quit the group in the Summer of 1972 (Uhlemann also quit for a while). Smith". Much better were "Drummer's Dream" and "Morning Song". After Ballermann. v H (C)"UFO" (Ohr OMM 56 005) 1971 (C)"Hinten" (Ohr OMM 556 017) 1971 (C)"Kan Guru" (Brain 1007) 1972 (D)same (Brain 1025) 1973 (E)"Don't Call Us. which indicated their future direction.

a spacey and dreamy track sung by Bruno Schaab and including a great instrumental fusion sequence! In July 1973. Ch. The Guru Guru Groove came to life in 1968 with Neumeier. One side contained two short and commercial rock numbers (coupled as their first single) followed by a lenghty rock'n'roll medley! The other side had: "Der Elektrolurch". C. For many people. In June this trio recorded UFO with Julius Schittenhelm. though calmer and with some signs of structure evident. but apparently the group didn't know exactly what!. Trepte (TTE 002) (CD only. Uli Trepte left the group for solo sessions. who was born on 31 December 1940 in Munich. Hinten (recorded in July 1971 at Star Studios with Konrad Plank). After three albums of brilliant space rock the time was ripe for something new. Pape & Rosi Rosi (?) recorded July 1974. Kickbit Information and at last his own group Spacebox. improvised space excursions. was basically more of the same kind.NB: There is a LP Hot On Spot/Inbetween credited to Guru Guru/U. Up to 1967 Neumeier and Uli Trepte were members of the free jazz combo Irene Schweitzer Trio. followed by a floating space rock passage with strange mumbling and ending in a Hendrix-esque frenzy. Tomorrow's Gift . He had previously played with the Berlin group Agitation Free. led by the outstanding. In the Spring of 1969 Sachs left and the name was shortened to Guru Guru. Although Don't Call Us. (F)"Dance Of The Flames" (Atlantic K50044) 1974 (-)"Mani Und Seine Freunde" (Atlantic K50157) 1975 (H)"Tango Fango" (Brain 1089) 1976 One of the earliest and most legendary of German groups was Guru Guru. On 29 September they performed at the Internationale Song Tage in Essen. with the shortest back "Oxymoron" clocking in at almost 11 minutes. then a Cream-styled instrumental part. Guru Guru was a fascinating. At the end of the year Ax Genrich quit and was replaced by . a silly number soon to be their favourite live number. We'll Call You (1973) was a more consistent album than Guru Guru. heavy psychedelic space rock. The opening track "Electric Junk" is a typical example of Guru Guru's early music: it started as a loud Hendrix rocker. and "The Story Of Life". The music was thunderous. This time Neumeier also sang some nonsensical lyrics for our general pleasure. the 2nd part was sessions with R. this album was Guru Guru's finest achievement. This must have been something completely outrageous: Neumeier and Trepte performing improvised free jazz against which Sachs read texts. Kan Guru (1972) was a further development on their freaky jamming style. this was pretty powerful stuff that could had been a soundtrack celebrating the arrival of UFOs! Their next work. jumped around in a frenzied war dance dressed as a red Indian. W. debuting at the 'Holy Hill Festival'. It was a more accessible attempt at jazz-rock. Bunka. After this. This utterly tripped out album featured notorious titles such as "Stone In" and "Der LSD Marsch". none of the Atlantic albums were up to the previous standard. As judged by "Bo Diddley" on Hot On Spot (a 'split CD' where the other half was filled with exciting tracks by Uli Trepte and friends). Faust. it contained fewer highlights. if somewhat undisciplined. previously of the hard rock group Night Sun. Guru Guru's fourth album (1973) proved to be their most patchy to date. As in the case of early Ash Ra Tempel. 1988). often bordering on pure mayhem. The 1st part was recorded live in 1972. Trepte and Hans Sachs. in August. continued with spoken lyrics to a backing of percussion and noises. Burchard. hinting at some possible sources of their inspiration. Bohn. He was replaced with Bruno Schaab. Regrettably . Bruno Schaab was replaced with Hans Hartmann. colourful Mani Neumeier. like a continuation of Pink Floyd's "Interstellar Overdrive" or Hendrix' "ESP" As you'll guess. Genrich and Hartmann recorded their first album for Atlantic. The next month the trio of Neumeier. Heidelberg. Several guitarists joined and quit (the longest lasting was Jim Kennedy) before Ax Genrich became a permanent member in April 1970. where Neumeier. this was a power trio dedicated to endless. live act.

Tracks like "Israfil" sounded like them too. These sessions resulted in several albums: the Highdelberg album.actually the most consistent Guru Guru album for quite a while. Jackson formed Haboob in 1971. Munich. Mani Neumeier collaborated with his new friends frequently in the future and managed to assemble a new. ex-Kollektiv). After a project with Lothar Meid in 1970 named Tambarin lead to nothing. Jan Fride (drums. HABOOB Personnel: ALBUM: • • • JIMI JACKSON kb WILLIAM D. tango. from Kraan). percussion. From November 1974 to June 1975. manipulated vocals and keyboards. Neumeier played various studio sessions in Conny's studio together with Helmut Hattler (bass. flute). Karpenkiel and Roland Schaeffer (ex-Brainstorm). HAIRY CHAPTER Personnel: ALBUMS: • • • • • HARRY TITLBACH g HARRY UNTO v RUDOLF OLDENBURG b (RUDI HAUBOLD d) A WERNER FAUS d B (A)"Eyes" (OPP 5) 1970 (B)"Can't Get Through" (Bacillus 6494 002) 1971 . designed by Folk-U. the music became a conglomerate of those jazz-rock styles.Houschang Nejadepour. Harmonia's De Luxe (recorded in Forst) and the new Guru Guru album: Mani Und Seine Freunde. As this album was a collaboration between musicians from Karthago. both from Cluster & Harmonia). Embryo and Doldinger's Passport . Tommy Goldschmitt (percussion. Hans-Joachim Roedelius (organ. and Najadepour left again in July. with Olaf Kubler (producer) and Peter Kramper (engineer). before Guru Guru split. It looked like a lost Amon Duul album with its psychedelic sleeve. This brought further examples of Neumeier's peculiar humour in "Chicken Rock" and "Woodpecker's Dream". Jargen 'Jogi' Karpenkiel (bass. For the rest of the year Conny Veit played guitar. (reasonably) stable Guru Guru live crew with Jandrisits. Ingo Bischof (keyboards). v same (Reprise REP 34002) 1971 Behind this mysterious name (which means 'desert winds') was none other than the black American organist Jimi Jackson. POWELL g. Ax Genrich (guitar) and Gerd Dudeck (sax. previously the guitarist of Eiliff. v GEORGE GREEN d. soul and jazz-rock numbers. Dance Of The Flames (1974) proved that this particular combination wasn't very good. with a dense atmosphere of gurgling. There were also a couple of blues . Kraan and Guru Guru. Sepp Jandrisits (guitar). Dieter Moebius (synthesizer). best known for his distinctive choir organ on albums by Amon Duul II. from Kraan). Their album was recorded at Bavaria Studios. both from Karthago). This incarnation's first album Tango Fango (1976) was full of bossa nova. Rogner. verbal silliness and instrumental jazz-rock .

Hamel performed vocals in a special Indian vocal technique (named khyal) on Voice Of Silence and Buddhist Meditation EastWest (1975) HANUMAN Personnel: • • PETER EARTH v.NB: Reissues of 3 in 1972 on Bacillus BLPS 19074 This was a "no compromise hard rockin' quartet" from Bonn. It contained nine short. sax. sleeve artwork. Both this and Voice Of Silence were released on the legendary swirl Vertigo label. but also some great guitar parts.. . Hamel (1972) was a double album. In 1972 he guested on Agitation Free's first album. v . It had fantastic.. adding his peculiar hammond organ style.but this was the last that was heard from the Hairy Chapter! HAMARTA ALBUM: "Rockatorium" (Young 2000) ca. South American folk music and experimental electronics. but even heavier! The production was very rough. Some tracks were performed live without overdubs.1972 Just as the British group Out Of Darkness this was a Christian progressive rock project. Eyes was released in 1970 on the little OPP label. 1969) rumoured to include early versions of songs later appearing on the first Hairy Chapter album. During this period he played free jazz. colourful. setting standards for all the albums to come: long. and is quite valuable (DEM 300) these days. Under the name 'Electric Sounds For Dancing' they released an obscure album (Maritim. This was one of the first releases on Bacillus. From 1965-1970 he studied composition under Fritz Buchtger and Gunther Bialas in his home city. aided by the magic fingers of Dieter Dierks. In 1970 he founded Between with the Argentinean Roberto Detree and the American Robert Eliscu. meditative and floating tracks in a minimalist tradition. Not recommended. however! PETER-MICHAEL HAMEL ALBUMS (up to '76): same (2 LP) (Vertigo 6641 055) 1972 "Voice Of Silence" (Vertigo 6360 613) 1973 "Buddhist Meditation East-West" (2 LP) (Harmonia Mundi 2922 292) 1975 Peter-Michael Hamel (piano. electronics) was born in Munich in 1947. but had improved both musically and technically. The instrumental passages (that means uninhibited guitar debauchery) were longer. Rockatorium featured silly lyrics in German. comparable to the early Hendrix. raw hard rock numbers. The new drum player on this album was Werner Faus. organ. His interest in Eastern music and meditation resulted in several travels to Asia. as typified by the 11 minutes long title track. making this a charming piece of garage rock! Recommended for fans of wah-wah sounds and aggressive vocals from the underground! Can't Get Through (recorded from November 1970 to January 1971 in the Dierks Studio) was a similar effort. His first four albums are also very influenced by such elements. flt RALF SCHULTZE g.

he decided to leave Jane in 1974 with Wolfgang Krantz to form the group Harlis. a successor to the sixties beat band The Lords. The music was similar to Jane. In spite of their increasing popularity. v ANDY KIRNBERGER g. except for the inclusion of two short Handel compositions.ALBUM: • • JORG HAHNFELD b THOMAS HOLM d same (Kuckuck 2375 012) 1972 They made one album under this name before renaming themselves Lied Des Teufels. It was produced by Konrad Plank and Sky manager Gunter Korber at Conny's studio. Some of the tracks. kb RON SCHEEPMAKER kb GUNTER BOPP b HANS HARBRECHT d same (Brain 1060) 1974 A little known group. if a bit light-weight. An . Neunkirchen. The material was written by the group. HARDCAKE SPECIAL Personnel: ALBUM: • • • • • • JOCHEN LEUSCHNER g REINHARD BOPP g. but more mainstream heavy rock'n'roll and straight rock styled. but no heavy guitar passages. soft and classically-influenced album recorded live. HARLIS Personnel: ALBUM (up to '76): • • • • CHARLY MAUCHER v. The Bopp brothers and Harbrecht had previously played along with Ulli Gunther (vocals) in The New Lords. are quite good. Their first album also became the first release on Sky. They made a completely uninteresting pop-rock album in a pseudoAmerican style for Brain in 1974.000 series. with less instrumental work. probably the worst album of all on the Brain 1. like "A Second Time". b WOLFGANG KRANTZ g ARNDT SCHULZ g WERNER LOHR d same (Sky 001) 1976 Charly Maucher was a co-founder of Jane. Still it was better than most Jane albums released after 1974! HAX CEL ALBUM: "Zwai" (private) 1973 This obscure band's album Zwai gives no Information about who they were. one of the most successful German heavy rock bands in the seventies. There was massive use of flute. Look at this entry for more information. It is a quiet.

featuring humorous lyrics: "A Way To Find Paradise" told about a hippy's struggle to get his hashish to smoke! Scherler really had a strange and wild voice (he usually screamed as loudly as he could). but a bit more acoustic and folky. In the summer of 1971 he left this group to realize his solo ambitions. A poster was enclosed with a bizarre collage by Ernst Schultz. flt. pno.interesting album with an uncommon musical style for the era. recorded during April 1971 at the Clerks Studio. flt (PETER "KASSIM" KASEBERG b. kb (NANNY DE RUIG v) A CHRISTOPH "NOPS" NOPPENEY vln. Slow. v) A. g. Kenning pretended to be a protest singer and wrote political lyrics. Musically this wasn't dissimilar to Ihre Kinder. g CHRISTIAN SCHERLER v KURT FREI d NB: Re-issued in 1972 on Bacillus BLPS 19075.B (JOACHIM KASEBERG g) B HANS BAAR b. keyboards) was the leader of Ihre Kinder between 1968 and 1971. Hazecolor-Dia was a Hauke & Dierks production. HAZE • • • • • Personnel: ALBUM: DIETMAR LOW b HEINZ SCHWAB g HANS-JURG FREI kb. Tranengas was recorded the same year. HOLDERLIN/HOELDERLIN (2 LP-) Personnel: ALBUMS (up to '76): • • • • • • • • CHRISTIAN GRUMBKOW g JOCHEN GRUMBKOW cello. In January 1972 Hennig assembled a new Ihre Kinder line-up for Anfang Ohne Ende. cleverly-arranged heavy progressive numbers with a faint blues tinge. some still with the 6494 series number on the sleeve "Hazecolor-Dia" (Bacillus 6494 007) 1971 The single album released by Haze had another of those extraordinary artwork sleeves designed by Walter Seyffer of Nine Days' Wonder fame. vla. Their album is recommended for all freak rock fans! SONNY HENNIG ALBUM: "Tranengas" (Kuckuck 2375 008) 1971 Sonny Hennig (vocals. It was made to look exactly like a slide picture. g C MICHAEL BRUCHMANN d (A)"Holderlin's Traum" (Pilz 20 21314-5) 1972 . Several tracks also featured flute (the flute player is not identified on the cover). Arthur Brown and Captain Beefheart. All five tracks were written by Dietmar Low. complete with frame and a transparent picture of the group Haze. Haze were probably inspired by The Edgar Broughton Band. adding much to their gutsy freak rock style.

Together they handled 15 different instruments! Even so. Dieter Dierks developed this particular style further on the second Emtidi album. A second guitarist had also been added (Joachim Kaseberg. Apparently it was a strange type of concept album with a 'clown' side and a 'cloud' side. sounds like some African tribal ritual. Hans Baar became their new bassist and guitarist. the music had a dreamy. The group came together in December 1970. offering mostly instrumental work in two long songs. The keyboard work. "Drops" was a more common fusion piece (still much percussion!). The main work of the album was the 17 minute suite "Deathwatchbeetle". perc BASIL HAMMOUDI flt. With Konrad Plank. also from Broselmaschine) and Walter Westrupp (recorder). Musically this was another great album. Guests were Zeus B. v NORBERT BUELLMEYER b.607. The more folky driving force came from bands like Incredible String Band and more particularly Fairport Convention and Pentangle. brother of Peter). (B)same (Spiegelei 26511-5 U) 1975 (C)"Clowns & Clouds" (Spiegelei 26511-5 U) 1976 Holderlin established themselves in the mid-seventies as the leading German folk-rock band. Clowns And Clouds. with Joachim taking care of the live sound. Holderlin's further recording career was somewhat delayed by the demise of Pilz and Ohr in 1973. when a contract with Intercord Spiegelel was secured. Nanny de Ruig had by now left the band. The Kaseberg's had both quit Holderlin by this time. which was evident in the refined and complex arrangement. sometimes psychedelic atmosphere. the opening track on Supernova.601 & INT 160. "Athir" was arguably the best track. The latter was the best one. they recorded their second album in February 1975. flt WOLFGANG BUELLMEYER g. Grumbkow. Their progressive folk-rock had gained some influences from the lyrical. continued the development towards lyrical progressive rock.1 was re-released in 1981 in original fold-out cover on the 'Pop Import'-series. "Margah". in close competition with Ougenweide. 14 minutes of instrumental work with soprano sax to the lore. handled by J. resulting in an all-time classic album. perc ANDREAS HOMANN d "Supernova" (Spiegelei 5U 28501) 1972 Yet another one of those jazz-rock progressive acts hearing a distinct German flavour. more . The band really had a passion for percussion. 1st re-issues of 2 & 3 had new catalogue numbers: INT 160. As the title hinted. Several members had a classical music education. "High Life" was a 13 minute showcase for flute (sounds more like a recorder to me). Held (sax) of Birth Control and Norbert Jacobsen (clarinet) of Release Music Orchestra. vintage Genesis. who also featured beautiful female singers. and Holderlin gained the opportunity to record their debut album Holderlin's Traum in January 1972 in the Dierks Studio. three guests were featured: Peter Bursch (sitar. This collection of seven songs captured the sextet in excellent shape. from Broselmaschine). It seems as though the group weren't allowed to sign for another company before late 1974. was now more dominant with a considerable use of electric piano and string synthesizers. recorded during January 1976. When RolfUlrich Kaiser took over the management of the Pilz label in late 1971 he wanted to transform it into a progressive folk label. Mike Hellbach (tablas. IBLISS • • • • • Personnel: ALBUM: RAINER BUECHEL sax. The vocals were now shared between Joachim Grumbkow and Christoph Noppeney.

floating and relaxing music with soprano sax and guitar. not changing very much from start to finish. There are plenty of better progressive fusion albums. v) D-F (JONAS PORST d) A (PETER SCHMIDT d) B-E (GUNTER STORCH d) F HEINZ HOFF d G NB: 1 was re-released in 1976 on Erlkonig ERL 2003 & in 1978 on Erlkonig INT 148.3 & 4 were re-released in 1980 with the first four figures of the catalogue number missing. ID COMPANY Personnel: ALBUM: • • INGA RUMPF v DAGMAR KRAUSE v same (Hor Zu SHZE 801) 1970 This was a short-lived duo of Inga Rumpf and Dagmar Krause. but lately the demand is getting stronger. (B)same (Phillips 844 393) 1969 (C)"Leere Hande" (Kuckuck 2375 001) 1970/ (Polydor 2371 165) 1971 (UK) (D)"2375 004" (Kuckuck 2375 004) 1970 (E)"Werdohl" (Kuckuck 2375 013) 1971 (F)"Anfang Ohne Ende" (Kuckuck 2375 016) 1972 . This curiosity is extremely rare nowadays.C. v C-E. Supernova was an early Spiegelei release that could be hard to acquire today.F (TOMMI ROEDER b. For years it was disregarded and/or unknown among progressive fans. The same bass riff just goes on and on. IHRE KINDER Personnel: ALBUMS (up to '76): • • • • • • • • • • • • • SONNY HENNIG v A-D. v) A-E ERNST SCHULTZ g. A general impression of the album is that the four tracks are a bit monotonous. Perhaps it is of interest for Kraftwerk collectors as Basil Hammoudi previously played in the preKraftwerk group Organisation (also on the Tone Float-album). On their one-sided album an Eastern-influenced.G (KARL MACK b) A (WALTI SCHNEIDER b) B. flt.F.May 1972) with Konrad Plank.402 2. previously members of the IrishGerman folk group City Preachers. sax. German & English version of 2 are both available on one CD (re-issued by Ohrwaschl in 1991). jazzy folk music was offered.G (MUCK GROH g) A-E (WOLF STUMM g) F ULLI GRUN g G (GEORGIE MEYER flt. The album was recorded at Windrose studios (April. in my humble opinion.

Mack had now been replaced with Walti Schneider. v WULF DICHTER STRUNTZ kb . also took part in this project. Leere Hande (1970) was a great improvement. clarinet. 1971). In the mid-sixties the pop band Jonah & The Whales was assembled. This proved to be an ill-fated one-off attempt. Leere Hande was recorded during January and February 1970 in Union Studio. their first true folk-rock album. The group now produced themselves. in Bavaria Studio (July-Sept. Another incarnation gave concerts in 1974. Tommi Roeder had now replaced Walti Schneider. It was the first release on the Kuckuck label. now added as Ihre Kinder's sixth member. Sonny Hennig quit the group to realize his solo ambitions. Guitarist Muck Groh founded Aera after his years with Ihre Kinder and recorded his solo album Muckefuck in 1979. but musically the band had passed their creative zenith. Thommy Roder (bass). was a further development towards varied progressive folk-rock and some would say that it is their best one musically. Several demo tapes were recorded but no record companies were interested. and the group disbanded. Sonny Hennig (vocals). Ihre Kinder was to be a politically aware band using German lyrics. In January 1972 Sonny Hennig put the band into new life. named after a small German town in Sauerland. the rest came from Sonny Hennig. (F) line-up recorded the rather superfluous Anfang Ohne Ende. flute and electric guitars. In 1971 Ihre Kinder released their first single: "Die Graue Stadt" coupled with "Komm Zu Dir". able to support the forthcoming activities. The arrangements here were more varied with more use of organ. 2375 004 went even a step further. Some of them were written by Ernst Schultz. Hennig and Grun then founded a horrible soul poprock band named Powerful Tramps before regaining some musical sense for Meistersinger & Ihre Kinder. The 11 songs themselves were more memorable than those on the previous album. The technical quality had improved. and was eventually released by Phillips. Judith Brigger. A female vocalist. The band had also absorbed some progressive touches from groups like Traffic and Jethro Tull. featuring 12 short and easy-going folk-pop songs. Some of the compositions of Ernst Schultz were even slightly experimental ("Toter Soldat"). consisting of Jonas Porst (drums). Ernst Schultz (guitar) and Georgie Meyer (violin). After this. This album. a quintet that recorded two albums in the late seventies. Hennig contributed as guest on Werdohl. with Thomas Klemt engineering. Munich. Porst himself soon gave up the drumming and became Ihre Kinder's producer and manager. The album admittedly sounds quite dated today. Still it must be honoured as it is one of the first records (of Deutschrock!) with German lyrics. In Autumn 1971 Schultz set off to record his first solo album. sax. Porst's dad was a quite rich man. In July-August 1969 an album was recorded in the Clerks Studio at the band's own risk. resulting in the end for Ihre Kinder. generously enclosing a lyrics insert and a large poster. in 1968 Jonas Porst and Sonny Hennig decided to form a new group. However. even featuring washing instructions! It was recorded at the same venue as its predecessor in August 1970.Nuremberg's most valuable contribution to the polit rock scene was the group Ihre Kinder. Ernst Schultz broke with the management and took over the leadership of Ihre Kinder. flt. as it was released in a denim jeans cover. IKARUS Personnel: • • JOCHEN PETERSEN g. In 1966 they recorded a cover version of "It Ain't Me Babe" for a single on Vogue (DVS 14511). entitled after its own catalogue number.

Their lyrics critically scrutinised the behaviour of mankind with a particular focus on our darker sides. g. but their self-titled double album for Liberty was very inspired by the American folk-rock of Bob Dylan and The Band. In the late sixties they specialised in delivering soundtracks for German television and movies by Michael Verhoeven. Improved Sound Limited also merged in some more European elements into their folky rock style. but not exactly performed in idle way most of us like. Hoppe. released on the same label as the first Gomorrah album. I don't know this one (presumably a late beat rock effort). kb LOTHAR "JOHNNY" FICKERT v. Hoppe Reiter" (Cornet 15030) 1969 same (2 LP) (Liberty LBS 83506/07) 1971 "Catch A Singin' Bird" (CBS 65619) This Nuremberg group began to play together as early as 1961 under the name Blizzards. Their album comprised complex arrangements and melancholic melodies inspired by early King Crimson. for example In "Doctor Bob Dylan". Engelchen Macht Weiter. Hoppe. They used the name Improved Sound Limited from 1966. who later produced many a Brain album. Quite good compositions and lyrics ("The Dark Lord" was about Tolkien's "Lord Of The Rings"!). v LORENZ KOHLER v BERND SCHRODER d same (Plus 4) 1971 Ikarus were one of the first German progressive jazz-rock fusion bands and had a very varied sound. His style can be compared to other Plane . such as some fine flute phrases. IMPROVED SOUND LIMITED Personnel: ALBUM: • • • • AXEL LINSTADT v. Pedal steel guitar was played by Frank Baum and Ralph Nowy guested on trumpet and sax. Nowadays this album is very hard to get hold of. Dylan was mentioned several times in the clever lyrics (from now on written by Axel's brother Bernd). Ikarus also adapted that group's talent for building up long tracks from several individually subtitled themes.ALBUM: • • • • MANFRED SCHULZ g. Hoppe Reiter (1969) was the soundtrack from a Verhoeven film. v WOLFGANG KRACHT b. I'm afraid. Improved Sound Limited changed their name to Condor in 1976 and released a much worse album: Rathbone Hotel (1976). PETER JAKOBI ALBUM: "I Could Cry Vor Lauta Blues" (Plane S1001) 1974 Peter Jakobi was/is a polit rock artist from Munich. perc ULRICH RUPPERT b ROLF GROSCHNER d "Engelchen Macht Weiter. Regrettably their passion for American music led them closer to country music on Catch A Singin' Bird (1973). The band was led by Jochen Petersen. but is still the cheapest of the three albums on the Plus label.

bass) and Sol de Sully (percussion) later in 1974 using the name Zyankali. 5 & 6 and first reissues of 1. (A)"Together" (Brain 1002) 1972 (B)"Here We Are" (Brain 1032) 1973 (C)"III" (Brain 1048) 1974 (D)"Lady" (Brain 1066) 1975 (E)"Fire. Label manager Gunter Korber produced Jane's first four albums. piano. g. bass). 2 & 3 had brown Brain label. v) D MANFRED WIECZORKE kb F (CHARLY MAUCHER b) A. Indeed their patented rock sound wouldn't change too much during their long career. 5 & 6 and second reissuesof 1. recorded at Windrose Studios. like Dieter Suverkrup or Lokomotive Kreuzberg.C MARTIN HESSE b D-F PETER PANKA d NB: Originals of 1. Jane had developed these elements into a polished 1971 'progressive sound'. Peter Jakobi and Dieter Beck performed live with Ricky Balter (vocals. Hannover in June 1971. Michel was a Bavarian blues-rock artist and Weiss is known for his Niagara albums full of percussion playing. guitar. Iron Butterfly or early Deep Purple. Third reissue of 1 had a new catalogue number 60. After their appearance at the Little Woodstock Festival. Of most interest were the extended tracks "Spain" (11:53). Walter Brandl (guitar.E (GOTFRIED JANKO kb. b. With vocalist Bernd Pulst they recorded Together in Star Studio.acts. Hamburg. v B. This was an impressive debut with a dominant guitar and organ style. Willy Michl (vocals.B. guitar). Dieter Beck (bass. easy-going and pompous.398. Originals of 4. v. "Hangman" (9:58) and "Daytime" (8:05). He quit Jane in April 1972 and reduced the group to a quartet. For many people. Charly Maucher fell ill and was replaced by Wolfgang Krantz. This and the subsequent reissues of the other albums had the black Brain label. percussion). 2 & 3 had the green Brain Metronome label. JANE • • • • • • • • • Personnel: ALBUMS (up to '76): KLAUS HESS g. Quite a few people quote this . It is tempting to compare Jane's characteristic slow. which comprised slow heavy rock with guitar and organ reminiscent of Pink Floyd. classical influenced heavy rock arrangements to the music of groups like Vanilla Fudge.001) 1976 Jane was among the most commercially successful groups in Germany in the seventies. 2 & 3 had green Brain label without the Metronome typing under the Brain logo on the label. Just before Here We Are. The four tracks on side two revealed the rawer and heavier side of Jane. Earth & Air" (Brain 1084) 1976 (F)"Live At Home" (2 LP) (Brain 80. Some would say their music is far too predictable. featuring both long instrumental work-outs and some good shorter songs. This was another great album. guitar) and Klaus Weiss (drums). Water. the low-point of Together had been the turgid vocals of Bernd Pulst.C WOLFGANG KRANTZ b. Hamburg in late 1971 with Konrad Plank. First reissues of 4. I Could Cry Vor Lauta Blues (1974) was recorded by Peter Jakobi (vocals. The band was founded in 1970. a recording contract with Brain Metronome was secured. The highlight was definitely the nearly instrumental opening track "Redskin" (8:54). kb (BERND PULST v) A (WERNER NADOLNY kb) A.

This Is My Life (1972) contained hardly anything of interest for connoisseurs of German rock: it was a not-verysuccessful singer & songwriter affair. Maucher thus returned to Jane again and for a short while their characteristic organ sound was abandoned. including nine straight and short tracks with a folky touch. Eloy. More changes in personnel followed in the Summer of 1974: Maucher and Krantz quit Jane to form Harlis. g . Synthesizers were now introduced. Although this music was dismissed by the reviewers.album as their favourite by Jane. but also brought in some rather misplaced gospel-soul vocals. Merely a month after the recordings of Here We Are were finished. Nadolny had quit again. It was their first self-produced one. b. The concept album Fire. Novalis and others enjoyed long lasting and/or increasing success with their accessible records. In general it was a highly enjoyable album. JEREMY B Personnel: ALBUM: • • • • • • JEREMY BENDER v PETE BENDER kb RAINER MARZ g ALFRED HEUPT kb HERMANN BAERSCH b. Earth & Air was a more rewarding album than its predecessor. Nadolny quit to form his own band Lady. previously of Eloy. Luckily enough former organist Werner Nadolny soon replaced Janko again. v CURT CRESS d NB: Re-issued on Bacillus BAC 2006 "This Is My Life" (Bacillus BLPS 19080) This is one of the Bacillus releases that it is difficult to find nowadays. the commercial response was great. recorded in dummy-head stereo at Plank's studio in November 1975. As with most other live albums. Jane. it was mostly of interest for fans and quite superfluous for others. resulting in a typical late seventies symphonic sound. It was recorded in their hometown of Hannover in August. Their replacements were Martin Hesse and Gotfried Janko (previously the leader of Dull Knife). For a large tour in March 1976. resulting in a more ordinary heavy rock sound. One felt that this album was an attempt to continue their increasing success with easy-going heavy pop. However. His first recording with Jane was a double live album: Live At Home (1976). It was really one of the most mediocre Hauke-Clerks productions ever and I wonder why they bothered! JERONIMO Personnel: • GUNNAR SCHAFER v. Water. Janko brought back the organ sound for the album Lady (recorded at Conny's studio during November 1974 and January 1975). This time the replacement was a better choice than in the case of Janko: Manfred Wieczorke. On Jane III Hess and Krantz fought twin guitar battles instead. This album (recorded at Conny's Studio in February 1974) also opened with an excellent long and mainly instrumental track: "Comin' Again" (9:40).

It was a half-successful attempt to perform more "progressive" hard rock. Soon after. (B)"Cosmic Blues" (Bellaphon BI 1530) 1970 (C)same (Bacillus BLPS 19044) 1971 (C)"Time Ride" (Bacillus BLPS 19095) 1972 Jeronimo was a straight hard rock group that even enjoyed a bit of chart success in their time with "Heya" coupled with "So Nice To Know". as their two other albums have. Hajo Born had quit. 1970). Koch and Funk went on to record what since has become one of the most hunted German albums among collectors: the self-titled Jeronimo with the "Indian cover".B RINGO FUNK d NB: Re-issue of 1 on Bellaphon 220-03003. presenting much vitality and hard rock dexterity in straight-forward songs like "Understanding". co-founder of Epsilon in 1970 with Michael Winzkowski and Michael Ertl. For Time Ride (1972). The trio of Marz. This was also a good album. pop. several times! It's open to question if the album is worth the 500 DEM dealers are now claiming for an original copy. in many respects their first album. This was hardly cosmic blues. Still stranger the album never has been re-released. By then they had already been together since the midsixties (?). to be replaced by Michael Koch. When Jeronimo broke up. but a confusing collection of their three first singles and six other tracks that presumably were recorded as potential singles in 1969. hut some of the enthusiasm of the previous album seemed to have been lost. At the time of release. rock'n'roll. Jeronimo came under the guiding hands of Peter Hauke and his Bacillus label. v) A MICHAEL KOCH g. "Na-na-hey-hey" coupled with "The Light Life Needs" (AD 1110. 1969) and "Never Coin' Back" coupled with "The Key" (AD 1133. Jeronimo's first appearance on album was on the strange split LP with Creedence Clearwater Revival: Spiritus Orgaszmus.B (WALTER ORTEL kb. second re-issue on Bellaphon 260-09-015. kb C (HAJO BORN g. v. as is so often the case. with an "orgasm cover". Schafer and Funk were pictured on the cover. JOIN INN ALBUM: "Kentaloupe Island" (Menga MEL 3302) 1974 .ALBUMS: • • • • • (RAINER MARZ g) A. "Shades" (A & B sides of a single lifted from the album) and "Sunday Child". folk-rock and vintage hardrock. Ringo Funk became the drummer of Atlantis. They had now developed a common direction . the long drums solo on "Hagudila" was. their 1969 debut single for Admiral (AD 1105). Among the members from 1967 to 1968 were Walter Ortel.heavy guitar-based boogie blues and rock'n'roll. This album was also released in France. much like a cross between Creedence Clearwater Revival and Groundhogs at their best! This was by far Jeronimo's best album. poster and pink vinyl (Bellaphon BI 1527). presenting soul-beat pop. However. kb) A. also Rainer Marz quit. only a small number of copies were pressed. The trio of Schafer. which contained very little information. superfluous! For some unknown reason. All six Jeronimo songs were featured on their subsequent album for Bellaphon: Cosmic Blues. Re-issue of 3 on Bellaphon BAC 2010. 1 & 3 are now also available on CD.

clearly inspired by Janis Joplin. Traylor had left. apart for a couple of short brass-jazz tracks. The arrangements were refined. Their last album. v A. HERKENNE d Also US-issue of 2 on BASF 21090 as Butterflies (A)"Overground" (Polydor 2371 050) 1970 (B)"Schmetterlinge" (Pilz 20 20090-1) 1971 (C)"Reflections" (BASF 20 211686-1) 1973 (D)"Minne" (BASF 17 22331-0) 1974 This group began their life as Joy & The Hit Kids. ranging from the gutsy Joplin blues of "Rankness" via free jazz improvisations like "Sensual Impressions" to excellent progressive rock songs like "Rudiment". The six tracks were engineered by Eroc of Grobschnitt fame. tpt. Also Klaus Nagel left. It represented a softening of their style . v DIETER KINDL b. This album saw the arrival of a seventh member: Cord Kothe. featuring many flute and sax solos. However. Polydor also released their first album Overground (1970). it is a bit dated today and only completists should investigate. the group was a sextet. JOY UNLIMITED Personnel: ALBUMS: • • • • • • • • • • (JOY FLEMING v) A. contained ballet music! The female vocals placed Joy Unlimited in the European tradition of bands like Sandrose. v JOSCHI DINIER v. a befitting title. perc D CORD KOTHE sax. and both of the subsequent albums. KALACAKRA . Their name was changed into Joy Unlimited in 1969.000 and Earth & Fire. Hans Lingenfelder and the returning Klaus Nagel. By then. as it contained 12 short pop-blues rock songs. and Reflections (1973) was recorded by the five remaining members and new American Ken Traylor. Circus 2. Influences from classical music and folk were also more evident in the compositions. Join Inn were from Gelsenkirchen and played a largely instrumental progressive jazz-rock. fronted by the talented female vocalist Joy Fleming.B. Most material was now instrumental. this was to change when Joy Fleming departed to start a solo career in 1972. Minne was a very good orchestrated progressive folk-rock album. For this reason. and five further singles were released on Polydor in 1969 and 1970 (I'm not sure if some of the singles were issued under the old name). would have fitted in fine on the Pilz label alongside the folk albums of Holderlin and Broselmaschine.D (KEN TRAYLOR v.B KLAUS NAGEL g.more sophisticated and homogenous. g) C HANS LINGENFELDER g D ROLAND HECK kb. Indeed a very versatile album. b. basson HANS W. This. benefiting from the group's strong musical muscle. Minne (1974).Their album Kentaloupe Island (1974) was released on the same label as Think's Variety. Schmetterlinge ('butterflies') was a solid step in a progressive direction. flt B-D ALBIN METZ b. being replaced by Joschi Dinier. and they released four singles on Decca in 1967 and 1968. flt. sax.

the album is for the large part . same (PA 10-2009) 1974 This group with a completely ridiculous name made a legendary private pressing originally released in a strictly limited quantity. "Crawling To Lhasa" (private K-ST-2000) 1974 If you love deranged acid folk-rock. Kaleidoskop was recorded June 1974 in Tonstudio Co-operative. It was released in a black and white cover with a surrealistic drawing on the front.. I'm afraid I can't agree . The German Kaleldoskop (from Bremen) were purveyors of a characteristic instrumental jazz-rock fusion. I don't know if Wolfgang Schroldt is the same to the one that produced the Eulenspygel-albums (he's probably not). harm HEINZ MARTIN g. Hannover. look no further! Kalacakra certainly made one of the weirdest excursions into disjointed Eastern psychedelia on Crawling To Lhasa. vibes. synth NB: A counterfeit from 1987 exists. perc. claiming that it is excellent. cello. Their album was released on Lava. v WILFRIED KRICKHAHN v HOLGER HELDT b ARNE LINDE d NB: Re-released on CD by Ohrwaschl in 1993. probably only interesting for jazz purists.. BUCHFELD g. The bassist and drummer later went on to assemble the musically very different Kaleidoskop Band! KAPUTTER HAMSTER Personnel: ALBUM: • • • • • PETER N. pno. this album was a private pressing. This is what Incredible String Band would have sounded alike if Mike Heron and Robin Williamson suddenly became ten times more insane! Kalacakra were also a duo. It contains eight average quality tracks. vln. clarinet WOLFGANG SCHMEER sax. steel GUNTER BLENDERMANN b DIETMAR SCHMIDT d same (Lava TCH 74002) 1974 It seems that every nation had a group named 'Kaleidoscope'.Personnel: ALBUM: • • CLAUS RAUSCHENBACH g. v FRANK LINDE g. KALEIDOSKOP Personnel: ALBUM: • • • • • • PETER BARKHOLD sax ULRICH FRAMKE sax. flt. Re-released on CD by Lost Pipe Dreams in 1993 including bonus tracks. v. Some second hand record dealers rove about the musical quality of this album. a small label which also licensed obscure Anglo-American jazz artists. Their album is recommended if you got a strong sense of humour and wish to know more about such topics as Die Schwarze Pest and all the persons named Jaceline! Naturally. flt WOLFGANG SCHMIDT kb.

heavy guitars and South American rhythms. They were from Flensburg. inventive and expensive six part fold-out cover with several die cuts! Certainly a lavish package. second re-issue Bacillus 260-09-036. This was much more of a joint group effort. gutsy vocals of J. More Santana-esque instrumental work was present on Second Step. etc. like the catchy little instrumental "Nos Vamos". second re-issue in 1979 on Brain 40. Most of the material was great. KARTHAGO Personnel: ALBUMS (up to '76): • • • • • • • • • • JOEY ALBRECHT g. The music itself is simple and boring garage rock that certainly fails to arouse my enthusiasm. In my opinion. The best tracks in this style were "Why Don't You Stop Buggin' Me" and "String Rambler". Arktis. two additional members were added to their line-up: Ingo Bischof and Wolfgang Brock. v REINHARD BOPP g. had a more distinct Latin character. Just a month before the recordings of their first album began. balanced between jazzy keyboards.087 Re-issue of 2 on Polydor 2459 068 (1975). but I feel Ingo Bischof's compositions were a bit out of . Since 1968 they had performed together in clubs as the duo Blues Machine. In 1970 they engaged the Bolivian percussionist Thomas Goldschmitt (mainly hand percussion) and soon landed a recording contract with BASF. Hamburg.088 (A)same (BASF 20 21118-5) 1971 (B)"2nd Step" (BASF 20 2178-0) 1973 (C)"Rock'n'Roll Testament" (Bacillus BLPS 19201) 1974 (D)"Live At The Roxy" (2 LP) (Bacillus BDA 7506) 1976 Re-issue of 3 on Bacillus BAC 2032. as the album was recorded by teenagers in their home studio after school. recalling the Jimi Hendrix Experience and the heavy progressive funk band Funkadelic. Florian Geyer. Bellaphon 320-09-004 & Bacillus 260-09-004. Karthago were founded in Berlin by Joey Albrecht (originally from Hannover) and Gerald Luciano Hartwig. May 1973 with C.D (GLENN CORNICK b) C THOMAS GOLDSCHMITT perc (WOLFGANG BROCK d) A (NORBERT "PANZER" LEHMANN d) B (KONSTATIN BOMMARIUS d) C RINGO FUNK d D NB: There should exist a later BASF-press of 1 w/out the 6-part fold-out cover with the same order number. in the North of Germany near the Danish harder. Others. this is a very underrated album! Few other German bands recorded music in this particular style. Karthago was recorded in October 1971 at Audio Tonstudio. Berlin with Dieter Zimmermann producing and Stan Regal engineering. recorded at Windrose Dumont Time. very much like early Santana.but actually outdoing them! Karthago's sound was graced with excellent heavy guitar work and the funky. It was released in a spectacular. recalling the multicoloured and psychedelic Santana album designs . Re-issue of 4 on Bellaphon BAC 2040. Re-issued 1979 on Brain 40. Still you could try it if you like albums by Grave. Hudalla producing.B. Albrecht.v D INGO BISCHOF kb GERALD LUCIANO HARTWIG b A. & M.just rubbish! The sound quality is primitive (but not really bad).

a trade mark of Peter Hauke and Dieter Dierks. Horst Luedtke (guitar). Then within months Lehmann departed to the heavy progressive band Epitaph. Concerts in Berlin and Hamburg in January 1976 were recorded and released as the double album Live At The Roxy (1976). recorded in England. Their album also featured some guests: Claus Lamdauer (guitar) and Thomas Altrogge (violin). g HARALD GOLBACH perc "Stiehl dem Volk die Geduld" (Schwann AMS 519) 1972 The group Kattong made an album of pleasant political folk songs way hack in 1972. It is very rarely seen nowadays. as the group disbanded in the Spring of 1976.place . the duo of Baier and Kucklenbruch recorded an album that also featured Harald Golbach: Gitarre vor'm Mauch (1971). KIN PING MEH Personnel: • • • • • (JOACHIM SCHAFER g.Glenn Cornick (ex-Jethro Tull. Wild Turkey) joined the band in October 1974. Frank Baier later collaborated with Walter Westrupp (of Witthuser & Westrupp fame) as Baier-Westrupp and recorded another album of acoustic folk songs in 1976 on the Plane label. On the album there were ten short songs rooted in the characteristic German "lieder" folk tradition. although his British signing Nektar recorded in Germany for years! Karthago's new album did quite well and many people consider it to be their best. manager of the Bacillus label.his songs were almost singer-songwriter type of ballads! Original drummer W. Bischof and Goldschmitt were also helped by Reinhard Bopp (exHardcake Special) and Ringo Funk (ex-Atlantis. Albrecht. Nine Days' Wonder . Gerald Hartwig was now back in action again. As Glenn Cornick had quit the group. v) A (WILLIE WAGNER g. It marked a change of style towards a smooth. His replacement was something of a sensation at the time . England. Jeronimo). This record literally became the "Karthago testament". g. Into Karthago came Konstatin Bommarius (ex-2066 & Then. Hans-Josef Stick (organ). KATTONG Personnel: ALBUM: • • • FRANK GAIER v. Brock had left for The Rattles in February 1973 and was replaced by Norbert "Panzer" Lehmann on this album. The bass player Gerald Luciano Hartwig also left . About the same time.D (WERNER STEPHAN v) A-D . The producer of this album was Peter Hauke.in the Summer of 1974. harm. Prior to this album. Detlef Krause (bass) and Martin Napiersky (drums). kb. another of his German signings. v) B (ULI GROSS g) C GAGEY MROZECK g C. where they recorded Rock'n'Roll Testament in the Chipping Norton Studios. in November 1974. wellproduced rock with some minor symphonic touches. Abacus). harm ROLF KUCKLENBRUCH v. Karthago had become another purveyor of the characteristic 'Bacillus rock' . A revamped five-piece Karthago signed with Bacillus and relocated to Oxford.

The quintet recorded Kin Ping Meh III (1973) with added choir and brass.D KALLE WEBER d NB: Re-issues of 1 & 2 on CD in 1990 & 1991 on Polydor arranged by Second Battle (B)same (Polydor 2371 259) 1971 (D)"No. like "Too Many People". and was replaced by Chris Klober (ex-Curly Curve). Indeed Wagner wrote the stand-out track of this album. Soon Kin Ping Meh were discovered by Polydor's talent scouts. . performing a rough hard rock modelled on British bands like Deep Purple.ALBUMS (up to '76): • • • • • • GEFF HARRISON v E (FRITZ SCHMITT kb) A-E CHRIS KLOBER kb F (TORSTEN HERZOG b) A.a highlight of the album! Fans of early Kin Ping Meh should also check out the double album Hazy Age On Stage (Second Battle SBT 002) (1991). most people find their 'new' sound far less appealing than their previous one. He was promptly replaced by Willie Wagner.22613) 1974 (F)"Concrete" (2 LP) (Nova 6. but only with moderate success. Unfortunately. who joined the band in the Windrose Studio. 1973 and also some studio out-takes from 1972. Even if you do not find this style attractive. this quintet assembled in Mannheim. The engineer was none other than Konrad Plank. Torsten Herzog and Willie Wagner left Kin Ping Meh in 1972. The band had already been expanded with Alan Joe Wroe. Gagey Mrozeck recommended Geff Harrison (his old friend from 2066 & Then) as a replacement for Werner Stephan. culminating in a long instrumental jam . Frame. etc. Uli Gross (but he left again within Months) and Gagey Mrozeck (ex-2066 & Then). There were also some mellow.it was filled with great quality heavy progressive rock. the opening 11 minute track "Fairy-Tales". Virtues And Sins (1974) was a further slide towards a more standard Anglo-American influenced rock. It's now quite rare (selling for more than 300 DEM) as the first and only vinyl edition was only pressed at around 5.B ALAN JOE WROE b C. 2 (1972) followed the path of its predecessor . you'll sense the great enthusiasm of the band. none of their following albums could match their first two. Zarathustra. Joachim Schafer left the hand just before the recording of their first album. Kin Ping Meh was produced by the experienced rock veterans Achim Reichel and Frank Dostal. featuring great live tracks recorded in Sprendlingen in January. "progressive" guitar and organ solo parts. Frieder Schmilt left in 1975. No. He only participated on the double live album Concrete (1976) before the band fell apart. Regrettably. 2" (Zebra 2949 005) 1972 (E)"III" (Zebra 2949 011) 1973 (E)"Virtues & Sins" (Nova 6. Geff Harrison set out on a solo recording career. The album is highly recommended for fans of groups like Epitaph.28370) 1976 As far as I am aware there were no other German bands like Kin Ping Meh who chose their name in the Chinese language! In 1970. recorded live and boasting an irresistible chorus. folky songs on the album. a haunting heavy rock song with long. When vocalist Werner Stephan left in May 1973. They played live extensively during their early years. it marked the end of Kin Ping Meh's first phase. Besides their self-written material. Kin Ping Meh were also bold enough to make an 11 minute version of "Come Together".000 copies. Uriah Heep and Spooky Tooth.

as Kollen died from carbon monoxide poisoning in his car in a garage on 3 May 1977. KRAAN Personnel: • PETER WOLBRANDT g . KOMKOL Personnel: ALBUM: • • • • • HANS JURGEN EICH g. leaving the bass to Dieter Petereit. when he decided to attempt a solo career. zither KLAUS DAPPER flt. v MISCHA ZAI kb. Tango Fango (1976) and Globetrotter (1977). vocals. Luckily these guys could handle their instruments quite well and wrote some fairly good political folk-rock songs and at times they were comparable to Ton Steine Scherben. Kollen's past as a Triumvirat member was evident in his music. For the studio sessions of Index they were joined by two further comrades: Fred Pfirrmann (organ. The album was recorded in March 1973 at the Windrose Studio in Hamburg with Konrad Plank engineering. and "Gageg". v THOMAS ROSCHER b. even if it was of a simpler character and more widely accessible. text) and Rudolf Leubner (text). a large scale fusion composition covering the whole side two and featuring many great guitar passages. Jorgen Fritz from Triumvirat handled the keyboards and Matthias Holtmann the drums. The best tracks on it were "Rambo Zambo". The band lived at Mainz-Weisenau. Jogi Karpenkiel later became a member of Guru Guru and contributed to some of their most jazzy albums: Mani und Seine Freunde (1975). sax JURGEN 'JOGI' KARPENKIEL b WALDEMAR KARPENKIEL d same (BASF 1034) 1973 This group made one fine jazz-rock fusion album. On his single album he switched to lead guitar. The title of the album unhappily became ironic.KOLLEKTIV Personnel: ALBUM: • • • • JURGEN HAVIX g. v DIETER SALLINGER d "Index" (Kanal LEUB 25) 1972 Their group name was a shortening of 'kommunikation and kollektiv'. perc. a work-out for electric flute. released on Brain in 1973. HELMUT KOLLEN ALBUM: "You Won't See Me" (Harvest 1C064-32465) 1976 Helmut Kollen was the bassist with Triumvirat until 1976. An obvious hint of the direction of the band: political rock! Komkol were five young men living in a commune to: 'discuss political matters and make protest songs' (as they put it themselves). v WALTER SLANSKY g. but recorded the album in the Munich Union Studio in the Summer of 1972.

Kraan toured Germany a lot and were renowned for their great performances full of improvisations. All members had their backgrounds in free jazz bands. now adding a fifth member: Ingo Bischof. Let It Out (1975) proved to be a disappointment (for the band as well) and Bischof left at the end of the year. (C-) electronics FLORIAN SCHNEIDER flt. Wintrup (1973) and Andy Nogger (1974). it was recorded in just three days at Studio 70. (C-) electronics (KLAUS GINGER perc) A.B (MICHAEL ROTHER g) B (EMIL SCHULT g) D (PLATO RIVIERA b) D KARL BARTOS drum machine F . After one German tour and a third UK tour Pappert also left in August 1976 to go solo. vln. Instrumentally it was well-balanced between Pappert. Johannes "Alto" Pappert on his side had a passion for soul. He had previously been a member of Karthago.ALBUMS (up to '76): • • • • JOHANNES "ALTO" PAPPERT sax INGO BISCHOF kb B HELMUT HATTLER b JAN FRIDE d (A)same (Spiegelei 9U 28778) 1972 (A)"Wintrup" (Spiegelei 9U 28523) 1973 (A)"Andy Nogger" (Spiegelei 26439) 1974 (A)"Live" (2 LP) (Spiegelei 8U 26440) 1975 (B)"Let It Out" (Spiegelei 1U 26542) 1975 The name Kraan was short. In 1975 Kraan made two tours in the United Kingdom and also appeared at the Danish Roskilde festival in July. They sold quite well. Wolbrandt and the outstanding bass-work of Hattler. even gaining a release in the States. A remarkable album. but came to Kraan directly from a rock band.B (ANDREAS HOHMANN perc) A. Kraan was formed in Ulm (south of Stuttgart) in 1970. KRAFTWERK Personnel: • • • • • • • • RALF HUTTER kb. It contained their basic live repertoire at the time (and also favourites for years to come) like: "Kraan Arabia" (a cunning jazz trip into Eastern music) "Sarah's Ritt Durch den Schwarzwald" and "Head" (an 18 minute long improvisation).one of the best German live albums of all time! Improved versions of many of their old songs were included with extended solos. The two following albums. The album was recorded at Quartier Latin in Berlin in September 1974. Still the band was to become one of the most important and stylistically characteristic German jazz-rock bands of the seventies. then just 20 years old but already a master of his instrument. Munich. Their debut album was recorded in May 1972 and later released on Spiegelei in a colourful fold-out sleeve. concise and meant absolutely nothing. The excitement of a Kraan concert was caught perfectly on Live (1975) . were similar in style. In those days.

"Strom" and "Tonwelle" which included added sound effects. The record company Phillips were apparently quite open minded about experimental music at the time. Schneider's flute and violin and manipulated percussion. the sales in Germany were stunning: more than 50. . violin. Kraftwerk performed live in France and Germany with Emil Schult. It wasn't really an "electronic" album. Indeed this was the reference point from which their characteristic "kling-klang musik" gradually evolved during the following years. The purpose was to experiment with electronics and new sounds without the pressure of limited studio time. showing some of Kraftwerk's most romantic sides ever. flute. bass. This album also charted in Germany. guitar. drum and percussion. "Ruckzack" was an experiment of musical scales and flute riffs over a strong and hypnotic rhythm backing. gradually changing pitch. Kraftwerk I was released in November 1970. For the pre-Krartwerk history. as they signed groups like Cluster. and Plato Riviera. later their lyrics writer. A far more accessible album. (A)same (Phillips 6305 058) 1970 (C)"2" (Phillips 6305 117) 1971 (E)"Ralf + Florian" (Phillips 6305 197) 1973 (F)"Autobahn" (Phillips 6305 231) 1974 (F)"Radio-aktivitat" (Capitol 1C064-82087) 1975 (F)"Trans Europa Express" (Capitol 1C064-82306) 1976 No other German band has been of such importance to the development of international rock music as Kraftwerk have. where their klingklang music for the first time also became "Tanzmusik" (song title)! Other great tracks were "Kristallo" and "Ananas Symphonie". Occasionally Kraftwerk performed live in 1970 as a quintet with Michael Rother as the fifth member. In the Summer of 1970. This was a development of the musical idea for "Ruckzack" Kraftwerk's patented klingklang-music was born! The rest of the album was filled with brave experiments. Hutter und Schneider recorded the next album Kraftwerk 2 as a duo in 1971. such as the dissonant and noisy musical associations of "Atem" ('breath'). This aspect of their career is well documented elsewhere. A suitable name for 17 minutes of improvisation upon an electronic rhythm backing. Ralf Hutter and Florian Schneider finished their own "Kling-Klang" studio in Dusseldorf. At the beginning of 1972. The track that strongly pointed forward was the excellent "Klingklang". Instead Kraftwerk used the sounds of electronically-manipulated oscillator. though some of them failed. as no synthesizers were in use. organ. For the recording of the first Kraftwerk album in the Summer 1970 they were helped by two percussionists: Klaus Ginger and Andreas Hohmann.000 copies were sold and it also peaked at Number 30 in the national pop charts. It was a landmark of experimental music featuring Hutter's organ sounds. please look at the Organisation entry. so I will concentrate on their early years. peaking at Number 36. 3 also UK issue on Vertigo 6360 616. "Megahertz" was filled with slowly evolving musical clusters while "Stratovarius" and "Vom Himmel Hoch" were more violent and atonal. Schult also made a comic insert for Kraftwerk's next album Ralf + Florian (1975).ALBUMS (up to '76): • WOLFGANG FLUR drum machine F NB: 1 & 2 released in the UK on swirl Vertigo 6641 077. This time the result was more mixed. Considering the unconventional music included on the album. Zweistein and Kraftwerk within months (late 1970 to early 1971).

cultivated and perfected in the studio down to the smallest detail. This was the first time Kraftwerk used naive but effective lyrics and vocals. This really pushed the British synthesizer-pop boom to take off around 1979. vocals. Inga Rumpf handled the vocals on one of the five tracks. Kravetz also helped his mate Udo Lindenberg on many of his solo albums. offering much time for inspired instrumental work . clean-cut hair and identical ties and suits.men or machines?'. exclusively with electronic equipment.almost like a "lost" Frumpy-album! It was recorded at Windrose studios. the more mainstream rock group Atlantis. Soon several stupid and ignorant articles in the press formulated such questions as: 'Kraftwerk . The synthesizer harmonics in the main theme line were simply irresistible. This was a schizophrenic kind of concept album. but it surprisingly flopped in UK and the USA. The title track became a new hit single in several European countries. the next thing to come was Kraftwerk's big commercial breakthrough. Hamburg. he also wrote all lyrics and some of the music). In the Autumn of 1976 the quartet set out on a major European tour. Carl-G. For an ambitious USA tour (April to June 1975) Kraftwerk were expanded to a quartet. toying with the equivocal meaning of the title and thus dealt with both Madame Curie's dangerous inventions and the more harmless radio waves. For months a collective group image had been carefully planned and constructed . After this project Kravetz returned to Frumpy in time to contribute to the last part of the recordings for By The Way (1972). were already available in 1973 as a single. percussion. Radio-Aktivitat (released December 1975) was their first album to appear in both a German and an English version. Stephan (bass) and Thomas Kretzschmer (guitars). For the rest of the year Trans Europe Express was recorded. in Germany. the USA and UK with the album and particularly the single "Autobahn". Here they concentrated fully on making intelligent. Kravetz coproduced it with Thomas Kukuck (also engineering). In 1972 he apparently had a rift with the rest of Frumpy. during April 1972. With Inga Rumpf and Karl-Heinz Schott he then founded Frumpy's logical successor. Two other fine tracks of the album. It was a classic within this field. The group has retained this 'man machine' image ever since to keep the sensation-fixed press continually amused. This was an edited version of the 22 minute title track occupying side one of the album. JEAN-JAQUES KRAVETZ ALBUM: same (Vertigo 6360 605) 1972 The Frenchman Jean-Jaques Kravetz is best known as the organist of Frumpy and Atlantis. rhythmic and danceable pop songs. The album was filled with both tuneful miniatures and noisy oddities.one of four young men with short. featuring Karl Bartos and Wolfgang Flur (both playing electronic percussion). keyboard-dominated progressive rock. and set off to record a solo album for Vertigo with his friends Udo Lindenberg (drums. Musically this was fine.As most of you already will know. "Kometenmelodic 1 & 2". VOLKER KRIEGEL ALBUMS (up to '76): "Spectrum" (BASF 21-20874-5) 1971 "Inside: Missing Link" (MPS 33 21431) 1972 "Lift!" (MPS 21 21753) 1973 "Mild Maniac" (MPS 21 22060-6) 1974 . a major electronic opus dealing with the monotonous German motorways.

LA DUSSELDORF Personnel: ALBUM (up to '76): • • • NIKOLAUS VON RHEIN (KLAUS DINGER) g. were undoubtedly inspiring many forthcoming bands of the Neue Deutsche Welle (circa 1979-1984). Grossmann and Zaake quit and were replaced by Matthias Jabs and Rob Perotti. Albert Mangelsdorff (bassoon). v HANS LAMPE perc. The sleeve also mentioned another guest. Volker Kriegel's albums featured famous jazz musicians such as Peter Trunk (bass. as opposed to the almost rural atmosphere on Neu '75 . This resulted in the formation of Lady in 1976. Klaus Dinger & Co. which disbanded when Michael Rother left in 1975 to pursue a successful solo career. Thomas Bettermann (keyboards). The two tracks on side one were heralding different aspects of the city of Dusseldorf. etc. Hans Peter Stroer (bass) and Ralf Hubner (drums). At the end of 1973. At the end of 1976. John Marshall (drums). cello). v (CLAUS ZAAKE d) A ROB PEROTTI d B (A)same (Vertigo 6360 636) 1976 Just like Harlis. kb. His collaborator Klaus Dinger recorded a new album from September to December 1975 with the two percussionists that contributed to the Neu '75 album: Thomas Ginger and Hans Lampe. featuring a pompous rock not that different from the parent group. . Rainer Bruninghaus (keyboards). mainly via the use of symbolistic keywords. As such. The difference was La Dusseldorf's use of guitar and acoustic drums. bringing their sound slightly closer to "rock". v (HANNO GROSSMANN g) A MATTHIAS JABS g B CHRISTIAN REINHARDT b. Rheingold. Der Plan.this was none other than Klaus Ginger himself! Musically this was a return to industrial and urban electronic rock. electronics same (Nova 622 550) 1976 La Dusseldorf were the logical successor to the duo Neu. Eberhard Weber (bass). Zbigniew Seifert (electric violin). This "new Neu project" was named La Dusseldorf. Joe Nay (drums). v. LADY • • • • • • Personnel: ALBUM: WERNER NADOLNY kb. It's very tempting to compare La Dusseldorf's music at this stage to Ktaftwerk's Autobahn phaze . this was an offshoot from the Hannover group Jane. Harald Konietzko (bass) also guested on the album. Werner Nadolny left this group to create his own music. Alan Skidmore (sax).highly electronic and monotonous as it was. and even featuring similar minimalistic and naive lyrics. John Taylor (guitar). Nikolaus von Rhein . synth THOMAS GINGER perc."Tropical Harvest" (MPS 20 22827-4) 1975 This is an internationally quite well-known jazz guitarist and as such he is only a marginal case for inclusion here. Peter Giger (percussion). recorded with Konrad Plank in the Plank studio. Their single album was recorded in May 1976.

b. as it contained seven songs of excellent folk-rock! Their sound was different from many other German folk-rock artists . but mixed at Windrose Studios. Moonkyte.000series. g ARCHER WEAVER d. For many years their album could be acquired quite cheaply. perc. banjo ULRICH g. Sadly. assisted by Hans Lampe. psalter. v STEFAN OSTERTAG g. Trees. Hamburg. harm. v PETER MOSES perc "Tears Are Going Home" (Brain 1031) 1973 A band from Berlin that made one of the best 'rock albums' on the legendary green Brain 1. by the hard-working Konrad Plank. . LIED DES TEUFELS Personnel: ALBUMS: • • • • PETER GARTH v. "Would Be Better You Run") and West Coast rock ("I'm Just A Mad Dog"). Lied Des Teufels (1972) was a fine. "langsyne" means "for a long time". covering the important styles of progressive rock of the day: the heavy space style of Hawkwind (on the title track). The seven tracks on the album are extremely varied. sax. That's a shame. single black & white cover. v JURGEN KRAAZ g. kb. and is now practically impossible to find. and overall there was a mystical atmosphere like that of the British (& Irish) groups Calinnan & Flynn. etc. jew harp. flt RALF SCHULTZE g. Isolation. strange folk-rock ("All My Love To You". flt. perc. v. v. flt. but recently the band seems to have been discovered by collectors and the price has risen. no more was ever heard from the band. Tears Are Going Home was recorded in Berlin. v NB: The album had a standard.LANG'SYNE Personnel: ALBUM: • • • EGBERT FROSE g. sitar MATTHIAS NAHLE g. Re-issued in 1992 on CD by Lost Pipe Dream same (Dusselton 2737) 1976 According to the sleeve of their eponymous album. I wish they had recorded several more albums! LAVA • • • • • • Personnel: ALBUM: THOMAS KARRENBACH kb. The members reputedly lived as a commune. v JORG HAHNFIELD b THOMAS HOLM d same (Kuckuck 2375 019) 1972 "Hollisch Heisse Rockmusik" (Plane S99301) 1975 Hanuman changed their name to Lied Des Teufels in 1972. glockenspiel. Stone Angel. kb CHRISTIAN OSTERTAG b. Lang'syne's elusive private pressing was released in 1976. glockenspiel.they sang in English.

000 copies of the album . The band was from the Emmerich area near the Dutch border. Unfortunately I'm not able to give you the full names of this crew. Luckily Second Battle put it right again in 1990. recording their obscure album in an unknown studio named Trepita-Film-Ton-Studio (whose label was also responsible for the release). perc BYRON GRANT g. fdl MIKE REOCH b. A stunning party record! The album came with impressive. One could say that their music was more progressive orientated than Ihre Kinder's folky song style. flt. v ULLI g. as the sleeve only stated their forenames. LIGHTSHINE Personnel: ALBUM: • • • • • JOE g. v OLLI synth WOLFGANG b EGON d Re-issued by Penner on CD in 1994. There were also moments of great beauty: the cosmic.progressive and political rock effort. The main difference was that Lied Des Teufels used more instrumental work (notable guitar and flute) and favoured complex arrangements. "Lory" borrowed the bass pattern from Grieg's composition "In The Hall Of The Mountain King" and had gutsy. flt. kb. Ash Ra-like guitar style on "Nightmare" with soft vocal harmonics and synthesizer textures. as illustrated by the primal screams at the beginning of "Sword In The Sky" and the King's laughter in "King And Queen". harm MANFRED BEBERT d same (Phillips 6305 062) 1971 I was very doubtful whether I should include this Scottish group in the German rock section or not. pno. I think it is justified! If you don't have this album. were based in Germany and their album only was released in Germany. but as they had a German drummer. LIGHT OF DARKNESS Personnel: ALBUM: • • • • JOHN LATIMER v. Original Phillips copies new sell for 400 DEM or more. buy it at once. distorted . absurd cover art. a classic among small label releases. "Feeling" (Trefiton 1049) 1973 This group released the impressive album Feeling (1973). when they released 1.featuring the original cover plus an insert with information. thunderin' blues-rock classics such as "Movin' Along" and "Freedom's Fight". his voice makes Captain Beefheart sounds like Art Garfunkel! Their only album included a freaked version of "Soul Francisco" as well as self-written. politically-aware Gentle Giant. Hollich Heisse Rockmusik (1975) veered towards a Teutonic. not dissimilar to Ihre Kinder. it's an all time classic! This is a heavy progressive garage rock masterpiece with such a bizarre vocalist. It's hard to give you an accurate impression of this album because of its great variety. The album was re-issued in 1981 on ZYX in a single sleeve with completely different artwork. They obviously loved to incorporate crazy elements into their music.

Overall. This album represented one of his least successful productions. The recordings were done in March and April 1973 in Windrose studios. merging melancholic melodies. the band was groomed by Klaus Dinger (of Neu and La Dusseldorf). v MANFRED SCHLAGMULLER d "VCU" (Bacillus BLPS 19144) 1973 A progressive jazz-rock outfit. though! The album had a notorious sleeve with the members pictured with lots of make-up. far better efforts to combine jazz and progressive rock (with the weight on rock). kb HORST "HORREX" LUTGE g. The aforementioned "King And Queen" was a 13 minute opus. inspired by Rolling Stones and rhythm & blues in general. v NAPPES NAPIERSKY d "I'm Not Afraid To Say Yes" (Dingerland 9490 211) 1973 Groups like Lilac Angels were quite rare in Germany in the early seventies . an extremely good album. VCU ("we see you") was produced by Peter Hauke in the Dierks studio 1973. in my opinion.they were not too keen on musical experiments. Lily's music was quite ordinary and bands like Ardo Dombec made. but more interested in making good time rock'n'roll music. g. LIMBUS 3/4 Personnel (3): Personnel (4): • • • • ODYSSEUS ARTNER BERND HENNINGER CORD KRAUS same + . v DET SILVERSTEIN b. lyrics and dreamy instrumental parts with the sudden appearance of the insane king! The album concluded with "Feeling". With titles like "Rock'n'Roll Hand" and "Hard Lovin' Man" you know what to expect! LILY • • • • • Personnel: ALBUM: HANS-WERNER STEINBERG sax MANFRED-JOSEF SCHROLDT g KLAUS LEHMANN g WILFRIED KIRCHMEIER b.guitars. who produced their first album and released it on his own short-lived Dingerland label. well worth hunting for! An original copy will cost you more than 250 DEM! LILAC ANGELS Personnel: ALBUM (up to '76): • • • • JOE STICK v. Hamburg. a kind of acid-folk composition culminating in a final frenzy. Surprisingly enough. Certainly other collectors regard Lily with more enthusiasm than me. with Konrad Plank engineering. Dieter Dierks guested on mellotron.

Kristian Schultze (keyboards. ex-Frumpy. For Mandalas (1970) the group was expanded with the addition of Matthias Knieper (various instruments) and thus became the quartet Limbus 4. ex-Atlantis). violin. It has a fold-out cover with a simple drawing on the front. "New-Atlantis" was also one of the music pieces of the record. Stephan (bass). a picture of the group walking in a park or forest. his first albums contain some inspired moments. ex-Passport) and Paul Vincent (guitar). valiha and other exotic percussion instruments. Keith Forsey (drums. spontaneous music. whistle.22460) 1976 "Sister King Kong" (Telefunken 6. Dave King (bass). LINDNER & BOHN Personnel: ALBUM: • • CARSTEN BOHN WOLFGANG "ZABBA" LINDNER "Vollbedienung Of Percussion" (Brain 1047) 1974 . ex-Frumpy. They were university students who wanted to express philosophical and psychological ideas through their music. a text about the Limbus 3-music and Francis Bacon's "New Atlantis" (1623) and another picture of the group. from Achim Reichel-band).ALBUM (as Limbus 3): ALBUM (as Limbus 4): • MATTHIAS KNIEPER "Cosmic Music Experience" (CPM LPS1) 1969 "Mandalas" (Ohr OMM 56 001) 1970 This little known band from Heidelberg and Karlsruhe was among the pioneers of ethnic rock fusion. Among the musicians on his seventies albums are Andy Marx (guitar). tambourine.). ex-Passport. Limbus made almost totally improvised. Jean-Jaques Kravetz (keyboards. recorder. though their first album was their most successful. with all three musicians playing piano. bass.22223) 1975 "Galaxo Gang" (Telefunken 6. keyboards) is hardly an artist to be closely associated with the progressive rock movement. Inside there was general information. Inga Rumpf (vocals. Curt Cress (drums. ex-Atlantis).a cut-in on the front sleeve with a balloon attached. This was the second Ohr-release with a Reinhard Hippendesigned sleeve. from Achim Reichel-band. foray. Amon Duul II-producer. taking up side two. Helmut Franke (guitar. The result sounded as if Kluster had gone ethnic! Cosmic Music Experience (1969) was issued under the name Limbus 3.22610) 1976 The singer Udo Lindenberg (vocals. The album was a private release. famous session-musician). Unlike bands like Embryo and Between. etc. ex-Passport). Musically this was in similar style with four new improvisations. tablas. cellos. tsikadraha. flute. guitar. Olaf Kubler (sax. Thomas Kretzschmer (guitar. It had the Ohr speciality . drums. However. Dennis). Carl G. UDO LINDENBERG ALBUMS (up to '76): same (Telefunken SLE 14637) 1971 "Daumen Im Wind" (Telefunken SLE 14679) 1972 "Alles Klar Auf Der Andrea Doria" (Telefunken SLE 14719) 1973 "Ball Popmpos" (Telefunken SLE 14790) 1974 "Votan Wahnwitz" (Telefunken 6. and is now of course extremely rare.

contained a full variety of musical styles. Powalla was replaced by Manfred Praeker in the Spring of 1973. Like Floh De Cologne. and all subsequent albums. Lokomotive Kreuzberg had theatrical live shows. Kollege Klatt (1972). The liner notes for the album were written by none other than Floh De Cologne! In addition to their four albums.The ex-Tomorrow's Gift drummer Wolfgang "Zabba" Lindner teamed up with ex-Frumpy drummer Carsten Bohn for the percussion extravaganza Vollbedienung Of Percussion (1974). g) A (UWE MULLRICH g) B BERNHARD POTSCHKA g C (FRANZ POWALLA (v. vln KARL-HEINZ SCHERFLING v (VOLKER HIEMANN v. then he moved on to Munich and Embryo being replaced by Bernhard Potschka in Lokomotive Kreuzberg in the Summer of 1974. Lokomotive Kreuzberg were the most important political rock band to emerge from Berlin. if you like experimental percussion. a collection of short. Fette Jahre (1975) is usually considered to he their best achievement musically. d. b B UWE HOLZ v. Uwe Mullrich replaced Volker Hiemann for six months. b) A MANFRED PRAEKER v. Nothing of much interest to search for here. STEIN same (Polydor 2371 334) 1973 A pop-rock band with their roots running as far back as 1964 to a soul band named Blue Moons. as it was more . this is surely the album for you! LOKOMOTIVE KREUZBERG Personnel: ALBUMS (up to '76): • • • • • • • • ANDREAS BAUER v. where the music only served as a texture and background for their 'cabaret performances'. Apart from some sections with echoed voices and piano. It included experimental music comparable to the first Niagara album. harm (A)"Kollege Klatt" (Plane S99101) 1972 (B)"James Blond" (Plane S99103) 1973 (B)"Fette Jahre" (Plane S99104) 1975 Along with Ton Steine Scherben. LOVE GENERATION ALBUM: "Vibrations" (United Artists UAS 29458) 1972 As with Love And Tears Love Generation were a light-weight pop-rock band. it was exclusively performed on various percussion instruments. kb. light rock songs with occasional progressive influences. America" (1974) and "Arbeitslos" coupled with "Teddy Tex" (1976). two singles were issued on Plane: "Chile '73" coupled with "Hey Mr. LOVE & TEARS Personnel incl. Vibrations (1972) had no progressive moments on it at all. consisting of three girls and two boys. Love & Tears made several singles and the one album. So. Five left-wing ex-students formed the band at the beginning of 1972.: ALBUM: • WOLF E.

Pink Mice . In 1971 there were numerous project albums recorded by Lucifer's Friend musicians (sometimes with pseudonyms) released on budget price labels: Flash . Wind. . Virus. The British vocalist John Lawton. born in 1915. but had strings and brass arrangements added by Hecht. It was agreed that Lucifer's Friend should continue to exist. This group disbanded at the turn to the seventies. Gift. Hesslein and Rietenbach were all member of the sixties beat band German Bonds. It was one of the first LPs to be released on the German 'swirl' Vertigo 6360 600-series. then Asterix for Decca. soul and to a lesser extent classical music. Lucifer's Friend sounded 100% Anglo-American with their archetypal vintage heavy metal. Hesslein replaced original guitarist Rainer Degner (who went on to make the weird Bokaj Relsiem-album) in 1968 and Rietenbach became their drummer in 1969. In January 1972. was engaged to complete the vocal tracks. These are mostly easy-going "B-records".008 in 1970.related to the light hippie-pop of American artists like The Mamas And Papas. a second proper Lucifer's Friend album was recorded at the Windrose and Star studios in Hamburg. LUCIFER'S FRIEND Personnel: ALBUMS (up to '76): • • • • • PETER HECHT kb DIETER HORNS b PETER HESSLEIN g.Flash (hard rock).In Action (instrumental poprock adaptations of classical music) for Europa.El Condor Pasa (contemporary pop-rock). Where the Groupies Killed the Blues (1972) was quite similar to the first one in its musical style. then touring in Hamburg with his band Stonewall. etc. but also found time to make records: first the Electric Food album for Europa. v (JOACHIM RIETENBACH d) A HERBERT BOMHOLDT d B (A)same (Phillips S99101) 1970 (A)"Where The Groupies Killed The Blues" (Vertigo 6360 602) 1972 (A)"I'm Just A Rock'n'Roll Singer" (Vertigo 6360 611) 1973 (B)"Banquet" (Vertigo 6360 618) 1974 (B)"Mind Exploding" (Vertigo 6360 633) 1976 Hecht. In November 1970 they recorded the instrumental backing tracks for another studio project named Lucifer's Friend. The USA-licensed release on Passport sold increasingly well. These contained short hard rock tracks. Hecht and Horns had played in German Bonds since 1965. The album was released on Phillips in January 1971 and was pretty well received by German record buyers. perhaps modelled on Deep Purple's In Rock. Horns and Hesslein studied graphics and design at the Hamburg Art School from 1970. but from now on just as a studio project. Horns. By the way: the bald-headed man that appeared on the front sleeve. was a certain Mr. Hans Helberg. I have also heard rumours that they were responsible for the obscure Brother T And Family album The Bralling of Rock on Fass 15. Children of Quechua . As a result Lucifer's Friend became a permanent group which took on live appearances. The album had eight guitar-based tracks with influences from blues. The music on the album differed in many ways from other German heavy progressive groups such as Armaggedon. and on most of their following LPs. Hecht.

v .it's hard to make a living out of rock music. v. v PETER SCHNUR g. perc DIETER ASLEBEN d same (Metronome MLP 15416) 1971 Six people with fat smiles and hippie looks were pictured on the front of this group's only album. The trend of gradually decreasing musical quality was followed on the successive albums Banquet and Mind Exploding. flt. The third Lucifer's Friend album was recorded between January and February 1973. v RAINER HOFFMAN kb THILO HERRMANN b. the two first albums could be interesting musically (you'll only enjoy them if you can tolerate John Lawton's creaky heavy metal vocals). In addition.Synthesizer Sound and Peters Sunday & Birds of Fire . In Autumn 1976 John Lawton quit Lucifer's Friend to join Uriah Heep as a replacement for David Byron. MAMMUT Personnel: • • • • KLAUS SCHNUR g.Fly Me Up. had even more orchestral arrangements than Us predecessor. they continued to make project albums . Nevertheless it became the best selling German album in USA in 1973' But in their homeland their reviews were getting worse.Meanwhile the members earned their mortgages by session work for The Les Humphries Singers and The James Last Band. They are most of interest for fans of heavy metal. Then. Musically It ranges from the awful to the great! In the first category you'll find the five 3 minute tracks. I'm Just A Rock'n'Roll Singer was another Vertigo 'swirl' release. In spite of a ten year long lifespan. perc WOLFGANG SCHULZ g. and the third one since it is a "swirled" artifact. They disappeared after two more singles. you know! Albums released around 1972 were Fantastic Pikes . This was more commercial and. either as musicians or arrangers. Lucifer's Friend's music tended to be rather shallow and anonymous. From a progressive rock collector's point of view. sadly. MADE IN GERMANY Personnel: ALBUM: • • • • • • RITA PENKER v. Rietenbach left the band and was replaced by Herbert Bomholdt. Two singles were also taken from the album. in the second category. It's not hard to understand that the group fell between two stools with this album. v. perc HANS-DIETER GRABER kb JOACHIM PADE sax. These were uninteresting and easy-going pop rock songs. flt. Lucifer's Friend failed to make any real classic albums. Banquet was their most orchestrated work and included more than 30 session musicians.Synthesizer Sound Machine. Unfortunately they (or their producer) were tempted to choose the easy pop-mode. The best way to enjoy this group is to tape the good tracks on a cassette and put away the record. Pink Mice . there were four extended tracks with a strong progressive feeling. perc STEPHAN PADE b.

ALBUM: • GUNTHER SEIER d NB: Re-issued on CD by Ohrwaschl same (Mouse Trick Track Music) 1971 This group made one of the most legendary German private pressings. guitars. bass. known for his Brave New World album on Vertigo. with the word "Mammut" included in all the track titles. drums. percussion) was until 1970 the lead guitarist of Jeronimo. released in 1972. It is now incredibly rare and its value has risen above 1. heavy guitar riffing tracks "Mammut Ecstasy" and "Footmachine Mammut" strike you' Perhaps Elias Hulk and parts of the first Embryo-album are comparable to this. For a short time thereafter he played in the jazz-rock group Emergency. His album Dreams Confused (1971) was arranged and produced by John O'Brien-Docker. . keyboards. released on 'Mouse Trick Track Music' (amazing choice of label name!). guitars. A rhythmic and dramatic instrumental overture with wistful flute ("Bird Mammut") and a short interlude for piano ("Classical Mammut") put you in the right mood before the lengthy. In my opinion an uninteresting instrumental pop album.sounds of gunfire and bomber planes. what Pete Townshend would name a 'underture' The most impressive aspect of this album are all the biting guitar statements woven in-between the vocals. The album closes the same way as it started with large doses of instrumental music ("Mammut Opera"). A typical golden artiefact from one of the most fertile years of modern music (1971!) incorporating both classical and heavy acid blues influences. Marz collaborated with the Czech multi-instrumentalist George Eperjessy (vocals. Side two starts with a "Short Mammut" . The sound of a squeaking mouse opens the album. "Schizoid Mammut" had violent. Good production as well. considering it was a private release. VEIT MARVOS ALBUMS: "Nice To See You" (Ariola 86673) 1973 "Red Point Orchestra" (Bacillus BLPS 19216) 1975 Veit Marvos was one of the two keyboard players in the legendary heavy progressive band 2066 & Then. To be honest. In 1971.better than the tracks on his own album. He is featured on their first album Cosmic Blues. paranoid lyrics with music to match. I have only heard his first one: Nice To See You (1973). before recording a couple of solo albums.000 DEM. "Nagarn Mammut" is their attempt to be more lyrical. I'm sorry to say! RAINER MARZ ALBUMS: "Marz & Eperjessy" (Bacillus 6494 009) 1971 "The Dream Is Over" (Bacillus BLPS 19094) 1972 Rainer Marz (vocals. so I can only recommend this album to you with great enthusiasm! MARCEL ALBUM: "Dreams Consumed" (BASF 20 21109-4) 1971 Marcel was a singer and songwriter from Hamburg. and his album is only of interest for fans of mainstream folk rock. Marcel's talent was really just above average. Marcel also had a contribution to the Heavy Christmas-album (1971): a heavy version of "God Rest Ye Merry Gentlemen" . el. The album is a thematically linked "Mammut opus". bass.

and see there's no release Stop what you 're doing. organ. trembling organ and flute. Vlado Kristl. on which they played all the instruments. Bernd Brummbar and Georg Deuter. MASCHINE NO. McCHURCH SOUNDROOM ALBUM: "Delusion" (Pilz 20211142) 1971 Another of those obscure bands about which there is little information.violin). with a cast of more than twenty characters. 9 ALBUM: "Headmovie" (Phillips 6305 221) 1973 This was a strange kind of radio play on vinyl. "What Are You Doin'" contained an anti-drug message: 'You know all live together. The album was an improvement over Marz & Eperjessy with better compositions. it's you. so us foreigners suffer a lot when attempting to get the plot. Georg Rober (bass) and Veit Marvos (piano. organ) played on Marz' solo album The Dream Is Over (1972). In the same year. The album was another Peter Hauke production (co-produced by Marz) in the Dierks studio. like Nell Young. For a short period in 1975. Curt Cress (drums. Bender (piano. There's no real music on the album. Jimi Hendrix and Jesse Colin Young. so it's only of interest for the Deutschrock completists. snow horse and shit The better world. Olimpa Hruska. covering a larger range of musical styles. Delusion (1972) is one of the rarest albums on the legendary Pilz label. Among those taking part here are Rolf Zacher. In return. want freedom and space Young people know forever. It was released on the black and white Bacillus label (the 6494-series) in a fold-out cover designed by Walter Seyffer of Nine Days' Wonder . Renate Knaup and Daniel Fichelscher. percussion). It has the typical German heavy progressive underground sound. otherwise there is much to enjoy here. you make yourself a ruin Stop takin ' trips. In addition some statements by Timothy Leary. Rainer Marz was a member of Atlantis. Both albums clearly reveal Marz' admiration for American folk. can't find it Drugs never find an end. Ted Kennedy and John Lennon are used. Hauke produced this album as well. apart from being helped by a couple of session drummers. you know. Marz also helped Pete Bender with the recordings of his first Wyoming album. Allan Ginsberg. but a little light-weight. This resulted in their album Marz & Eperjessy. based on loud guitars. and therefore hunted by collectors all over the globe. country and rock artists. you that bend . The text is in German. The album featured short songs of electric folk-rock with English lyrics pleasant. I figure it was an ambitious science fiction story. synthesizer) also participated on the recordings. written by Wolf Wondratschek. Stommeln. "Dream of a Drummer" is slightly matted by a long drum solo. The sleeve generously credited the following people: "the Hamburg police appears during the session by kindly arrangement of enthusiastic neighbours"! The album contained five tracks in all. Marz also recorded his own versions of some traditional folk songs for the album.

worked as studio musician and actor and at last decided to start his solo career. flute. Oertel! So there . Wolf City (1972). LOTHAR MEID ALBUM (up to '76): "Mench Dieser Klaus" (Phillips 6305 283) 1976 Lothar Meid (bass. But Lothar Meid is definitively best known as the bass player on many highly influential Amon Duul II albums: Tanz der Lemminge (1971).22013) 1975 . vocals) was born 28 August 1942. v) A HORST STACHELHAUS b (GERHARD SCHABER d.D TONY GREAVES sax D (A)"The Dawn A New Is Coming" (Bacillus BLPS 19081) 1972 (B)"From Boks & Dreams" (Bacillus BLPS 19159) 1973 (C)same (Nova 6. In the sixties he played with several jazz and soul bands. In the middle of 1969 Lothar Meid was involved in the formation of the Munich group Embryo. Live In London (1973) and HiJack (1974). according to the famous collector W.you have been warned! MESSAGE Personnel: ALBUMS (up to '76): • • • • • • • • ALLAN MURDOCH g TOMMY MCGUIGAN v. produced by Konrad Plank. Carnival In Babylon (1972). Jorg Evers (guitar) and Keith Forsey (drums). along with Christian Burchard (vibraphone.The price is high. Vive la Trance (1973). Jorg Evers (guitar) and Keef Hartley (drums). v) A (GUNTHER KLINGEL d) B MANFRED VON BOHR d C. Meid left and rejoined this group many times. drums). They were amateurs lacking in talent. "Time is Flying" and "Delusion" are the highlights of this recommended album. I don't lie!" (From "What Are You Doin'") This track. After recording HiJack. McChurch Soundroom recorded just one album and then disappeared into obscurity (after the folding of Pilz in 1973). Edgar Hofmann (sax. in 1973 he founded the short-lived 18 Karat Gold with Klaus Ebert (guitar). Meid was helped out by Karl Allaut (guitar). Meid departed from Amon Duul II for good. On Mensch. As with so many contemporaries. believe me. sax (BILLY TABBERT g. violin) and Jimi Jackson (organ). Dieser Klaus! (1976). This was a surprisingly "straight" pop-rock album and one is left with the feeling that Lothar Meid had the capacity to do much better than this! MEISENFLOO ALBUM: same (private) 1972 An acoustic folk duo. Later Meid joined Doldinger's Passport and participated on their 1971 debut album. and toured with Joy Fleming. Thor Baldursson (keyboards).

The story of Message is quite similar to that one of Nektar: in the early seventies they released some excellent.a very obviously British melodic progressive rock. "Birth" coupled with "Superplasticclub" was also released as a single (not the two best tracks. The six tracks had English lyrics. Wesphal had also done occasional live appearances with Ash Ra Tempel. It was a conceptalbum based on the obligatory hippie criticism against big cities and the modern life. engineer). v g HELMUT BINZER g MICHAEL WESTPHAL b THOMAS HILDEBRAND d same (Pan 87. Their music lacked the energy and instrumental interludes of the two previous albums. possible due to pressure from their new record company. Some tracks were still great. g UTE KAMSENBERG v MANFRED OPITZ kb. . it was an excellent album with the title track and "When I'm Home" being the highlights . His first vinyl-captured appearance was on Ash Ra Tempel's acid-induced Seven Up-album. on which the sax player Tony Greaves was added.NB: Re-issue of 1 on Bacillus BAC 2007. producer) and Dieter Dierks (studio owner. METROPOLIS Personnel: ALBUM: • • • • • • MICKY DUWE v. Officially he was a member of this group for a mere three months. On the other side. Message now had a much more conventional style. melodic folk-rock over to heavy guitar outbursts. such as "Thoughts" with a stunning guitar solo. Their third and self-titled album was released by Nova in 1975. Beware that this mid-70s re-issues frequently are offered as originals! (D)"Synapse" (Nova 6. By now Billy Tabbert and Gerhard Schaber had quit. like the pounding "Dreams And Nightmares" with its' repeating. and their drummer for the recording sessions was Gunther Klingel. The very well crafted music sounded like an orchestrated cross between Bowie's "Ziggy" period (Duwe's voice was close to Bowie!) and a straight-shape Ash Ra Tempel. The mellotrons and complex arrangements were also abandoned in an ill-failed attempt to gain more commercial success. Their music was supervised by the well-known Bacillus recording team of Peter Hauke (label manager. From Books And Dreams (1973) was another fine album.439) 1974 This short-lived band was formed in 1973 by Micky Duwe. here some of the tracks had a more sinister undertone. spanning from lyrical. Manfred von Bohr was their drum player for this album. The album is recommended. The fold-out cover contained a notable psychedelic artwork by Klaus Holtizka. The Metropolis-album was recorded in December 1973 in Munich. Only the rhythm section of this group was German! Taff Freeman from Nektar contributed with vocals and mellotron on one track. For their fourth album Message changed direction again. They attempted jazzy heavy rock on Synapse (1976). almost ritualistic guitar riff. For some unknown reason. it seems that the group fell out with the Hauke & Clerks recording team. refined progressive rock albums. tracks like "Sigh" followed more in the Nektar-like style of their first album. I would say).22523) 1976 (P)This was a German-British band led by Allan Murdoch. Overall. The crew that recorded The Dawn A New Is Coming (1972) was (A).

Nevergreen! was recorded at the Dierks Studio in October 1972. percussion!).STEPHAN MICUS ALBUM (up to '76): "Archaic Concerts" (Caroline C1517) 1976 Stephan Micus is an inventive artist. g. the overall sound is quite jazzy. recorder TORSTEN SCHMITT v. MISSUS BEASTLEY Personnel: • • • (ATZEN WEHMEYER g. On the seven tracks a complex and varied musical style emerged. Dieter Miekautsch joined Embryo (also Missus Beastley) after the group's demise in 1973. etc. slow folk song with a dark atmosphere. flute. MIDNIGHT CIRCUS Personnel: ALBUM: • • CHRISTIAN BOLLMANN v. zither. Thirsty Moon. Veit Marvos. Jan van Rosendaal (guitar) and Peter Hauke (drums. MISSING LINK Personnel: ALBUM: • • • • • • MARKUS SING g GUNTHER LATUSCHIK sax GABRIEK DOMINIK MUELLER v DIETER MIEKAUTSCH kb DAVE SCHRATZENSTALLER b HOLGER BRANDT d "Nevergreen!" (United Artists UAS 29439) 1972 These were one of the lesser known United Artists acts. Drummer Holger Brandt later joined Sahara.. g same (Bellaphon 19108) 1972 This was a progressive folk-rock duo. tpt. Their only album was recorded in the Clerks Studio with Peter Hauke producing. hammered dulcimer. Rainer Marz. etc. Actually. The musical style on the album was a typical Bacillus-rock as Hauke's other productions. Ardo Dombec. so the album will appeal most to fans of Embryo. The best track was "November Church" . sometimes reminiscent of Deuter. However. some solo piano parts ("Song For Ann"). like flower pots. v) A-C (PAUL VINCENT g) B (ROMAN BUNKA g) C . Xhol. He only uses acoustic instruments. 'Davy Crockett' (bass). 65 DEM would probably secure you a copy. Also several guests were featured on the recordings: Thomas Engel (drums). working somewhere between jazz and ethnic music.a beautiful. It included jazz sax riffing ("Sorcery"). based in Munich. but certainly not a classic! Many other albums of the period overshadow Nevergreen. loud rock outbursts ("Kids Hunting") and matching acoustic guitars ("Spoiled Love"). The Missing Link album is quite good. thus creating a very personal and earthly music.

Along with Embryo. Jim McGillivray of Epitaph drummed three months for Missus Beastley. Nothing more was heard from Missus Beastley until Autumn 1973. This quintet (D) also recorded an album for Nova in 1974. The band could be compared to Xhol and Embryo. v WOLFGANG RUMLER g. recorded their debut album in January 1970 with Hansi Fischer (flute. funky jazz-rock. Half a year later. joined. the band were bankrupt and their activities terminated. totally different to the previous album. from Xhol. Aftershave & the Mixed-Pickles" (April 0001) 1976 • "Im Garten Des Schweigens" (Ele Bird 9002) 1972 • "Superrock Made in Germany" (Ele Bird 9003) 1972 Missus Beastley were among the earliest bands of the new progressive rock wave. v ANDREAS SCHOLTZ b ACHIM SCHMIDT d .F JURGEN BENZ sax. containing a slick. v) A-C NORBERT DOMLING b D-F (LUTZ OLDEMEIER d) A-D (JIM MCGILLIVRAY d) E BUTZE FISCHER d F NB: Re-issue of 1 as Nara Ast Insence in 1970 on Opp 5-32. flt C-F FRIEDMANN JOSCH sax. recorded with three talented guests from Embryo: Roman Bunka. MURPHY BLEND Personnel: • • • • WOLF-RODIGER UHLIG kb. later Embryo) and Dieter Serfas (pereussion. This was a glimpse into early German underground jazz-rock with lots of flute. flt D-F (PETJA HOFMANN b. being founded in Herford in 1968. when reformed the band and went on tour in Germany. Missus Beastley expanded to become a sextet with Paul Vincent and Michael Scholz. Re-issues of 3 & 4 on Snowball with the same order numbers.ALBUMS (up to '76): • • • • • • • • • • • (WOLFGANG NICKEL kb) A-C (MICHAEL SCHOLZ kb) B (DIETER MIEKAUTSCH kb) D BURKARD SCHMIDT kb E. pno. Jurgen Benz. By the end of the year. Dr. from Amon Duul II). Ton Steine Scherben and Sparifankal. In the interim. Lutz Oldemeier and Miekautsch left in 1975 to be replaced by Butze Fischer and Burkard Schmidt. psychedelic organ and guitars. This was a distinct improvement on the halfhearted Nova album. Soon after the recordings finished. Aftershave & The Mixed-Pickles (1976) became the second release: on this label (Sparifankal's Bayern Rock being April 0000). Maria Archer (vocals) and Christian Burchard (vibraphone). Missus Beastley founded the independent record company April.22030) 1974 (F)"Dr. apparently a pirate pressing. Vincent was replaced by Roman Bunka and a seventh member. It seems like a guy made some illegal live albums by Missus Beastley: (A)same (CPM LP2) 1970 (D)same (Nova 6.

while the instrumental "X" ended the album. produced by Jonas Porst (the manager of Ihre Kinder!) and engineered by Thomas Klemt. it has become immensely rare. He had studied classical music for three years in Berlin. punky rock songs: "Flash Part IV". same (Bacillus 6494 008) 1971 This album is a genuine treasure! Through the years. The songs were melodic. The marvellous opening track "Dirty Yellow Mist" was as close as any group has reached into the atmosphere of Pink Floyd's Meddle album. v INGO WERNER kb KARL-HEINRICH DORFLER b ANDREAS WURSCHING d NB: Counterfeit exists in single cover. fetching DEM 500 for mint copies. kb. The thirteen-minute track was driven by a monotonous.000 copies. "That's You". all members seemed to drift back into obscurity and Hauke & Dierks were left to work with artists like Nektar and Omega. g SVEN DOHROW g C (HARALD WEISSE b) A (ROBBY LUIZAGA b. First Loss was recorded in Union Studio. My Solid Ground was the one-off project. "Melanchonie" again recalls Pink Floyd.ALBUM: NB: Re-issued on CD by Kuckuck arranged by Ohrwaschl. but very effective guitar riff. and is now considered one of the monsters of German rock. After this recording. "First Loss" (Kuckuck 2375 005) 1972 Murphy Blend were responsible for one of the best albums released on Polydor's legendary Kuckuck-label. g. v. this time the mellow. The recordings were done in February and April 1971 in Dieter Dierks' studio with Peter Hauke producing. A numbered edition of 1. peaceful romanticism of "Allan's psychedelic Breakfast". Murphy Blend revealed a fine blend in which Uhlig utilised his keyboards to incorporate classical themes into their heavy progressive music. MYTHOS Personnel: • • • • STEPHAN KASKE flt. The organ passages really remind one of Richard Wright and there are pink pigs on the fold-out cover! "The Executioner" was a highly original and effective combination of mumbling vocal and heavy guitar and keyboard statements. and "Handful of Grass". Wolf-Rudiger Uhlig guested on Frumpy's third album By The Way in 1972 MY SOLID GROUND Personnel: ALBUM: • • • • BERNHARD RENDEL g. textured by heavy guitar and organ riffs. kb) B . Definitely one of the ten best German albums of all time! It's a tragedy there were no further My Solid Ground albums. There were three aggressive. "Devonshire Street WI" was another highly original song. Munich during October and December 1970. The album contained six proper tracks (mostly written by Uhlig) and the shortest German song of all time: the 3/10 of a second long "Happiness"! It's impossible to name highlights as all material is truly great! Sadly Murphy Blend disbanded soon after recording this album. Andreas Scholz went on the heavy progressive Blackwater Park in 1971.

Kaske himself thought of Dreamlab as a 'B-work' more than all ordinary Mythos album . mankind hadn't. Seeing this. One hundred years passed. He would soon be celebrated as one of Germany's best flute players. Kaske attempted to assemble a new trio at the beginning of 1973. "Hero's Death" was. "Oriental Journey" has an Eastern flavour. as he followed all the others to a place of no fighting and no killing. entitled "Eternity". Mythos' second one. by the Mythos' standards.one of the best Ohr-releases! Truly indispensable! Late in 1972 the original Mythos split up. The first Mythos album was duly recorded during Autumn 197l. at that time he hoped to find a better world. leaving the earth a dead ball in the universe. is that one that separates life and death. but although nearly everything had changed." (From "Encyclopaedia Terrae") Definitively a poetic way to finish a classic album . Man had killed all the plants.ALBUMS (up to '76): • • • • EBERHARD SEIDLER b C (THOMAS HILDEBRAND d) A (HANS-JURGEN PUTZ d) B RONNIE SCHREINZER d C (A)same (Ohr OMM 556 019) 1972 (B)"Dreamlab" (Kosmische Musik KM 58 016) 1975 Stephan Kaske was 18 years old when he formed the first Mythos line-up in 1969 with Harald Weisse and Thomas Hildebrand. no trees and no flowers. However. one that would he worth living in. on which Kaske played brilliant flute. It was another great work of a more cosmic and spacey nature. when he woke to find that there was no more life on earth. the man sat down on the bleak ground and tears run down his cheek His lungs inhaled the deadly smoke. Fully convinced that mankind would improve and become more peaceful during its evolution and being a man of genius he built a machine winch would enable him to sleep as in death. This was a revised version of Handel's fireworks music. Then in December 1973 he teamed up with Robby Luizaga and Hans-Jurgen Putz for the production of a television soundtrack for "Die Superspinne". unusually guitar-dominated. So the man returned to the machine.pre-ordered by label manager Ralf-Ulrich . In 1971 they appeared live at a festival and attracted Ralf-Ulrich Kaiser's attention. was released on Ohr's logical successor: Kosmische Musik. There were no birds in the sky. as the name implies. no fish in the sea. Would you like to know the name of this place? It's called the eternity. and the only gate you must pass through to enter it. This album. even himself. A hundred years later the machine was supposed to wake him. animals. This led to a contract with Ohr records. and darkness closened about him. until the 36th time. The machine woke the man. and at last. but this came to nothing. Side two is filled up with "Encyclopaedia Terrae" This extended track tells the sad tale of our earth: "A long time ago there was a man who didn't want to live in this world of killing and fighting anymore. and kept returning to it. One of the tracks was later to be found on Dreamlab (1975). "Mythoett" starts the album in a manner very similar to Jethro Tull.

Kaiser. The album cover was also Kaiser's decision: drawings of Tarot cards by Peter Geitner. Kaske soon separated from the two studio musicians he had worked with previously and produced further soundtrack works. In the Summer of 1976 he formed the third Mythos line-up with: Sven Dohrow, Eberhard Seidler and Ronnie Schreinzer. This was indeed a changed Mythos concept, now concentrating on shorter, more commercial and rock-based songs.

NECRONOMICON
Personnel:

ALBUM:

• • • • • • •

NORBERT BREUER g, v (WALTER STURM g,v) A (FISTUS DICKMANN kb) A DIETER OSE kb B (DETLEV HAKENBECK b) A GERD LIBBER b B HARALD DERNHARD d

NB: An Italian counterfeit of 1 exists - to be avoided!

(A)"Tips zum Selbstmord" (Best Prehodi 60.634) 1972

Famous for their eponymous album which is sought-after by collectors World-wide, Necronomicon came from Aachen, a city near the borders with the Netherlands and Belgium. They adapted the name Necronomicon from an H.P. Lovecraft novel and built up a spectacular live repertoire during 1971. It featured complex heavy progressive song arrangements with awkward German lyrics that dealt with ecological problems, the threat of a nuclear disaster, the end of mankind and pure despair. A demo recording of a performance at the Mensa, Aachen, 1971, was unearthed by the archaeologists at Little Wing and released as parts one and two of their lavish 4-LP + book Necronomicon-set (LW 1010/11/12/13), released in 1990 in cooperation with the band. Part one consisted of previously unheard compositions and part two of different versions of the songs that later would appear on their only album: Tips Zum Selbstmord. Necronomicon proved themselves to be a band with the same seriousness and sense of large scale works as the most extreme Italian bands. Sadly, the technical quality of these early recordings was on the same level as certain bootlegs and the performance a bit rough in places. Even so this historic document is absorbing. With the economic support of a friend, Necronomicon set off to a semi-professional studio in the Netherlands to record (in March and April 1972) what has become the ultimate collector's item for purveyors of German progressive rock: Tips Zum Selbstmord, released in a lavish multi foldout cover, in the shape of a cross. The highly talented drawings were done by Harald Bernhard and pictured tortured bodies and painful faces, building up an intricate whole, reminiscent of some nightmarish Hieronymus Bosch work (but no fantasy monsters!). Few would deny that this is one of the best and most unique German records of the early seventies. The sinister atmosphere of both the music and lyrics are evident: Uns Geht es besser, als den anderen 84% der Ertbevolkerung 16% der Bevolkerung verbrauchen 80% der Konsumguter 50% der Konsumguter werden in Nordamerika veraussert Auf diese Erde leben 3,4 milliarden menchen, davon: Erleiden

16% hunger, 35% sind unzureichend ernahrt, 33% haben ihr existenzminimum, 16% sind wohlhabend, sind reich! 16% der wohlstandsburger hatten 72 millionen tonnen getreideuberschuss 72 millionen getreideuberschuss wurden 1971 vernichtet Davon konnte ein grossteil der Menschen die jetzt an hunger sterben, ernahrt werden Aber die Wohlstandsburger und ihre kinder legen sich mit vollgefressenen bauchen in ihre betten auf weichen matratzen Haben sie vergessen welche verplichtung sie eigentlich hatten, denn: Ihnen geht es besser als den andern 84% der Erdbevolkerung! (from "In Memoriam") There were biting guitar leads throughout, shimmering, painful vocals, a garage organ trying to battle with Bach, sudden shifts of tempos and moods, including passages of more primitive heavy garage rock. For the want of hotter comparisons: imagine the best elements of vintage Uriah Heep with the lyrical awareness of a political rock band like Floh de Cologne. Perhaps this is the music that Wagner would have made if he had lived in 1945 and experienced the bombing raids over Germany, freaked out in the sixties and decided to be a rock musician and then had bad trips for years due to the daily news on TV! Remarkably enough, the album was recorded on just two backs, approximately recorded live in the studio. It was released in a limited edition of 500 copies and is probably THE most hunted German record. The odd copy that turns up sells easily for 1,700 OEM or more. It is cheaper to purchase it as part 3 of the Little Wing 4 LP box! From 1972 to the end of 1973 the group worked on new material with a revised line-up: guitar player Walter Sturm quit to join Rufus Zuphall, Fistus Dickmann was replaced with Dieter Ose and Detlev Hakenbeck replaced by Gerd Libber. Some of the new compositions lasted for sixty minutes! In fact, such material proved to be almost impossible to play live, and the songs were consequently edited down to a length of 10 to 15 minutes. As such, they were recorded live in their rehearsal room in 1974. Walter Sturm had now returned to the band. Little Wing compiled 45 minutes from the only remaining source, a low quality cassette. It's only interesting for collectors as another historic document of their development. The desperation had now faded to mere resigned statements about mankind's cynical nature. As such they were now closer to other refined political rock bands.

NEU
• • • • •

Personnel:

ALBUMS:

MICHAEL ROTHER g, b, pno, electronics, perc KLAUS DINGER d, pno, v, banjo, g (ULI TREPTE b) B HANS LAMPE d C THOMAS DINGER d C

USA-issue of 1 exists on Billinsgate BG 1001. 1st Gwerman re-issue as Hallogallo on the "Rock On Brain" series, 2nd re-issue on black

(A)same (Brain 1004) 1972 (A)"2" (Brain 1028) 1973 (C)"'75" (Brain 1062) 1975

Brain 1981 on "1st recordings" series. UK-issue exists on United Artists UAS 29396. There is also a sampler named Black Forest Gateau released in Great Britain on Cherry Red ca. 1982 with tracks from the two first albums.

Much heralded by British new wave and Kraftwerk fans, the group Neu from Dusseldorf was certainly an extraordinary duo with many brave and innovative ideas. Michael Rother and Klaus Dinger came together late in 1971. Dinger had recently contributed to the first Kraftwerk-album. In December 1971 they recorded their first album over four nights at Windrose Studios in Hamburg, with Konrad Plank producing. Tracks like "Hallogallo" were guided by a characteristic, repeating metronomic drum beat, as the basis for 10 minutes of harmonic guitar improvisations in just one key. This music naturally paid homage both to Kraftwerk's klingklang music and to Can's 'live in the studio' works. Other tracks had strange continuums of rural environment sounds, glissando guitars, peculiar vocals and sound effects. All together a rather naive and playful form of avant-garde music, resulting in a very original album! However, Neu 2 (1973) merely repeated this formula. Side one had a classic Neu track in "Fur Immer", sounding very close to the previously issued "Hallogallo" On side two, the A and B sides of a 1972 single ("Neuschnee" coupled with "Super") were the subjects for tape manipulations of different sorts - slowed down, speeded up or dubbed (and with pre-recorded vinyl scratches and noises added)! If Capitol made nine US albums out of five UK Beatles albums, Neu taught the music business other ways to stretch a single all over an-LP's side! It's not a bad album, but a little superfluous when compared with their first. Attempts to present Neu live (with ex-Guru Guru member Uli Trepte on bass) in November 1972 were terminated after 6 concerts. Michael Rother then began to work with the Cluster duo as the trio Harmonia, resulting in the albums Musik von Hiarmonia (1973) and De Luxe (1975). Klaus Dinger on the other hand used the spare time attempting to launch his own label, named Dingerland. This project was ill-fated, but he managed to release an album with the rock'n'roll group Lilac Angels. Then, in 1975, Neu resurfaced as a quartet of: Rother, K. Dinger, Thomas Dinger and Hans Lampe. Neu '75 was a brilliant album, succeeding in making their music more accessible. A charming and tuneful example of the very special "klingklang" Dusseldorf rock and a link between the early Kraftwerk works and the forthcoming neue Deutsche Welle. When Michael Rother went off to make a second Harmonia album and then pursue a solo career. Hans Lampe and the Dinger brother changed their name to La Dusseldorf, and explored the melodic Neu '75 sound further on their subsequent albums.

NIAGARA
• • • • • •

Personnel (approx.):

KLAUS WEISS (COTCH BLACKMON) A (KEITH FORSEY) A (JUAN ROMERO) A UDO LINDENBERG DANIEL FICHELSCHER B

trumpet). bass and drums. named S. organ. Christian Schultze (el. Ferdinand Povel (sax. Deep Purple-like rock .B. NIGHT SUN Personnel: ALBUM: • • • • BRUNO SCHAAB v. The album could reasonably be summed up thus: 'DRUMMELUMM-MELUMMM'!!! Two side length pieces of unaccompanied percussion. Their only album Mournin' was released in 1972 on Polydor's Zebra-label. bassoon ULRICH STAUDT d NB: An early (mid-70s?) re-issue on Polydor 2459 094. b WALTER KIRCHGASSNER g KNUT ROSSLER kb. later of Joy Fleming Band and Ralf Nowy group). After the demise of the group. The rhythmic feeling on this album. the group played a loud. flt REINHARD GROHE kb MICHAEL KESSLER b .with a characteristic "heavy progressive" instrumentation of twin guitars. Bruno Schaab briefly joined Guru Guru. guitar coupled with organ riffing style and some studio effects (particularly phasing) courtesy of Plank. Two more percussionists guested: Daniel Fichelscher and George Green. congas. Munich. Weiss. percussion). The album was produced by Konrad Plank at the Windrose Studio. where his contribution was notable on the track "The Story Of Life". Hamburg. tpt.-piano. was a more conventional jazz-rock fusion work. Gary Unwin (bass. Lindenberg and Fichelscher were here joined by Paul Vincent (guitar).U. flute). "Mournin'" (Zebra 2949 004) 1972 A heavy rock group. recorded during February 1972 at Studio 70. could in some ways be compared to Embryo on their album Embryo's Rache (1971). Ack van Rooyen (fluegelhorn." (United Artists UAS 29343) 1972 (-)"Afire" (Finger 2960 102) 1973 The first Niagara album was the recorded experience of five percussionists. it's an honourably un-commercial project! The second Niagara-album. I have no idea who played on the last Niagaraalbum: Afire (1973).ALBUMS: • JOE KARRIS B (A)same (United Artists UAS 29232) 1971 (B)"S. In addition. (1972). Milan Pilar (bass on one track) and Joe Karris (timbales. highly influenced by South-American rhythms .take it or leave it! Anyway. Night Sun fortunately never went too close to the ordinary boogie and rock'n'roll trap.U. With their sudden shifts of rhythm structures. although still highly focused on percussion and rhythms.B. NOSFERATU Personnel: • • • • • • MICHAEL THIERFELDER v (MICHAEL WIN g) MICHAEL MEIXNER g B CHRISTIAN FELKE sax. Passport). Schaab's vocals were creaky and recalled the screams of Ian Gillan.

Orange Peel or Hairy Chapter. Nosferatu formed circa 1968. Re-issues are known with brown & black Brain labels. Originally their album was released in France and Germany on Vogue (a French label as you know). (A)"Banished Bridge" (Brain 1029) 1973 (B)same (Brain 1070) 1975 (C)"Sommerabend" (Brain 1087) 1976 An important and long lasting German exponent of 'romantic rock' (in their own words) Novalis was formed in Autumn 1971. with plenty of organ and guitar work. A counterfeit of the album appeared In 1989 at a more reasonable price than the originals. When Nosferatu disbanded. If you're keen on heavy progressive rock. The 17 minute long title track stands out as something very special . check out Nosferatu only if you find you need some more! NOVALIS Personnel: ALBUMS (up to '76): • • • • • • • HEINE SCHUNZEL b. now selling easily for 800 DEM in mint condition.a very careful and understated composition with long 'ambient' passages full of bird whistles. rough and heavy progressive style. he became a member of Epsilon. flt D LUTZ RAHN kb HARTWIG BIEREICHEL d NB: Originals of 1.M. A very good album with a lyrical and melancholic atmosphere. The production by Tony Hendrik could have been better. others think it is quite ordinary and certainly over-rated on the collector circuit. I would compare it to the first Tomorrow's Gift album. produced by Jochen Petersen) was one of the first examples of synthesised German symphonic-rock. Banished Bridge (recorded in January 1973 at Windrose Studios. . Opinions are mixed about this album. kb) B FRED MUHLBOCK v. Perhaps a good comparison would he P.405 in 1981. characteristic of the first wave of German progressive rock in 1969/70.F. However. 1 was also re-issued with the new catalogue number 60. v(B-) (JURGEN WENZEL v) A DETLEF JOB g B-D (CARLO KARGES g. There were still some beat and psychedelic elements evident in the music. Arguably the best moments are Felke's highly talented flute and sax playing. I'm sure most will agree that it contains a raw. An early member of the band was guitarist Michael Win. a future member of Epsilon. Novalis gave their first concert in their hometown Hamburg as the warm-up act to Cravinkel at "The Fabrik". Some regard it as one of the best heavy progressive records to be made in Germany. vocalist Wenzel left the band after some arguments in 1974.ALBUM: • BYALLY BRAUMANN d NB: Re-issued in 1992 on CD by Ohrwaschl (B)same (Vogue 17178) 1970 Nosferatu has the dubious honour of having produced one of the most over-priced collector's items of the German progressive rock genre. In 1972. Hartwig Biereichel had previously played in a blues-rock outfit named Greenlight (releasing four tracks on the 1970 festival sampler Love & Peace). go for Armageddon and 2066 & Then first. and the vocal work is comparable to the first Jane album. 2 & 3 have the green Brain-label. g. There are only six tracks in all.'s first two Italian albums.

With completely different vocals (by Heine Schunzel). Forsey. On the album they presented an interesting ethnic-flavoured jazz-rock fusion. the group Nowy were formed in 1974 and released two more conventional jazz-rock albums on Atlantic. and "Es Farbte Sich Die Wiese Grun". Nick Woodland (guitar. Paul Vincent (guitar). written by Rahn and Karges. same (Bellaphon BLPS 19036) 1970 . combining and developing elements from their previous albums to a neat perfect. Novalis recorded Sommerabend as a quartet in February 1976. Best were "Impressionen". It was produced by Achim Reichel (who also produced all their forthcoming Brain albums) and comprised five songs of fine keyboard-based. written in 1798. Keith Forsey (drums) and Alois Gromer (sitar) participated. German lyrics and the added guitars.Detlef Job and Carlo Karges were added. choir.: ALBUM: • • HELM MOHN b CURT CRESS d NB: They also released a single in 1969 on Admiral AD 1136: "I Got No Time coupled with a "Searching For A Place To Hide". On his first (solo) album Lucifer's Dream (Global 26015-8U) (1973). The title track must rank as their most outstanding achievement ever: a lush and romantic opus with acoustic guitars. Carlo Karges abandoned such music when he quit to join the new wave act Nena. personal symphonic rock. expanding the group to a quintet. Just beautiful! In June 1976 the Austrian Fred Muhlbock was engaged as Novalis' new fifth member. ORANGE PEEL Personnel incl. their self-titled second album (recorded February 1975 in Studio Maschen) understandably sounded very different from the first. thoughtful lyrics (in German) and nature's sounds of a summer afternoon. NOWY • • • • • Personnel: ALBUMS: RALF NOWY sax PAUL VINCENT g THOR BALDURSSON kb GARY UNWIN b KEITH FORSEY d "Escalation" (Atlantic ATL 40556) "2" (Atlantic ATL 50205) Ralf Nowy is a lesser known jazz-rock saxophonist. On Nowy 2. folk-inspired rock. the Amon Duul II related musicians: Lothar Meid (bass). Englishman of Gift and Sahara fame) and Lothar Meid guested. Ralf Nowy later played with the rock'n'roll band Morgenrot. based on Brucker's 5th symphony. Comparisons can be made with Holderlin's Spiegelei albums. This was an even better work. Don Anderson (keyboards) and Gary Unwin (bass). a symphonic folk song with adapted lyrics courtesy of the German romantic poet Novalis (Friedrich Freiherr von Hardenberg). With Vincent. Karges had previously been a member of Tomorrow's Gift. string synthesizers. Others involved were: Andy Marx (guitar). Unwin and Thor Baldursson.

and still studying the art of percussion. ORGANISATION Personnel: ALBUM: • • • • • RALF HUTTER kb FLORIAN SCHNEIDER flt. Basil Hammoundi later recorded with the group Ibliss. Orange Peel disbanded in 1970. v B MIKRO RILLING cello B (A)"Latin Mass" (Metronome MLP 15381) 1970 (B)"43 Minuten" (Brain 1015) 1972 Just as Electric Prunes and Eela Craig did before and after them. perc BASIL HAMMOUNDI perc BUTCH HAUF b. comparable to Tomorrow's Gift (1st album) or Nosferatu. perc FRED MONICS d NB: A counterfeit with black & white 'RCA label' exists. Bassist Helm Mohn replaced Michael Ertl in Epsilon in time for their second album Move On (1971). "Tone Float" (RCA 8111) (UK) 1970 The album Tone Float is an opportunity to hear Ralf Hutter and Florian Schneider's musical ideas before their Kraftwerk concept.This release marked the start of Curt Cress' long and impressive career. glockenspiel. Passport. while Curt Cress went on to Emergency. but were rumoured to be so bad that people threw vegetables at them on stage. The result was a vintage blend of progressive music. triangle. bongos. If you have a special interest in Orange Peel as a document of early German progressive rock you must he prepared to pay at least 150 DEM. As one might guess from the instrumentation. Organisation appeared live. and in a strange way these tapes found their way to Great Britain and the RCA label. Atlantis and several other bands. kb. vln. when the Orange Peel album was recorded late in 1969 at the Dierks studio (actually one of the first Dierks productions I know about!). [Villain] b DIETRICH MARKGRAF sax. OS MUNDI Personnel: ALBUMS: • • • • • • UDO ARNDT g. Os Mundi was the brainchild of Udo Arndt. v ANDREAS V. Hutter and Schneider already had a passion for repetitive percussive sounds and rhythms in those days. flt CHRISTOPH BUSSE d BUDDY MANDLER perc. In 1969 they made some demo recordings with Konrad Plank. musical box. etc. This partly caused the group's demise at the end of 1969. the five tracks (the title track filling the whole of side one) are dominated by congas. On the first album they were helped by guests Hartmut Seidel (bass) . The four mainly instrumental tracks sounded somewhat unfinished. Gradually he built up his reputation as one of Germany's finest session drummers. A mint copy should sell for about 300 DEM. which appeared in 1970. Os Mundi from Berlin converted a Latin mass into the progressive and/or psychedelic rock format. Their album is a rarity mainly of historical value today. bells. This is also evident on the first Kraftwerk album. He was then only 17 years old.

The famous German record collector Willi Oertel thinks this is rubbish . raw production. Like these groups. heavy guitar play from Udo. Indeed. g. Ougenweide (from Hamburg) succeeded in achieving a distinct style of their own. It had a dense.'It's religious music!'. b. in second hand lists. and "Erstickubungen". Minne Graw was their female vocalist from the third album onwards. OUGENWEIDE Personnel (approx. its dark atmosphere could easily be associated with a black mass. v JURGEN ISENBART marimbaphone. Nowadays he's employed as an engineer and producer at the Audion Studio in Berlin. Through the years the nucleus of the Wulff brothers. he told me. The second album 43 Minuten (recorded at Audio Studios in June 1972 with Konrad Plank) was a very. Ougenweide's speciality was shorter tracks in off almost medieval folk tradition with German lyrics. a tremendous instrumental blow-out with gutsy. Steinwolke). Their music was quite different from the 'progressive folk' music created by the early Broselmaschine and Holderlin. perc (BRIGITTE BLUND v) A MINNE GRAW v (3-) (A)same (Zebra 2949 009) 1973 (-)"All Die Weil Ich Mag" (Polydor 2371 517) 1974 (-)"Eulenspygel" (Polydor 2371 714) 1976 Ougenweide was one the most significant German folk-rock bands of the seventies. drawing more from jazz. OS PESCADORES Personnel incl. The result was a German answer to British groups like Fairport Convention.: ALBUM: • STEFAN KOWA b "The Sound Of Lonelyness" (private) 1972 This mythical group included the bassist of Tyburn Tall. with much guitar and organ.and David Kalckreuth (organ). harmonium. Munchener Freiheit. xylophone. von Henko and Isenbart remained intact.): ALBUMS (up to '76): • • • • • • • • FRANK WULFF g. He later became a renowned rock and new wave record producer and engineer (Ian Cussick. sinister atmosphere and made clever use of studio effects. been compared to Lightshine. Their music has. glockenspiel OLAF CASALICH v. folk and contemporary West Coast rock. powerful guitars and garage organs. A large part of their repertoire consisted of traditional German folk songs. Gryphon and Steeleye Span. Morgenrot. The album was a tour de force with heavy. flt STEFAN WULFF b. Their records confirm that they were obviously great instrumentalists. opera-like vocals. bouzouki WOLFGANG VON HENKO mand. very different work. The early albums are their . instead of a Latin mass! It sounded a bit like early Uriah Heep or Vanilla Fudge with similar. a Holderlin-like ballad with the use of cello. perc RENCE ROLLMORGEN v. It was a more "mainstream" progressive rock recording. Highlights of this album included "But Reality Will Show".

Out Of Focus went far beyond British bands like Jethro Tun. (A)"Wake Up!" (Kuckuck 2375 006) 1971 (A)same (Kuckuck 2375 010) 1971 (B)"4 Letter Monday Afternoon" (2 LP) (Kuckuck 2640 101) 1972 This is a very important group whose three albums all collectors of German rock should stock in their vaults! Out Of Focus came together in Munich circa 1969. There were six dynamic tracks with ironic. blues.000 copies each).000 copies. technically absolutely brilliant! The solid rhythm section could produce repetitive but complex rhythm patterns as a backdrop for the band's soloists. A vynil re-issue of 1 appeared in 1990 on Kuckuck (a release arranged by re-issue specialists Second Battle) with the catalogue number 11006-1. "Whispering" had a riff that was repeated for more than ten minutes and "Fly Bird Fly Television Program" explored themes for nearly 17 minutes! There were even two mellow folkrock songs: "It's Your Life" and "Blue Sunday Morning". It was engineered by Thomas Klemt in the Union Studio. Their self-titled second album was recorded at Bavaria studios in June 1971. which took a little getting used to at first. the later works also utilised synthesisers. Darker"). between October and December 1970. flt. heavy riffing ("See How A White Negro Flies" and very long songs. Only the opening track "What Can A . this is it! With their roots in heavy rock. Which one of the first two albums you prefer. v STEPHAN WISHEU b KLAUS SPORI d PETER DECHANT g B INGO SCHMIDT NEUHAUS sax B JIMMY POTIVKA tpt B HERRMANN BREUER bassoon B MICHAEL THATCHER kb B GRAND ROMAN LANGHANS kb B The labels of 3 have the catalogue number 2433 002 (record 1) & 2433 003 (record 2)! All records with the listed catalogue numbers are originals. Traffic. OUT OF FOCUS Personnel: ALBUMS: • • • • • • • • • • • REMIGIUS DRECHSLER g HENNES HERING kb MORON NEUMULLER sax.most acoustic ones. but it added yet another special dimension to the end product. In 1991 & 1992 Ohrwaschl re-released all albums on CD (limited to 1. Colloseum. Ihre Kinder's manager Jonas Porst was farsighted enough to sign the band to his Kuckuck label. the band spent months in their practice room to polish up their forthcoming debut album Wake Up! (1970). If you need just one album to sample the specific German way of approaching "progressive" music. folk and jazz. In many ways this was a more extreme album. Neumuller had an uncommon voice. Gravy Train. exploring the whole instrumental register from silent. All the hard labour produced one of the all time classics of German rock! Out Of Focus revealed a well balanced instrumental mix of alternating guitar. switching to a fusion-ridden direction. Cried Jesus"). This was limited to 1. really depends on your own taste. flute and organ riffing. breezy and peaceful whispers to lull-blown outbursts of outrageous power ("Dark. This was another landmark of German rock. humorous lyrics (as typified by "God Save The Queen. Munich. Reputedly. etc.

v GREGOR AHRENS d OLAF LIETZEN d . But. v KLAUS SCHULZ g. influenced by such bands as Jane. Novalis.progressive acts (along with Sahara.S. Out Of Focus were expanded with brass and more. often multi-tracking his saxes and flutes. b. Surprisingly. There was only one song that was comparable to their previous album: a short and folky ballad named "Where Have You Been".Poor Boy Do" recalled the heavy guitar.B" (sic!) was another very long work with the focus on brass. v KLAUS AHRENS g. Their large scale opus "Huchen 55" lasted for two whole record sides and a total running time of almost 50 minutes! Sadly this proved too self-indulgent. Walter Negele wrote all eight tracks. little has been heard from these talented musicians since their demise. for although the mammoth composition had many excellent parts I find it over-arranged. Moran Neumuller had now taken the role of lead soloist. What an awesome group they were! PANCAKE Personnel: ALBUM (up to '76): • • • • • • HAMPY NERLICH v TOMMY METZGER g WALTER NEGELE g WERNER BAUER b (RAINER ROHM d) A GUNTHER KONOPIK d B NB: Re-issue of 1 on Offers OMP 7602 in 1976. Ash Ra Tempel. second re-issue on Blubber Lips BL 804 in 1978. Ben and also Soft Machine. Imagine a group of 11 musicians playing something different all at once! "L. the brainchild of the talented guitarist Walter Negele. flute and organ riffing of the first album. Drexler and Hering had a surprisingly low profile on this album. In the Summer of 1975 the band set off to Stuttgart to record their minor masterpiece Roxy Elephant (1976) in the Zuckerfabrik with Cristoph Wertz (engineer).this was rather uncommon for a symphonic rock band in 1975! PANTHER Personnel: • • • • • GERD LANGE g. The parallel to the early Wishbone Ash albums is easy to see. as Pancake had twin lead guitars and lacked keyboards . Streetmark and some others) were Pancake. All Out Of Focus albums are now available oil CD in digitally remastered brilliance. Pell Mell. etc. The first incarnation of Pancake came together in 1974. This proved to be Out Of Focus' last album. resulting in a musical fusion reminiscent of British Vertigo-bands like Nucleus. Eloy. (B)"Roxy Elephant" (private Z 33000) 1976 One of the finest mid to late seventies German symphonic. of which the tuneful opener "Heartfire" and the 13 minute long "Aeroplane" are outstanding examples of the characteristic melodic guitar rock of the mid-seventies. even such a fantastic album didn't seem to fulfil their ambitions. For the double album Four Letter Monday Afternoon (1972). Wishbone Ash. Bob Downes. Pink Floyd.

Parzival were one of the few German bands to follow in the steps of British groups like Gryphon and use medieval folklore as the basis for their refined progressive music. SEYDLITZ cello B NB: Sampler A German Rock Legend (Nova 6. PEGASUS ALBUM: "Seems Like A Long Time Has Gone" (private) 1975 Their album Seems Like A Long Time Has Gone (1975) had an excellent 12 minute title track.ALBUM: "Wir Wollen Alles" (private 2667) 1974 Another obscure group. This was similar to their first album. Featured guests were: Matthias Muller-Menckens (flute. charming and beautiful. The nucleus of the group was the trio Lothar Siems. currently a bit short of 100 DEM each. Most of their songs were short. Unlike Ougenweide and Novalis. rudimentary 'progressive rock'. Some of the tracks had the slight melancholia I associate with Novalis at their best. b. In 1971 they took the name Parzival and obtained a recording contract with Telefunken.28337) (1975) featured both their original albums. 9 (Telefunken 6. Parzival sang in English and lacked the German distinction of the folk-rock bands on the Pilz label. Panther played standard. Joachim Reichhold (cello) and Hans Jaspers (viola). Their second and sadly last album Ba-rock emerged at the beginning of 1973. vocals). although in parts closer to rock than Legend. v WALTER QUINTUS vln. It is now extremely rare! . v WALTER V. (A)"Legend" (Telefunken SLE 14635) 1971 (B)"Ba-rock" (Telefunken SLE 14685) 1972 Along with Ougenweide. Like Pell Mell. Walter Quintus and Thomas Oliver. home made poster cover. before joining the Quintus Ouartet. but not in a pompous large scale manner. Siems and Oliver had played together since 1965 in the Bremen group The Chamberlains. Parzival's legacy is to have recorded two of the best German folk-rock albums which avoided the trappings of over-ambition. Luckily it was later included on the Rock In Deutschland sampler in 1981. Technically they enjoyed the steady support of producer Konrad Plank. Their repertoire comprised increasingly folky styles. This design itself was more interesting than the music contained within. melodic.24610 AG) (1981) was a compilation from these plus the rare 1972 single. their original albums are fast increasing in value. The rest was average. Their only album came in a large. short rock'n'roll songs with political lyrics in German. An obscure single ("One Day" coupled with "Souls Married To The Wind") followed in 1972. PARZIVAL Personnel: ALBUMS: • • • • LOTHAR SIEMS g. electric folk-rock with much use of flute. piano). For this reason. violin and acoustic guitars. Legend (1971) was a fine album of lyrical. Seydlitz and helped by Muller-Menckens and Harald Konietzko (bass. Parzival also incorporated classical music. kb THOMAS OLIVER d. sampler Rock In Deutschland Vol. I'm afraid. The group had expanded with the addition of cellist Walter v.

B (DIETRICH T. (A)"Marburg" (Bacillus BLPS 19090) 1972 (B)"From The New World" (Phillips 6305 193) 1973 (C)"Rhapsody" (Venus VB 76 1 PM) 1976 Pell Mell were formed in Marburg in 1971. 1976) & 22-009-004. Kniesmeijer with Ralph Lippmann. recorder and some guitar. Schon. Lake and Palmer. 2 has been re-released on Ylaps 001. a violin (which Thomas Schmitt played with great virtuosity).PELL MELL Personnel: ALBUMS (up to '76): • • • • • • • • • THOMAS SCHMITT vln. v PETER CONANT SCHAFFER g B KLAUS KAUFANN pno GERALD HEINEMANN v B UWE MEYER b B HANS-JURGEN LUDWIG d EDDY MUSCHKETAT perc. mellotron. resulting in a complex symphonic sound comparable to Triumvirat. v (OTTO PUSCH kb) A. There is also possibily an early edition of this on Bellaphon BI 15138 . swirling hammond organ. NOLL kb) B RALPH LIPPMANN v. Pell Mell used musical themes of Liszt and Rachmaninoff. recorder. Synthesizers and longer passages of classical guitar were introduced. g C CHERRY HOCHDORFER kb C RUDOLF SCHON v. Like these. For 50% of the album. harm GERALD HEINEMANN v . Their version of Smetana's "The Moldau" was particularly successful. g (JORG GOTZFRIED b) A. was instrumental. now featuring Schmitt. Most of the material. PERCEWOOD'S ONAGRAM Personnel: • • • • • • • • WOLFGANG MICHELS g. On Pell Mell's second album From The New World (1973) the keyboard player Dietrich T.matrix number of BLPS 19090. Their home city also gave the name for their debut album. Pell Mell often borrowed classical themes. wasn't able to record Rhapsody until 1975 and another year passed before the album was released on the freshly founded record company Venus. A revamped Pell Mell. kb. Pell Mell's sound was characterised by colourful. produced by Peter Hauke. five tracks in all. This contained an inspired form of symphonic rock comparable to Nice and particularly Emerson. g.B GOTZ DRAEGER b C MITCH KNIESMEIJER d NB: 1 has been re-released twice on Bacillus with the same sleeve: BAC 2008 (ca. It seems that problems occurred when it came to recording and releasing a third album. Stommeln. Noll replaced Pusch on half of the tracks. recorded during 1972 at the Dierks Studio. Cherry Hochdorfer (ex-Frame) and Gotz Draeger.

v ?d ALBUM (as Zonk): "A Deeper Blue" (Europa E313) 1968 same (Liberty LBS 83204) 1969 "Hitshock" (Liberty LBS 83325) 1970 "Pet-Arts" (2 LP) (Liberty LBS 83481/2) 1971 "CCR Hits" (Sunset SLS 5012) 1969 Petards were basically a good-natured pop-rock band.. A Deeper Blue (1968) was a rare example of German pop psychedelia in the 'swinging London' style. "Chicago" was a fine 12-minutes example of live garage jamming. Encouraged by Alexis Korner. always attempting to get a German top ten hit. Michels formed Percewood's Onagram in 1969. but to give our friends the chance to hear our music. As the liner notes explained: 'the basic idea of this record was not to produce a record. which featured psychedelic cover art. Later albums sounded a bit more professional.ALBUMS (up to '76): • GEARY PRIEST d B NB: 1-3 were private releases that had nothing to do with the British record company Virgin. Uwe Meyer. The 14 songs were still quite straight rock. There are probably re-issues with identical cover & catalogue number of these! 4 has been re-issued twice on Govi PO 1004." with a hostile free form freak-out as the finale. Most noteworthy was the 21 minute "Are You Coming Mike. and thereby to increase the number of our friends'.. who occasionally managed to write some great pop-rock songs. Check that stupid photo of the group on the album cover! For their two subsequent albums. Geary Priest and Peter Conant Schaffer recorded Ameuropa in 1974 and for some this was their best album. but were still based on folk-blues. (A)same (Virgin PO1) 1970 (A)"Lessons For Virgins" (Virgin AR 6601) 1971 (A)"Tropical Brainforest" (Virgin AR 6602) 1972 (B)"Ameuropa" (Onagram 1004) 1974 In the sixties. a collection of R & B and folk-blues based garage-rock. PETARDS Personnel: ALBUMS: • • • • HORST EBERT g.under the pseudonym Zonk. Wolfgang Michels was an eager rhythm and blues and Bob Dylan-fan. They were fronted by the guitar-playing brothers Horst and Klaus Ebert. . The only problem was that Michels lacked a good singing voice and the result thus became very rough. the group split and Wolfgang Michels set out on a solo career. but never succeeding. and none of them had bass! The piano work was sometimes inspired by ragtime music of the twenties. Some of the tracks were recorded live in the studio. After this. The group. Apparently this didn't work with the first album. Their most progressive effort was their final double album Pet-Arts (1971). v KLAUS EBERT b (?). Within weeks they recorded their first album. comparable to Creedence Clearwater Revival (but of course no vocals can be compared to John Fogerly's)! Indeed Petards made an album of Creedence Clearwater Revival cover versions in 1969 . containing 12 short and light songs with English lyrics. v BERND WIPPICH g. the glimpses of soft psychedelia gave way to a very plain guitar rock. Lessons as For Virgins (1971) basically contained the same type of music. expanded with Gerald Heinemann.

only occasionally giving room for more Inspired Instrumental work. Today Petards are only a curiosity of German rock.

PINGUIN
Personnel:

ALBUM:

• • • • • • •

VOLKER PLITZ kb MARKUS SCHAUB g JOE VOGGENTHALES g ELMAR KART sax, flt KLAUS GEBAUER v TOM WOHLERT b K.D. BLAHAK d

"Der grosse rote Vogel" (Zebra 2949 001) 1972 The band Talix which recorded Spuren (1970) for Vogue changed their name into Pinguin (German spelling for 'penguin') in 1971. Organist Volker Plitz wrote all six tracks for Der Grosse Rote Vogel, recorded in Love-Studio, Koln, from September to November 1971. This became the first release on Polydor's 'progressive' label Zebra. They presented a strong fusion and classically influenced progressive rock with the instrumental emphasis on keyboards. As you might have guessed from the album title, all the lyrics were in German. The album won't raise your eyebrows too much, but has some appealing melodic and pleasant tracks. In 1973 the Zebra label folded, and it seems Pinguin did the same.

PINK MICE
ALBUMS:

"In Action" (Europa E456) 1971 "In Synthesizer Sound" (Europa E1011) 1973 One of the many projects from the Lucifer's Friend -musicians, all recorded at the request of the budget price company Europa. Pink Mice was an outlet for keyboard and Moog-dominated versions of classical compositions and as you will have figured out yourself, this is of only minor interest unless you are 'switched on Bach' (i.e. enjoy the albums of Walter Carlos)!

POPOL VUH
Personnel:

• • • • • • •

FLORIAN FRICKE pno, moog (A) (FRANK FIEDLER synth) A (HOLGER TRULZSCH perc) A (ROBERT ELISCU oboe) B (CONNY VEIT g) B (KLAUS WIESE tamboura) B (DJONG YUN v) B,D

ALBUMS (up to '76):

DANIEL FICHELSCHER d, g C-E

NB: Re-issue of 1 in 1980 on IC 58.159 Re-issue of 2, 3 & 6 in 1982 with identical catalogue numbers, but with a "Pop Import" stamp on the backside. Re-issue of 7 on WEA 58423. All has been re-issued on CD by French label Spalax.

(A)"Affenstunde" (Liberty LBS 83460) 1970 (A)"In den Garten Pharaohs" (Pilz 20212 769) 1972 (B)"Hosianna Mantra" (Pilz 20291 431) 1973 (C)"Seligpreisung" (Kosmische Musik KM 58 009) 1974 (-)"Aguirre" (Ohr Barclay 840.103) (Fr) 1974 (D)"Einsjager und Siebensjager" (Kosmische Musik KM 58 017) 1975 (E)"Das Hohelied Salomos" (United Artists UAS 29781) 1975 (E)"Letzte Tage Letzte Nachte" (United Artists UAS 29916) 1976

Few German groups were as inventive as Florian Frieke's musical vehicle Popol Vuh, named after the holy book of the North American Maya Indians. Fricke was born on 23 February 1944 in Lindau. During the sixties he studied grand piano and composition at the Freiburg university. After this, he worked sporadically as a music and film reviewer, and befriended someone who was to be a huge influence on his musical career: Eberhard Schoener, then the leader of the Munich Kammeroper. Schoener taught Fricke about the potential of a moog synthesizer. In the Spring of 1969 Fricke formed the first Popol Vuh crew of the initiative of Liberty records. The record label wanted Fricke to make an experimental moog synthesizer album. It seemed likely that Liberty planned to cash in on something like the Walter Carlos-album Switched On Bach, which had recently been a surprising commercial success for CBS. The resulting album Affenstunde (1970) was really something totally different from this! A mystical journey through spooky tonal landscapes of gargling moogs and ethnic percussion. This music attracted attention in the growing underground rock scene, and Popol Vuh recorded the five subsequent albums for Pilz/Kosmische Musik. In Den Garten Pharaohs (1972) was the follow-up, a development on their first album with the same musical ingredients. To create a more meditative effect Frieke also played organ and electric piano. The album contained just two extended tracks: "In Den Garten Pharaohs" and "Vuh". In 1972 Fricke also experienced a religious revival. When he converted to both Christianity and Hindu, he discounted electronics for a more acoustic style and re-organised Popol Vuh totally. This team made Hosianna Mantra (1973), an album with titles like "Kyrie", "Segnung" and "Andacht" The angelic soprano voice of Yun matched the aesthetic and meditative music. The only similarity with the two previous albums was the slight ethnic touch. This album was the point of departure for Fricke's further career. One of the most significant decisions in that career was when he participated on Conny Veit's second Gila album and as a consequence met Daniel Fichelscher, previously the drummer in Amon Duul II. Fricke and Fichelscher became the nucleus of Popol Vuh for future albums. The first of these, Seligpeisung (1973) improved the meditative style of the previous album. Fricke decided to sing the lyrics from Song of Solomon himself, adding an amateurish touch to the music (like Incredible String Band when their girl-friends were involved). It benefited from Fichelscher's twin instrumental talents - both as a guitarist and percussionist. Eliscu, Veit and Wiese also contributed to this album, recorded by Dierks in Stommeln and Baumburg. Aguirre (1975)

featured some of the music from Werner Herzog's film of the same name. Herzog and Fricke were long term friends from Fricke's days as a film reviewer. This was a strange release, as it compiled recent alternative studio takes with the original music for the film. The long piece "Vergegenwaertigung" was a solo Fricke electronic number, a throw-back to the first two Popol Vuh albums, probably recorded in late 1972. Also "Aguirre I" was recorded before Fricke discarded the moogs and mellotrons. This was a majestic and floating large scale track. "Morgengruss II", "Agnus Dei" and the guitar part of "Aguirre II" were probably recorded in May 1974 at the sessions for the forthcoming album Einsjager Und Siebenjager and were fine examples of Fichelscher's brilliant guitar work. The album was originally only released in France and Italy. To add even more to the confusion, the German re-release on Pop-Import 1982 had three later Popol Vuh tracks, "Wo Bist Du, Der Du Uberwunden Hast" and "Auf Dem Weg" from Die Nacht Der Seele: Tantric Songs (1979) and "Die Umkehr" from Bruder Des Schattens - Sohne Des Lichts (1978), replacing "Vergegen-waertigung". This is not mentioned on the cover nor the label. Either it was a mistake or an illegal replacement due to the loss of master tapes. Einsjager Und Siebenjager (1975) was recorded by Fricke, Fichelscher and Yun in Bavaria in May 1974. By this time Fichelscher also had begun to compose music. On this occasion, some of Popol Vuh's best music ever was recorded. A typical track of this period had a drum (Fichelscher had a particular passion for the use of cymbals) and piano backing with two guitar overdubs playing the melody lines and Djong Yun's magnificent voice added on the top. "King Minos", "Morgengruss" and "Wurfenspiel" were good examples, "Gutes Land" was a re-titled version of "Agnus Dei", already recorded twice on the two previous albums. Tile title track was a major work of 19 minutes, a recital of different musical themes. All lyrics were adapted from the Song of Salomon. Das Hohelied Salomos (1975) included more of such adaptations. The music was as beautiful as before, now with added help from Al Gromer (sitar) and Shana Kumar (tablas). Al Gromer also contributed to the next five Popol Vuh albums. Letzte Tage, Letzte Nachte (1976) was arguably their most pompous and grandiose album. The music was much more powerful and energetic than usual. Fichelscher's guitars built walk of sound backed by massive cymbals and drumming. Fricke's piano almost drowned in this Amon Duul-like inferno of sound. Popol Vuh have been true pioneers of meditative music and "world music", guided by the unique musical vision of Florian Fricke. Every album is excellent in its own right, but for beginners I will particularly recommend Einsjager Und Siebenjager and Das Hohelied Salomos.

PROF. WOLFFF
Personnel (approx.):

ALBUM:

• • • • •

MONDO ZECH KLAUS PETER SCHWEITZER ROMI SCHICKLE ? ?

same (Metronome MLP 15422) 1972 Folding open the sleeve of the one and only Prof. Wolfff-album reveals a long-haired quintet. Unfortunately their names weren't listed, but the three guys credited for the compositions were presumably members of this obscure group. The seven songs were recorded in October 1971 at the Jankowsky studio, Stuttgart, produced by Jonas Porst (the Ihre Kinder-manager) and

EVERT BRETTSCHNEIDER (GUITARS).engineered by Klaus Reiser. some great! A recommended album that unfortunately is very seldom seen around nowadays. In all. such as A. PROPELLER Personnel: ALBUM: • • • ACHIM REICHEL g. Santana and King Crimson. Perhaps Porst's involvement explains why the result sounded like a cross between Ihre Kinder and Murphy Blend . Pie & Family with Bernd Schulz and Klaus-Georg Meyer (two other former Rattles-members). After this. In 1972 he teamed up with some old friends from Rattles (the renowned beat-group of which he was a member from 1961 to 1968). v HERBERT HILDEBRANDT g.R. Broken Door (1975) contained typical (also lyrical!) mid-seventies "progressivism" with plenty of mellotrons. & Machines. Fritz Frey was also the engineer on the Chicken Bones album from 1976. Let Us Live Together featured ten jolly rockin' tracks and was quite well received by the German press. PERCUSSION) "Broken Door" (private BTS 7511) 1975 An obscure quintet. b.strong political lyrics in German and folky arrangements coupled with a very prominent hammond organ played in a semi-classical style. MELLOTRON). PROSPER Personnel: ALBUM: • • • • • FRITZ FREY (GUITARS. Hildebrandt and Tarrach formed Randy. Wolfff for the most part lacked sax and flute. VOCALS). seven songs. On the other hand. Together they made an album of heavy boogie and glitter rock. moogs and heavy guitars . ERNST MULLER (ELECTRIC PIANO. MINI-MOOG. but unfortunately very hard to find! RAMSES Personnel: • • • • • HERBERT NATHO v WINFRIED LANGHORST kb. all of them good. A very fine album. Reichel soon returned to his much more experimental solo projects. but Prof. MATTHIAS GEISEN (BASS) AND FRIEDHELM MISIEJUK (DRUMS. v DICKY TARRACH d "Let Us Live Together" (Phillips 6305 114) 1972 A one-off "have fun" project led by Achim Reichel. Lied Des Teufels also recorded similar music.vaguely comparable to a cross between contemporary Zappa. b. v NORBERT LANGHORST g HANS-DIETER KLINKHAMMER b REINHARD SCHROTER d .

ALBUM (up to '76):

"La Leyla" (Sky 002) 1976 This group, choosing the name of an ancient Egyptian King, were purveyors of a soft, polished symphonic rock style, similar to that pioneered by Novalis, Jane, Eloy, Barclay James Harvest, Moody Blues, etc. Herbert Natho and Hans-Dieter Klinkhammer formed the band at the end of 1972, but the line-up that recorded La Leyla (1976) wasn't assembled until 1974. This first album was recorded at Conny's Tonstudio, Neunkirchen in the Autumn of 1975, produced by Conny Plank himself and Jane guitarist Klaus Hess. It was among the very first releases on Sky. Certainly Ramses were characteristic of the symphonic "Sky sound" - late seventies pompous and lyrical rock. There were six tracks in all, featuring long instrumental passages of guitar, organ and string synthesiser, all clocking in between five and eight minutes. If this musical formula wasn't exactly revolutionary or inventive, Ramses were competent enough technically.

RANDY PIE
Personnel:

A=Randy, Pie & Family ALBUMS (up to '76):

• • • • • • • • •

DICKY TARRACH d (HERBERT HILDEBRANDT g) A BERND WIPPICH v, g B,C,D (BERND SCHULZ kb) A WERNER BECKER kb B,C,D (KLAUS-GEORG MEYER b) A MANFRED THIERS b B,C,D JOCHEN PETERSEN sax, g C (JEAN-JAQUES KRAVETZ kb, v) C

NB: Re-issue of 1 on Polydor 2371 491. Promo copies of 2 exist with the original sleeve & the title Sophisticated.

(B)same (Zebra 2949 015) 1973 (C)"Highway Driver" (Polydor 2371 555) 1974 (D)"Kitsch" (Polydor 2371 666) 1975 (D)"England England" (2 LP) (Polydor 2664 160) 1976

Randy Pie were a moderately successful AOR-rock band of the mid-seventies. Their origins lay in the sixties beat group The Rattles, of which they had all been members. In 1972 these musicians assembled under the name Randy, Pie & Family and recorded two singles for Atlantic. At the end of the year they went their separate ways, but Tarrach was determined to go on, and assembled the group Randy Pie. On their first album they played American sounding laid-back rock. For a UK tour in June 1974, Jochen Petersen (ex-Ikarus and producer) was brought in and added a jazzy touch. The second album should have been named "Sophisticated", but the UKbranch of Polydor rejected this title. The sleeve was changed and the company gave the album a new title: Highway Driver. On this polished album, Jean-Jaques Kravetz (ex-Frumpy) also appeared. There were seven funky jazz-rock songs featuring three-part harmonies, brass and strings, recalling Doobie Brothers or Steely Dan. Few German bands have tried to copy this sound. Kitsch (1975) was another album in this direction as was England, England (1976), a double live set. Surprisingly enough (considering its title) it was compiled from German concerts. At the end of 1976, Randy Pie began to crumble: Bernd Wippich, Werner Seeker and Jochen Petersen left in that order.

THE RATTLES
Personnel:

ALBUMS (after '70):

• • • • • • •

FRANK MILLE g JOCHEN PETERS [a.k.a. LUDE LAFAYETE] kb B (EDNA BEJARANO v) A,B LINDA FIELDS v C ZAPPO LUNGEN b (HERBERT BORNHOLD d) A,B WOLFGANG BROCK d C

(A)"The Witch" (Phillips 6305 072) 1970 (B)"Tonight Starring Edna" (Phillips 6305 176) 1972 (C)"Gin Mill" (RCA PPL 1-4016) 1974 The Rattles was one of the leading beat-bands in Germany, following their formation back in 1961. Achim Reichel and Herbert Hildebrandt (bass) were founder members, but they departed in 1967 and 1968 successively. A new Rattles line-up assembled in 1970 to record the single "The Witch" coupled with "Get Away" (Fontana 6004 010). The A side was a song that had enjoyed increasing popularity after The Rattles had recorded their first version of it in 1968. The single actually became an international success and Rattles recorded three competent straight rock albums in the early seventies. In 1971 a fifth member, Jochen Peters alias Lude Lafayete (ex-Gash), was added. Gin Mill (1974) was a weaker come-back attempt from Mille, Lungen and Lude with new members Linda Fields and Wolfgang Brock (ex-Karthago). Lude Lafayete later formed Wolfsmond in 1976.

REACTION
Personnel:

ALBUM:

• • •

PETER BRAUN g, v LUIGI DE LUCA b HOLGER TEMPEL d

NB: Re-issued in 1990 in different cover on Little Wing (LW 1009)

same (Polydor 2371 251) 1973

A "no compromise" hard rockin' trio. Little Wing, which re-released their one and only album in 1990, claimed that Reaction were a reaction against British bands like Agnes Strange and Incredible Hog. This was hardly the case, as these bands issued their albums at the same time or after Reaction (1972 and 1975). However, the German trio was an equally loud and aggressive band, eager to surpass the blues-based guitar-rock of Cream and Jimi Hendrix. If you're looking for refined, sophisticated 'art rock', please look elsewhere! Reaction contained nine pieces of primitive blues-rock-boogie the way it used to be performed. Personally I think that Peter Braun's vocals are their weakest point. This album was hardly noticed in 1972, and it seems as if Reaction soon disbanded. As a result, their album was quickly deleted and has become increasingly difficult to find. Originals now sell for 200 DEM or more. I advise you to buy the rerelease with its great new artwork!

ACHIM REICHEL/A.R. & MACHINES

Personnel (A.R. & Machines):

ALBUMS (A.R. & Machines):

• • • • • • • • • • • • • •

ACHIM REICHEL g, v, other instr(A) FRANK DOSTAL d (A), lyrics HELMUT FRANKE g (MANFRED RURUP kb) B CLAUS-ROBERT KRUSE kb C JOCHEN PETERSEN sax FRANK WULFF recorder C (ROLF KOHLER b) B HANS HARTMANN b C (LEMMIE LEMBRECHT d) B HANS BOCHE d C (OKKO BEKKER perc) B OLAF CASALICH perc C CARSTEN BOHN perc C

ALBUMS (solo) (up to '76):

(A)"Die Grune Reise" (Polydor 2371 128) 1971 (A)"Echo" (2 LP) (Polydor 2633 003) 1972 (B)"III" (Zebra 2949 006) 1973 (C)"IV" (2 LP) (Zebra 2949 008) 1973

"Autovision" (Zebra 2949 016) 1974 "Ercholung" (Brain 1068) 1975 "Dat Shanty Album" (Nova 622 535) 1976 What a godfather of German rock Achim Reichel (born 28.1.1944) has been! His musical career started when he founded The Rattles with Herbert Hildebrand in 1961. They were kind of Liverpool-beat clones, regularly performing at the Star Club (in Hamburg), attempting to fill the vacuum when Beatles returned home. In 1968 he departed to form Wonderland. Reichel and Dostal continued to work together with more experimental music as Wonderland Band and Frankie Dymon Jr. Reichel's first four solo albums, as A.R. & Machines, were also experimental to say the least! Die Grune Reise (1971) was a twisted and whimsical work for echo-guitar, voice and bass, Reichel's idiosyncratic battle against the machines! Check out the insane voice-play "Truth And Probability"! Indeed he revealed himself as a talented multi-instrumentalist elsewhere on the record. Frank Dostal took care of the lyrics and drums, while Reichel did all the rest. His roots in conventional rock were also revealed though by the inclusion of some boogieblues songs. These tracks were out of context with the otherwise experimental music and the result was a bit mixed in the end. Reichel's use of echo-guitar style predated Ash Ra Tempel's Inventions For Electric Guitar, but was used in a quite different manner. Also the subsequent albums of A.R. & Machines were mixed affairs. On Echo (1972), a whole symphony orchestra contributed, but this double album didn't receive many favourable reviews. The heavy boogieblues rocking Propeller album (1972) gained much more success. A.R. 3 (1972) was more or less a return to the group format. Even with this long list of participating musicians, the overall sound was very much the same as before. Apparently, Reichel still wasn't tired of his experiments with echo guitar. Perhaps the album was a bit chaotic and over-produced - it was not an easy task to amalgamate echo guitars, rock and jazz. A.R 4 (1973) was generally a better effort. Here were

RELEASE MUSIC ORCHESTRA Personnel: ALBUMS (up to '76): • • • • • • • MANFRED RURUP kb (NORBERT JACOBSEN sax. but the choice of material was uncommon: old traditional sea shanties! He played most of the instruments himself. and I will not go into details about these albums.C (A)"Life" (Brain 1056) 1974 (B)"Garuda" (Brain 1072) 1975 (C)"Get The Ball" (Brain 1083) 1976 The remaining nucleus of Tomorrow's Gift was joined by a wind player and became Release Music Orchestra in 1974. and a later appearance in Amsterdam. he returned to straight rock with Dat Shanty Album (1976). Reichel finally broke away from his machines on Autovision (1974). After a year of rethinking. rhythmic jazz-rock with sax duets and electric piano to the fore. perc. due to the extensive use of electric piano and sax. With Frank Dostal he set up the production unit Gorilla Musik. Their first album Life (1974) included recordings from their first concert as Release Music Orchestra in Hamburg. on 5 April 1974. on 4 August 1973 with Jochen Petersen (sax. He also managed the label Ahorn. a more meditative album. g) B FRANK FISCHER b C WOLFGANG "ZABBA" LINDNER d. The sleeve featured drawings recalling Gong's fancy artwork! Garuda (1975) was arguably their best album . flute).a refined. Notable guests were saxophonists Johannes "Alto" Pappert (from Kraan) and Jochen Petersen (Ikarus and Randy Pie). Further line-up . vibes MARGIT MAYA HABERLAND v. Margit Maya Haberland expanded the "orchestra" to a quintet.B (BERND KIEFER b) A (HOLGER DUNKEL b. Later albums have gradually become increasingly pop. but had a more pronounced jazz feeling.just two long pieces of more simple echo guitars and jazz-rock fusion. which has been responsible for several fine albums by Novalis.and rock-based (Reichel has even enjoyed some chart success in Germany!). Peter Franken (drums) and Olaf Casalich (percussion). Erholung (1975) contained tracks recorded live in Hamburg.a kind of jazz-rock fusion with the spotlight on Petersen's wind instruments. Perhaps Reichel should have explored this direction further. as this album was quite good. The music strongly recalled Tomorrow's Gift 's Goodbye Future phase. Release Music Orchestra also had a funky feeling to their instrumental jazz-rock. clarinet) A. This was also an uncommon musical move from Reichel . a Telefunken subsidiary that is now defunct. Kin Ping Meh and Ougenweide. Some of Rurup's organ work was quite similar to that of Mike Ratledge (Soft Machine). By now. Kiefer had departed and been replaced by Holger Dunkel. g B. Even the legendary Yatha Sidhra-album (one of the rarest on green Brain) was produced by Reichel.

The recordings were done in the Electrola Studios. not offering much space for instrumental excursions of longer duration. MICHAEL ROTHER ALBUM (up to '76): NB: UK-issue of 1 on Radar RAD 8. The Sky albums were recorded at Conny's Studio with Konrad Plank. also including Wolfgang Riechmann (later of Streetmark) and Wolfgang Flur (later of Kraftwerk). v JEAN PIERRE WUTTKE sax KURT WEAL tromb. sax RALPH BLOCH d "'scuse Me" (Harvest 1C062-29438) 1972 "Down To Earth" (Harvest 1C062-29483) 1972 For me.000 copies in Germany. the rhythms were faster and the overall sound more stream-lined .they were attempting a more commercial approach. bassoon GUSTAV CSIK kb. Cologne and directed by H. ROUNDHOUSE Personnel: ALBUMS: • • • • • • BERND HELL b. In its place Carlo Karges (previously guitarist of Tomorrow's Gift ) and Mike Gong added guitar on a couple of tracks.changes followed before the third album Get The Ball (1976): Jacobsen and Dunkel left and Frank Fischer became their new bassist. vibes LASZLO JUHASZ tpt. g MATTHIAS THUROW g MANFRED MAIER v REINHARD kb RONALD LIBAL b . this band's two albums of heavy blues and soul-influenced rock with a strong brass backing are a great disappointment. re-issue on Polydor 2327 112 "Flammende Herzen" (Sky 007) 1976 Michael Rother was born in Hamburg in 1950. Rother's music is ideal for relaxed listening. Up to 1970 he was a member of the amateur group Spirit Of Sound. ROYAL SERVANTS Personnel: • • • • • DETLEF NOTTRODT v. Perhaps it was due to some good guitar passages. All material was rather song-oriented. Surprisingly. Hondricht. melodic and tuneful instrumental music characterised by soft guitars and synthesizers. The overall sound on this album had changed. I really wonder how this group managed to find their outlet on the supposedly "progressive" Harvest label. Flammende Herzen (1976) still stands out as his best album. g. it sold more than 100. electronic and unique "kling-klang" rock in Neu (with Thomas Dinger) and Harmonia (with Cluster). Jaki Liebezeit of Can played drums on most of his albums. Also. due to the lack of saxophone. Rother worked with monotonous. In 1975 he decided he'd had enough of this music and went solo with idyllic.

Also re-issued on CD. Rufus Zuphall's first album Weiss Der Teufel has gradually gained legendary status. (Note: two other interesting versions of "Summertime" have been recorded. Their album is now very rare and copies are changing hands for 400 DEM or more. and "Freitag". (A)"Weiss Der Teufel" (Good Will 10001) 1971 (B)"Phallobst" (Pilz 20 21099-5) 1971 An experienced progressive rock collectors will know about this excellent group from Aachen. Their album We (1970) was musically somewhere in-between these genres. Rufus Zuphall drew influences from both folk and the blues. folky mood with massive percussion. v THOMAS KITTEL g. "I'm On My Way" closed the album in a quiet way. Re-issue of 2 with the original fold-out cover. RUFUS ZUPHALL Personnel: ALBUMS: • • • • • • GUNTER KRAUSE g. featuring Jan Akkerman on guitar. The Zombies did a charming. and "Makrojel" electric folk-rock with flute to the fore. It was recorded in the Netherlands and released as a private pressing in 1971. All five tracks were recorded live in the studio. Most of the material sounds very dated today and Royal Servants are best remembered for being the predecessor to Eulenspygel. but with the "Pop Import" mark ca.) Other great tracks were "Knight Of Third Degree". 1981. kb B KLAUS GULDEN flt. The crew that recorded this stunning garage rocker with Erich Engels (percussion on one track). largely instrumental early progressive rock. strongly flavoured by the blues. folk and country (some even had a Latino-touch). In 1989 Little Wing re-issued the first Rufus Zuphall album in a magnificent new cover design. Their next album Phallobst (recorded in the Dierks Studio from July to August 1971) featured new members Thomas Kittel and Manfred Spangenberg. which can arguably be dubbed the German Jethro Tull. . Particularly strong was the album's second side with two fine instrumentals: "Prickel Prit". This developed into a very twisted and frenetic flute solo! Some people regard this track as one of the finest moments of German rock. jazzy beat version in 1966 and the Dutch group Brainbox.ALBUM: • GUNTER KLINGER d same (Polydor 2371 251) 1973 Royal Servants are an interesting example documenting how the late sixties beat music developed into early seventies progressive rock. There were a couple of ten minute vintage progressive excursions and five shorter pop-rock tracks drawing from jazz. all with lyrics in English. perc (HELMUT LIEBLANG b) A MANFRED SPANGENBERG b B UDO DAHMEN d NB: Re-issue of 1 on Little Wing (LW 1009) in 1989 in different cover. as was Xhol Caravan's Electrip (1969). clavinet and acoustic guitars were added). Just like Jethro Tull. released a more progressive interpretation in 1969. typifying the raw-edged. This album was more polished and had a wider dynamic and instrumental range (mellotron. featuring one of the most raucious guitar breaks of German rock! Weiss Der Teufel is a great album. resulting in a raw and unpolished sound. The side-long title track "Weiss Der Teufel" incorporated the old Gerschwin-standard "Summertime". in a peaceful.

Rainer Marz (guitar). (A)"Sunrise" (Pan 87. The nucleus of Frumpy then became Atlantis. The album consisted of conventional rock with soul. deep and powerful voice (. Adrian Askew (keyboards) and Claudio Szenkar (percussion). . After a one-off project with Krause as ID Company she co-founded Frumpy in 1970. SAHARA Personnel: ALBUMS: • • • • • • • • HENNES HERING kb MICHAEL HOFFMANN moog. Munich. PILPS 9006. comprising a complete concert from June 1972. The "Sunrise" suite filled the whole of side two. Sunrise was nonetheless of an international quality.the German Janis Joplin?). Yes. and released further commercially successful albums. demos for their unreleased third album and a couple of tracks recorded prior to Weiss Der Teufel. v (NICK WOODLAND g) A GUNTHER MOLL g. Lake & Palmer. jazz and blues influences. US-issue of 1 on Peters Int. a group that recorded four albums together before splitting in 1972. Emerson. Between 1965 and 1969 Inga was a member of the Irish-German folk band City Preachers along with Dagmar Krause and O'Brian-Docker. benefiting from Rumpf's distinctive. mellotron. The quality of the recordings were generally good and this set is indispensable for Rufus Zuphall fans! INGA RUMPF ALBUM (up to '76): "Second-Hand-Madchen" (Phillips 6305 279) 1975 She was born on 2 August 1948 in Hamburg. US-issue of 2 on Peters Int.But still more exciting was their 4 LP box (+ large booklet and a bonus single) of 1994 with Phallobst and lots of previously unreleased material. this Munich group was signed to Pan (an Ariola subsidiary) and changed their name to Sahara. Ringo Funk (drums). v) A STEFAN WISSNET b. combining haunting melody lines with complex arrangements. Tile album was also granted a British release on the Dawn label. Jethro Tull and others. v B (ALEX PITTWOHN harm. with contributions from internationally wellknown studio musicians.337) 1976 Sahara developed out of Subject Esq. v (HARRY ROSENKIND d) A HOLGER BRANDT d B NB: UK-issue of 1 on Dawn DNLS 3068. Karl-Heinz Schott (bass). dearly influenced by British bands like King Crimson. Both albums were recently re-issued on CD by Ohrwaschl. sax.306) 1974 (B)"For All The Clowns" (Ariola 89. Successive albums grew increasingly predictable. After some line-up changes in 1973. This was an excellent example of complex German symphonic-rock. The album Sunrise (1974) was recorded in the Autumn of 1973 in the Musicland Studios. Curved Air. PILPS 9017. Her first solo album was recorded with most of the Atlantis line-up of 1975: Frank Diez (guitar).

This was all directed by none other than Klaus Schulze and his influence is very evident on these recordings. Hoffmann and Wissnet remained from the 1974 line-lip. Their lyrics apparently dealt with their personal habits: "I'm used to smoke . Sahara's legacy is two really great albums recommended for all fans of symphonic-rock. The resulting album was another great effort . At the time of recording For All The Clowns two years later. kb. . same (Brain 1020) 1972 "Hungry For Love" (Warner K56074) 1974 Sameti was created in Munich in 1971 after Christian "Shrat" Thiele had left Amon Duul II. only Hering.slipped into my music I'm used to stumble through my stoney days Come over big fat brother joint Come touch my body A long life to that stoned hero" From "Big Fat Brother Joint" By the time of Hungry For Love (1974) their sound had changed considerably . congas WALTER BRATENGEIER g ECKART b. drum machine HANNES VESTER v. Other relevant musical references could be White Noise. Their album Golem (1974) featured a lot of electronic sound effects. SAMETI Personnel: ALBUMS: • • • • CHRISTIAN "SHRAT" THIELE v. Their first album consists of one side long improvisation: "Anotherwaytosee".Sameti was now a standard heavy rock'n'roll band! The album wasn't very interesting and after that nothing more was heard from them (a completed third album remains unreleased to date).Sahara were never a stable unit. SAND • • • Personnel: ALBUM: LUDWIG PAPENBERG g. Cosmic Jokers or Ash Ra Tempel. and one side of four semi-structured works. VCS3 ULRICH PAPENBERG b "Golem" (Delta Akustik 251281) 1974 A studio group. The new members were: Gunther Moll and Holger Brandt (ex-Missing Link). so it's appropriate for headphone listening. taking you off with the 10 minute opening track "Helicopter"! The album was recorded with the artificial head sound system. g KLAUS GOTZNER d NB: 1 was recently re-issued on CD by Germanophon. but is less imaginative. almost amounting to a test record! This music takes you to abstract mindspheres. memorable songs like "The Mountain King" and the title track. 'cosmic' and trippy as they are. The music itself has similarities with Amon Duul II. Sadly the band wasn't able to cope with more line-up changes when Brandt and Moll decided to leave and consequently disintegrated in 1977.more polished and melodic with long.

their first album Desert Places (1974). released on the green Brain label. Their music was AOR in direction. GAM 1976 (released 1986). "Samtvogel" (private) 1974 The musical career of this talented guitarist has been very erratic. Here he presented his personal ideas. but a casette release. particularly for all fans of space rock. In 1976 he finally recorded 13 of these songs at the Tonstudio Zuckerrfabrik in Stuttgart with several friends from Embryo and Missus Beastley: Christian Burchard (drums. SATIN WHALE Personnel: ALBUMS (up to '76): • • • • DIETER ROESBERG g.22248) 1975 A rock-oriented group. Schickert recorded his first solo album and released it privately in 1974 (Brain re-released it in 1975). By contrast. Whitesnake. Yes. Since the late sixties he had also written his own folk songs. "Aristoteles" (April 0004) 1976 Julius Schittenhelm (vocals. In 1973 he founded the trio GAM (first letter in the forenames of the members!) with Axel Struck and Michael Aleska. acoustic guitar) is best known as the producer of several Ohr albums. . Burkard Schmidl (synthesizer. v GERALD DELLMANN kb HORST SCHATTGEN d "Desert Places" (Brain 1049) 1974 "Lost Mankind" (Nova 6. Uwe Mullrich (bass). piano) and Jofrey Ramos (congas. This group never made any records. He was actually pictured on the rear sleeve of Klaus Schulze's Moondawn. v THOMAS BRUCK b. contained demo tapes for a possible album. etc. recalling bands like Supertramp. Lake.a 'cosmic' electronic music created exclusively by an electric guitar. flt. Schickert was also Klaus Schulze's roadie for a while and occasionally jammed with the master of electronics just for fun. which were surprisingly similar to Manuel Gottsching's Inventions For Electric Guitar . marimba. was more raw-edged and spirited. Barclay James Harvest. GUNTHER SCHICKERT Personnel (GAM): ALBUM (up to '76): • • • GUNTHER SCHICKERT g AXEL STRUCK g MICHAEL ALESKA d NB: 1 re-issued on green Brain 1080.Sand were somewhat inferior to these legends. but Golem is certainly interesting. Schickert and Gottsching didn't know about each other's projects until years later. organ). sax). JULIUS SCHITTENHELM ALBUM (up to '76): NB: 1 re-issued on Schneeball 0004. Friedemann Josch (flute.

500 copies each. On Blau (1973). like the next two. To use the term 'music' on this material is perhaps a bit misleading. most significantly their performance at the 'Essen Songfestival'. Kluster was formed in November 1969 with Dieter Moebius and Hans-Joachim Roedelius. amazingly entitled: "Die Rebellen Haben Sich in der Bergen Versteckt" and "Jupiter". Schnitzler also made weird live appearances. In 1976 he recorded the piece "Der Riesen Und Seine Frau". In 1961 he started his studies at Staatliche Kunstakademie as the first pupil of the radical artist and sculptor Joseph Beyss. but due to its limited circulation few paid attention to it. This wasn't released until 1983. Rot. 100 copies or a box named Work In Progress was released circa 1974 with Schwarz. Schittenhelm's songs were generally accompanied only by acoustic guitar and congas. in September 1969. Aristoteles was released on the independent April label.2 & 3 were limited editions of ca. Each box is completely unique. This album really broke new musical ground. It also seems very likely that Moebius & Roedelius participated in these recordings. Schnitzler moved to Berlin and started his solo career there. was released privately on the Block label in a very limited quantity (about 500 copies). Indeed he worked with both bands at the same time for a while. although one was recorded: Gelb. and should be regarded as an epoch-making work like Cyborg. His first release was Schwarz (1971). Zeit and Affenstunde. 1974 brought no further albums. This was the first time the distinctive and characteristic electronic sounds and tape loops of Schnitzler appeared on record. His second solo album Rot (1972) also had side-long excursions: "Meditation" and "Kraut Rock" (rock?!). the two very long pieces of music were similar to the Kluster albums. In May 1971. It is an album of average quality of interest mostly for fans of German political folk-rock. there were two further pieces in a similar style.percussion). as all these live tapes have different extracts from the concert! 20 of the boxes had 6 inserts while the remaining 80 had a signed and numbered art insert. except that Schnitzler's raw material was made of sound. it contained 12 untitled pieces of musical association from the year 1974. This was released in 1981 as one side of Grun. it should by compared to the contemporary art of sculpture. For a change. Basically. This record. Blau and a cassette with live recordings. like: "Work in progress" in Galerei Block. CONRAD SCHNITZLER ALBUMS (up to '76): NB: 1. His first live appearances were with Tangerine Dream.a 50 hour performance over 16 days. Berlin . "Eruption: Schwarz" (Blok KS 1001) 1971 "Meditation: Rot" (Blok KS 1002) 1971 "Blau" (Blok KS 1003) 1972 "Gelb" (Blok EB 110) 1983 (1974) The most outrageous character in the world of electronic music was born in Dusseldorf in 1937. which featured various other musicians not listed on the plain black cover. EBERHARD SCHOENER ALBUMS (up to '76): . In 1969 he was involved in two of the most important experimental German bands of all time: Tangerine Dream and Kluster. Later he also studied under Karl-Heinz Stockhausen.

ERNST SCHULTZ ALBUM (up to '76): "Paranoia Picknick" (Kuckuck 2375 014) 1971 Ihre Kinder's guitarist and vocalist made his first solo album in 1971. and "10 Finger Blind". The third one comprised similar adaptations of American folk and country music (!!!). that in addition to the folk rock-material features "Synthetischer Orient nr. all the Harvest albums were further classical and rock concept albums with contributions from famed musicians like Andy Summers (guitar). Pete York (drums) and two opera singers he led the ambitious classical and rock fusion project Windows. Ray Fenwick (guitar). but as an inspirational source and general advisor for up and coming musicians. a successful experiment with sitar and variable speed tapes. From 1966 he become the artistic manager and premier conductor of the Munich Kammeroper. In 1962 he founded the Munich Youth Symphony Orchestra. guitar). He was born the 13 May 1938 in Stuttgart. Staatenlos". a strange sound collage. It was another one of Schoener's many attempts to merge different musical traditions. He experimented a lot with this instrument at the Bavaria studio in Munich and encouraged Florian Fricke to buy one. "Paranoia Picknick". an uncommon merging of Balinese traditional music and rock with Pete York and Sigi Schwab (guitar). organ). not due to his recorded output. Glenn Hughes (bass. It was released in a limited edition of only 2. Meditation (1974) was his first electronic work in its own right. performed by two typewriters! Among the rest of the material the best tracks are "Nur Bin Spanier" and "Kurt Mittag. 55. His Paranoia Picknick was closer to electric folk-rock than Ihre Kinder were. He was the man who brought the first moog synthesizer to Germany in 1968. Between 1952 and 1958 he studied violin and conducting in Detmold. Schoener's synthesizer experiments were documented on his first three solo albums. This is a varied record. vocals. David Coverdale (vocals). piano. which he conducted for eight years. His work with the Munich Kammeroper in collaboration with Procol Harum (Germany-tour 1972) and Jon Lord (presenting the "Gemini Suite" live) was more significant. inspired by an extended trip to Asia. Jon Lord (keyboards)."Destruction Of Harmony" (Ariola 80847) 1971 "Die Schachtel" (Reprise) 1971 "A Day's Lullaby" (Reprise REP 44143) 1971 "Meditation" (Ariola 87131) 1974 "Windows" (Harvest 1C062 95634) 1974 "Bali-Agung" (Harvest 1C062 29647) 1976 Eberhard Schoener has been a very influential character on the German rock scene. With the exception of Bali-Agung. With Tony Ashton (vocals. Sting (bass) and Olaf Kubler (sax).600 copies. 1". but the German lyrics deal as usual with political problems. The record had an impressive painting of characters from the lyrics on the cover. two of which were moog adaptations of classical music in the style of Walter Carlos. Steward Copeland (drums). KLAUS SCHULZE ALBUMS (up to '76): "Irrlicht" (Ohr OMM 556 022) 1972 "Cyborg" (2 LP) (Kosmische Musik KM 58 005/6) 1973 "Black Dance" (Brain 1051) 1974 "Picture Music" (Brain 1067) 1975 "Time Wind" (Brain 1075) 1975 . Jon Lord was and is a long-term friend of Schooner.

In April 1972 he recorded Irrlicht. where he presented his ballet music "Totemfeuer". but his own assault of manipulated organ completely dominated the sound. Stockhausen and Cage. The musical references for Schulze's original music were avantgarde and systemic composers like Racy. for radio plays and for mental hospital therapies. One of their first concerts in this format was at the Essen Pop and Blues Festival on 11 October 1969.released in stereo! This first solo work was heavily based on the use of organ. Klaus left Tangerine Dream in the Summer of 1970 to create the ultimate space rock trio Ash Ra Tempel. and the end result was a unique kind of 'kosmische Musik' I don't really know how serious he was with his own music at this very early stage. In Autumn 1969 he teamed up with Edgar Froese and Conrad Schnitzler in Tangerine Dream. Other activities in 1973 were the production of music for German television. Meanwhile. The album featured the composition "Irrlicht". he participated in the almost endless Cosmic Jokers sessions. echo machines. Also a symphony orchestra contributed to the recording (Colloquium Musica der Freien Universitat). as the third movement "Exil Sils Maria" ran backwards for more than twenty minutes! Anyway. resulting in no less than five albums. Klaus Schulze had developed his own interpretation of the minimalist idea. a "Quadrophonic Symphonie fur Orchester unad E-machines" . Klaus Schulze also studied experimental composition with Ligeti. There were few live performances at this time. Like all of these. etc. guitar (!) and electronics. Schulze also found time to record his second solo work (from February to July 1973) . a friend of Wegmuller. though. where Tangerine Dream. Klaus played a major role on this album both as a cocomposer and as a performer playing drums. This was his first in a string of five highly influential albums. Another album project was finished soon afterwards: Lord Krishna von Goloka (1973) by Sergius Golowin. organ. with Hartmut Enke and Manuel Gottsching. The same month their legendary Electronic Meditation was recorded. From December 1972 onwards.the double album Cyborg (its original sleeve was different from the Urs Amann painting on later issues). resulting in their classic debut album and 33 concerts. The Brain re-release and their subsequent re-issues have a different sleeve with an Urs Amann painting reminiscent of Salvador Dali. mellotron. His musical career started in 1967 when he founded the amateur band Psy Free. His first concert as a solo artist was on 15 February 1973 in Paris. which was divided into three movements. the passing (and direction. but mostly laden with electronic treatments such as oscillators. Schulze played drums. From February to May 1975. logically!) of time is only an illusion according to several philosophers! The original release of Irrlicht on Ohr featured a cover by Klaus Schulze. This was a great development on the new musical concept presented by Irrlicht. The members had met at "Wilmersdorfer Beat Studio". all released without the permission or knowledge of the involved musicians. Klaus Schulze departed to start his solo career in September 1971. This band also included Curly Curve guitarist Alex Conti. After one year with Ash Ra Tempel. On this occasion he . Klaus Schulze took part in many successful 'cosmic' jam projects. Ligeti. which also assembled the original Ash Ra Tempel trio together again for the recording of Join Inn (December 1972)."Moondawn" (Brain 1076) 1976 Klaus Schulze was born in Berlin on 4 August 1947. The four very long pieces (or more precisely: movements) made up this classic exploration of electronic minimalism (now adding a VCS 3 synthesizer to the basic organ instrumentation). Winkel and Blacher at the "Technischen Universitat". The first of these was Walter Wegmuller's Tarot (1973). Agitation Free and others were rehearsing and studying with Thomas Kessler and others. phasing.

displaying a refined use of electronics and sequencers resulting in a brilliant. This proved to be a long lasting partnership. in anticipation of a better record deal. Picture Music (recorded in Autumn 1973). particularly for fans of the early seventies style of Pink Floyd. The original issue had an illustration by French painter Jacques Wyrs. a Japanese progressive rock band that included two keyboard players that later went solo: Akiro Ito and Masanori Takahashi. His music had now fully matured . The second of Schulze's five classic albums in a row. In August 1975 he mixed Nipponjin by Far East Family Band. he signed a new record contract with Metronome's label Brain. At the beginning of 1974 Klaus Schulze produced two fairly obscure groups. he introduced rhythm and drums into his music . whereas "Mindphaser" drifted around in a spooky atmosphere (with added cloudbursts) for 10 minutes.a development on the sound attempted for the first lime on Picture Music. Klaus Schulze toured France in the Spring of 1975.e. On Picture Music. with the artificial head recording technique. In January 1975 Picture Music was finally released. This was the classic drums & sequencer driven album . which had previously been given to other ground-breaking artists such as Pink Floyd and Jimi Helldrix.as an electronic "Careful With That Axe. Finally. Only months later (November to December) he was to produce their next album Parallell World. Here he continued to experiment with various additions to his basic electronic sound frame: acoustic guitars and massive percussion were added to "Ways Of Changes" whereas opera vocals and repetitive drums were added to "Voices Of Syn" The third track on the album was a 'phasing solo sonata' aptly named "Some Velvet Phasing". In April 1973 he performed a 10 day concert (or rather sound environment performance in the best Schnitzler-traditions!) in Hannover during an industrial fair. the latter better known as Kitaro. Eugene"! Later that year. bearing a dedication to Richard Wagner. ex-Agitation Free). Harald Grosskopf. Timewind was released. This was replaced on all subsequent re-issues. temporary replacing Peter Baumann. This album was performed exclusively on keyboards (i. The spacey sounds he achieved with these instruments helped to increase his (wellearned) reputation as a synthesiser wizard. His first release on the legendary green labeled Brain was Blackdance (recorded May 1974). This album was awarded with the prestigious 'Grand Plix International Du Disque' in France. One of the tracks was recorded on a two-track machine in his bedroom in March & June 1975. but which few ever have managed to surpass! The two pieces "Bayreuth Return" and "Wahnfried 1883" had a duration of one hour. swiftly flowing ethereal music which many artists later have attempted to copy. released on Delta Acustic (their spelling). particularly after Kaiser released the Cosmic Jokers' albums without his permission. In August he unexpectedly rejoined Tangerine Dream for a French tour (and at least one open air show in Germany). Schulze banded the re-appearing drums over to a long-time friend. as he started his musical career as a drummer! Also his keyboard arsenal was extended with ARP Odyssey and ARP 2600 synthesizers. The music was gradually evolving and increasing in force on "Floating". Both albums are well worth acquiring.also performed a set with Ash Ra Tempel. For some concerts in November and December 1974 he was joined by Michael Honig (keyboards. Moondawn was recorded in January 1976. he also participated in . then exploded pompously in a rage .no big surprise really. electronics and sequencers). His relationship with Kosmische Musik and Ohr was now getting more and more strained. Half a year later. was kept in the can for 16 months. Code III and Sand.

Timewind.F. resulting in the double album Go Live From Paris.Stomu Yamashta's ambitious "Go" project. Keshav Sathe (tabla) and Kusum Thakur (tambura). and Moondawn and be amazed by his many new inventions through the years! IRENE SCHWEITZER ALBUM: "Jazz Meets India" (Saba SB 15142) 1969 Irene Schweitzer is a renowned jazz pianist from Switzerland. (their first albums were also great!). Blackdance. cornet). He'd met this group when Scorpions supported U. Dewan Motihar (sitar. he has been the most important pioneer of electronic music. released on the green Brain label.F. first recording a studio album in FebruaryGo ( ). a genre that they indeed invented during the mid-seventies with their several pioneering albums. you will see that this was the first album on the Brain 1. In the meantime. Scorpions gradually established themselves as the leading heavy metal band in Germany as their creative energy decreased and horrible «heavy ballads» (their trade mark) became their trademark. This left Scorpions under the command of Klaus Meine and Rudolf Schenker. The album Jazz Meets India was recorded in October 1967 and featured Manfred Schoof (trumpet.much more experimental and 'progressive' in sound! Their ace guitarist Michael Schenker left soon after this album for international adventures with the heavy metal group U. Maybe someday these artists will get the attention they have deserved. Up to 1967 her band featured future Guru Guru members Mani Neumeier and Uli Trepte and played a very spontaneous kind of free jazz. From the album's catalogue number.'s German-tour. Along with Tangerine Dream. Barney Wilen (sax). try the albums: Cyborg. who re-launched the band with Fly To The Rainbow on RCA in 1974. SCORPIONS Personnel: ALBUMS (up to '76): • • • • • • (MICHAEL SCHENKER g) A ULRICH ROTH g B KLAUS MEINE v RUDOLF SCHENKER g LOTHAR HEIMBERG b WOLFGANG DZIONY d (A)"Lonesome Crow" (Brain 1001) 1972 (B)"Fly To The Rainbow" (RCA PPL 14025) 1974 (B)"In Trance" (RCA PPL 14128) 1975 (B)"Virgin Killer" (RCA PPL 14225) 1976 This well known heavy rock band is listed here mainly due to the significance of their first album Lonesome Crow (1972). For an initial introduction to Klaus Schulze's career. Their new guitarist Ulrich Roth provided some interesting moments on their albums up to 1978. then performing the material live in Paris and London in June. Mani Neumeier (drums). vocals). SECOND LIFE . Uli Trepte (bass).000 series! Their debut was way better than those albums that brought Scorpions international fame . new generations of synthesiser players continue to be influenced by them.O.O.

Personnel: ALBUM: • • • HOLGER SCHMIDT g. self-titled album for Metronome in 1971. flt MANFRED GREINER b MATTHIAS HELK d "Blind Man's Mirror" (Castle Records CAS 1003) 1976 A late seventies keyboard and guitar-based progressive band from Coburg. They recorded (in Windrose Studios. Hamburg) one interesting. SEEDOG ALBUM: "We Hope To See You" (Delta Akustic 251 261) 1974 Another of those spacious Delta Akustic albums. Just 700 copies were released. to file along Kluster and Conrad Schnitzler. Second Life's album is now very rare. experimental rock. melodic late seventies style progressive rock with symphonic touches. It is a curiosity for fans of the pre-industrial. the cover lamination is peeling off on every copy I have ever seen. SECOND MOVEMENT Personnel: ALBUM (up to '76): • • • • • • HARALD KESSELHACK v THOMAS MOCKL g SIGMUND ZEIDLER kb MANNI BIERBACH sax. with roots back to the late sixties. In contrast to these. v CLAUS MEINHARDT b KARL-HEINZ TRAUT d same (Metronome MLP 15409) 1971 A heavy blues-progressive power trio. Synthetic Space was an album full of experimental electronics. It featured typical. so don't expect to find a mint cover even if you're lucky enough to trace the record! In 1972 the group changed their name to Tiger B. Side two had four fine hard rock songs. Best cut was the 20 minute long suite "Second Life". Sesselberg's compositions were relatively short. fetching prices in excess of 150 DEM. It started as a folky. attempting to make the listening pleasure of headphones a 360 degrees 3D-delight! This album was dedicated to the first explorer of the electronic universe: Klaus Schulze! SESSELBERG ALBUM: "Synthetic Space" (private) 1973 This duo released a rare private pressing in 1973. building into a heavy guitar solo section similar to Jimi Hendrix or Ten Years After followed by a long drum solo. After more than twenty years. Blind Man's Mirror was privately pressed. Smith and recorded two inferior albums for Vertigo and Bacillus. acoustic song. .

this was SFF’s finest achievement and indispensable for lovers of the mellotron . S. Arguably. a quite typical trademark of such bands. mellotron NB: Originals of 1 had the green Brain label.F. as it was recognised as an ill-fated free music experiment. "Symphonic Pictures" (Brain 60. Re-issued with following two as Collected Works on Laser's Edge in 1993. Certainly a very rare progtessive rock album! SILBERBART Personnel: ALBUM: • • • HAJO TESCHNER g. Instrumentally the mellotrons. • • • Personnel: ALBUM (up to '76): EDUARD SCHICKE d GERHARD FUHRS kb HEINZ FROHLING b. Seiler released his solo album Keyboards And Friends. It was planned that Frank Zappa was to produce the band.Fuhrs and Frohling both played this instrument! Frohling also had a self-built double neck Les Paul guitar and Rickenbauer bass combination. Later pressings of this came on the brown Brain label. Lake and Palmer. v WERNER KLUG b PETER BEHRENS d "4 Times Sound Razing" (Phillips 6305 095) 1971 An underground heavy progressive power trio that recorded a legendary collector's item titled 4 Times Sound Razing. SIDDHARTA ALBUM: "Weltschmertz" (private) 1975 This group recorded a melodic and almospheric album with some nice guitar parts in 1975.010) 1976 This trio was the leading German band of the instrumental symphonic rock genre of the late seventies. Peter Seiler led the symphonic rock trio Tritonus through their whole lifespan from 1973 to 1979. This album contained just four songs: "Chub Chub Cherry" (a short heavy rock song like a freaky Cream). Their Symphonic Pictures (1976) was recorded with Dieter Dierks at the Dierks Studio. g. continuously . string ensembles and moogs were given more space than the guitars. Before recording the first Tritonus-album.PETER SEILER ALBUM (up to '76): "Keyboards & Friends" (RBM 5004) 1974 Heavily influenced by the classical rock of Emerson. "Brain Brain" (16 minutes of acid nightmares. helped by Tritonus bass player Ronald Brand and saxophonist Gerd Kothe. Their music can he compared to a more easy-going King Crimson or Shylock. The album received bad press. but he had to record his own album (Zoot Allures) at the same time as Symphonic Pictures was to be recorded.F.

SITTING BULL ALBUM: "Trip Away" (CBS 64697) 1971 A quartet. shinai) (WOLFGANG b) FLORIAN LABER b. the lyrics are almost inaudible. Blues & Underground 1558 025) 1972 Siloah came from Munich and were the brainchild of one Thom Atgauer. the title means 'acid eagle') as 'being even wilder than Kalacakra'. which in itself gained them no recognition at all. The sound balance is a bit strange. and "Stony" (4:26). Siloah on this record were: If you want to check out Siloah. a short number in the same vein and continues with "Feast Of The Pickpockets" (8:39). not forgetting the ugly silver gnome on the front sleeve! All trace of Silberbart disappeared after this album. slow meditative organ chords gradually incorporating bass and drums. Silberbart were a true power-trio. "A Landlady's Dessert" (0:46) is the short conclusion of the album. (A)"Saureadler" (Car Records 1558 015) 1970 (B)"Sukramgurk Playin'" (Ger. and it isn't difficult to agree with this after listening to the six tracks. There are some rumours that members of Amon Duul were involved in these recordings. v B (MANUELA perc) BLACKY ZUMSTEIN perc B MARKUS KRUG d B NB: 1 also released as just 'same' (private) at about the same time. regarded as among the most frenzied on the German underground scene. Side two starts off with "Magic Carpet Ride To The Alps" (2:38). which bears up its name. Some dealers have described their first album Saureadler (1970. the cranky vocals. . "Milk Blue Mind" (16:15) covers side one with stunning jamming. A real shame. They made two extremely rare private pressings. Apart from the short introduction and ending. go out and hunt for their album . Their second album Sukramgurk Playin’ (1972) was definitely an underground classic . flute and guitar on certain tracks. save up 500 DEM to purchase each record. psychedelic organ sounds. "God" (a much more melodic attempt with powerful guitar arrangement. Now. kb (B) (TINY v. Both albums were re-released on CD by Lost Pipe Dreams in 1993. the album had "Aluminium Wind" (18:00). sounding like Black Sabbath meet Hendrix with a collective paranoia) and "Head Tear Of The Drunken Sun" (finished it all with 12 minutes of hazardous power trio pyrotechnics). g (A). As you will have gathered. this is an extreme album in many ways: the raw power. In 1971 their album Trip Away. This really sounds like a late sixties organ combo freaking out on solid doses of acid! Siloah must have been inspired by some rambling American sixties punk rockers. the restless arrangements. Guests play drums.shifting tempo in an amphetamine-driven mayhem). probably originating from the Hamburg-area. This is an acoustic ethno-psychedelic head trip.a mostly instrumental album with lots of primitive. as some of their ideas were quite remarkable.you'll need about 250 DEM! SILOAH Personnel: ALBUMS: • • • • • • • THOM ARGAUER v.

Skyline also appeared on the festival sampler Urnsonst & Draussen 1976. was recorded at the legendary Windrose Studio in Hamburg. Judging by the title and year of release. It was released as . v STEFAN LIEDKE g FLORIAN LABOR b. Sparifankal recorded a live show in February 1976. I haven't got the names of the group members. SNAKE IN THE GRASS ALBUM: "Hot & Sweet With Beat" (Opp 5) 1969 Another of those vanished rarities. v GUNTHER SONDERWALD d "Bayern Rock" (April 0000) 1976 A strange and freaky Bavarian political folk group led by Carl-Ludwig Reichert and Tillmann Obermaier. SPARIFANKAL Personnel: ALBUM (up to '76): • • • • • CARL-LUDWIG REICHERT g. American West Coast feel. Three years later Sparifankal founded the alternative label (releasing mainly jazz-rock and polit-rock) April. this is an album of the late beat-age. The group also released three singles: "Hopeless Love" coupled with "Indian Fate" (1971) was taken from their album. v TILLMANN OBERMAIER g.containing 10 tracks in all. Missus Beastley and Checkpoint Charlie. Most of them had a laid-back. Their album comprised jazzy hard rock with some fine guitar parts. With third member Florian Labor Sparifankal gave their first concert in 1972. formed by several ex-members of Virus. Ton Steine Scherben. along with musicians from Embryo. SKYLINE Personnel: ALBUM: • • • • • REINHARD GLOWATZKE g UDO LUMMER g WERNER VOGT b. Its musical value is open to question! The Opp-label also released the first Hairy Chapter album Eyes in 1970. in some ways comparable to the music of Quicksilver Messenger Service. Their sound was dominated by electric and acoustic guitars with occasional keyboards. v MICHAEL STICKDORN d RAIMUND FUHRIG perc "Louise For 1 Night" (private) 1976 This was a short-lived group. as they weren't mentioned on the record sleeve! An original copy should be yours for about 75 DEM. "Sleepy Tom-Tom" coupled with "Raindrops" (1972) and "Motorcycle Mama" coupled with "Your Lovin' Man" (1972) were two rarities released on Phillips.

Ian Cussick (bass.the first release on April.the jolly mandolin tune on "Me And My Girlfriend". a powerful collection of hard rock songs. one of the few female . so the album is once again hard to obtain. who previously worked with Achim Reichel). who'd also worked with Lucifer's Friend ) and Rolf Kohler (drums. especially the vocals. In Autumn 1975 he began work on his first solo album The Seventh Step (1976). Steffens revealed himself as a technically competent guitarist. Rainer Baumann (guitar on some tracks). "Land Of The Rocking Sun" and "Pat Casey".Bayern Rock (1976) . well performed by Steffens (guitar). The rather weird lyrics were sung in a Bavarian dialect. The recordings were done at Dierks Studio.000 copies (on black Brain) was made available through the influence of Second Battle. They played raw and unpolished music. were more conventional rock songs. percussion. STREETMARK Personnel: ALBUM (up to '76): • • • • • DOROTHEA RAUKES kb THOMAS SCHREIBER g GEORG BUSCHMANN v WOLFGANG WESTPHAL b HANS SCHWEISS d "Nordland" (Sky 003) 1976 Streetmark were a highly talented group led by Dorothea Raukes. vocals. polit-rock that left a lot to be desired. SPERRMULL Personnel: ALBUM: • • • • HELMUT KRIEG g. Floydian effects on "No Freak Out". a limited edition of 1. and could very well have been the A and B sides to a catchy single (but weren't!). mint originals selling for more than 250 DEM. produced by a certain Chazadu. Stommeln. Probably a CD-release of this classic will appear sooner or later! DIRK STEFFENS ALBUM (up to '76): "The 7th Step" (Nova 622 478) 1974 Dirk Steffens was for a short period (from 1973 to 1974) guitarist in Birth Control. Deep Purple-like guitar and organ lines on "Rising Up" and powerful solo work with dynamic arrangements on "Right Now" (the longest track). This edition sold out quickly. synth HARALD KAISER b.000-series. surely a more famous character appearing under a pseudonym. v REINHOLD BREUER d same (Brain 1026) 1973 Sperrmull’s only album has all the musical variety you'll ever desire from an early seventies German album . Their album is one of the rarest of the whole Brain 1. The rest. v PETER SCHNEIDER kb. By this time the band had expanded to a quintet with Gunther Sonderwald and Stefan Liedke. mand. In 1989.

1988) This is pure acid freak-beat music with heavy guitars. released in Italy in an edition of 1. also appeared on a German single in 1970 (Rex Records 2027). two of these. I'm afraid.characters of German progressive rock. the album is good but do not fork out for an original copy! The CD re-issue of their album also featured an acetate single by The TDC Ltd. Sub In Concert (1970). dense atmosphere and echo effects.: ALBUM: • WERNER SEEKER kb "Oak Tree" (BASF 20 21109-7) 1971 This is really something to avoid for all of you: Studiker were an awful German soft country-rock combo! Their album was generously filled up with 11 examples of musical garbage. Wilhelm and Stimmel had previously played together in a beat band named The TBC Ltd. The album included a remarkable symphonic version of "Eleanor Rigby". has fetched astronomical prices lately (1. alternate versions of "Off" and "Ma-marihuana" and a cover version of Spencer Davis Group's "I'm A Man". . SUBJECT ESQ. "In Concert" (Help ZSLH 55023) (I) 1970 The group Sub were long thought by collectors (including myself) to be Swiss. but the liner notes on Penner's re-issue finally confirmed they were German (from Munich)! Katel.000 copies without the band's knowledge or approval. The A-side also appeared on a British compilation named The Magic Rocking Horse (Bam-Caruso KIRI 106. her group was constantly crippled by personnel changes. an astonishing debut dominated by keyboards with classical references. Organist Werner Seeker later became a member of Randy Pie. popping up on every progressive collector's want-list. SUB • • • • • Personnel: ALBUM: KLAUS KATEL g CHRISTIAN WILHELM v JOHANNES VESTER kb PETER STIMMEL b LUTZ LUDWIG d NB: Re-issued on CD by Penner (009) in 1994 with 1 bonus track.000 DEM plus). completely different from both The Beatles and Vanilla Fudge! STRINX ALBUM: "Talk To The Wind" (Spiegelei 3U 28583) 1973 A relatively unknown group and album. Lutz Ludwig later joined Amos Key and he played the drums on their album First Key (1972). A counterfeit vinyl re-issue also exists (limited to 300 copies). This crew recorded Nordland (1976). Side one featured the raunchy "Sub Theme I" (18:17) full of furious organ and guitar work. Unfortunately. Could it be progressive jazz-rock? STUDIKER Personnel incl. great stuff! As a whole.. Side two included six shorter tracks. "Ma-mari-huana" and "Off".

multi-tracked sax and guitars. TALIX • • • • • • • Personnel: ALBUM: VOLKER PLITZ kb MARKUS SCHAUB g JOE VOGGENTHALES g ELMAR KART sax. where the guitarist turned up the distortion to the maximum! They are comparable to their label mates Nosferatu. flt KLAUS GEBAUER v TOM WOHLERT b K.rock fusion. rock. i.e.which I unfortunately haven't heard! Reputedly they comprised a typical German type of jazz.: ALBUMS: • KLAUS WEISS d same (BASF 20 21110-2) 1971 "Zagara" (Finger 23 96101) 1972 The band of Klaus Weiss.a real fusion of jazz. who recorded a much more keyboard-based album for Zebra in 1972. They managed to make a great album with complex arrangements.D. Some parts of the album are good. Weiss played drums in the Doldinger's Quartet. v ALEX PITTWOHN g. BLAHAK d "Spuren" (Vogue LDVS 17237) 1970 A highly-priced collector's item! Talix had the typical vintage progressive sound of guitar versus sax battles. sax. who was later to found the percussive jazz rock-project Niagara. v PAUL VINCENT g PETER STADLER kb FRANZ LOFFLER vla STEFAN WISSNET b. Talix later became Pinguin. SUNBIRDS Personnel incl. Highly recommended! The band returned to the spotlight in 1974 with a slightly changed line-up as Sahara. Instrumentally their sound was dominated by organ. rich instrumental textures and multi-voice vocals . Phillip Catherine played guitar on both albums by Sunbirds . playing beat music. v HARRY ROSENKIND d NB: Re-issued on CD by Ohrwaschl in 1992. classical and blues. TANGERINE DREAM Personnel: .Personnel: ALBUM: • • • • • • • MICHAEL HOFFMANN flt. same (Epic EPC 64998) 1972 The band began its life in the mid-sixties as The Subjects. In 1969 the name was changed to Subject Esq. In the early sixties.

The Ones managed to get a single pressed. kb. my family had a lot of contact with them. catching moon drops. At the same time he began playing music with fellow students. At the end of the Second World War this area was lost to Russia. In 1965 a band named The Ones was formed. for whom Froese played guitar. on the Starclub-label. electronics E. groovy be-inns.F (CHRIS FRANKE d. and Froese's family moved west to the crumbled Reich's ruined capital Berlin. sax. electronics (E-) (VOLKER HOMBACH flt. playing cover versions of then current American pop.G.I (MICHAEL HONIG kb) H (CHARLIE PRINCE v) A (KURT HERKENBERG b) A (LANSE HAPSHASH d) A (SVEN-AKE JOHANSSON d) B (KLAUS SCHULZE d) C. In the mid-sixties Froese studied painting and sculpture at the Berlin art academy for four years. Bright and Beautiful Big fat love-inns.electronics) C (STEVE SCHRODER kb) D PETER BAUMANN kb. flt) B (CONRAD SCHNITZLER cello. synth. Froese: 'American soldiers were the first people to rush into Berlin. By early 1967 the psychedelic area had arrived.Lady Greengrass! Licking lollipops. For lady Greengrass! Puff! -The Trees turn tangerine! . kb) D-I (C)"Electronic Meditation" (Ohr OMM 56 004) 1970 (D)"Alpha Centauri" (Ohr OMM 56 012) 1971 (E)"Zeit" (2 LP) (Ohr OMM 56 021/22) 1972 (E)"Atem" (Ohr OMM 56 031) 1973 (G)"Phaedra" (Virgin 87751/V2010 (UK)) 1974 (G)"Rubycon" (Virgin 87754/V2025 (UK)) 1975 (I)"Ricochet" (Virgin 89679/V2044 (UK)) 1975 (I)"Stratosfear" (Virgin 28146/V2068 (UK)) 1976 Edgar Froese was born on 6 June 1944 in Tilsit. During the first years of my life. The lyrics of the A-Side "Lady Greengrass" told about peculiar flights and fantastic colour experiences: "She lifts her dress and floats to dreamland. in small quantity. flt. France and Spain. vln . Makes love to the sky She let's her hair hang down as the weeds grow around . the time when one's mind absorbs the most. apparently making a great impression on Froese. a small city in East-Preussen. They did some touring in Germany. vln) A (STEVE JOLLIFFE g.ALBUMS (up to '76): • • • • • • • • • • • • • EDGAR FGOESE g. Here he met and married Monique. and for whatever reason. v. I was surrounded by American influences'. soul and blues hits.

" (From "Lady Greengrass") Froese played an excellent.. Charlie Prince. Froese wanted to try out his new-found musical ideas.Puff! -The sky is suddenly green! Her eyes reveal her state of mind. The festival's motto was 'Germany awakes'.. Tangerine Dream played for a larger audience for the first time. because at about the same time he also founded the trio Kluster with Dieter Moebius and Hans Joachim Roedelius. Dali's imagination and revolutionary surreal concepts of art impressed and inspired Froese. Tangerine Dream was more or less a part-time project for Conrad Schnitzler. sometimes. This was an underground club for psychedelic music. Then in the Autumn of 1969 he established a new line-up with Conrad Schnitzler and Klaus Schulze. they often played at the Zodiac. The project name 'Tangerine Dream' was taken from the lyrics of one of the year's greatest experimental pop songs: John Lennon's "Lucy In The Sky With Diamonds". From now on. Klaus Schulze had studied experimental composition and came from an amateur beat band named Psy Free.. Back in Berlin. 'Tangerine Dream' was also the title of a 1967 pop-psych album by the British group Kaleidoscope. When The Ones disbanded. the group studied electronic music. . The first Tangerine Dream line-up was established in September 1967. and concerning the music this was true! Sadly there seem to he no recordings available of this great event. farfisa organ and piano by this time. making it one of the few German psychedelic classics! The B-Side "This Love Of Mine" was more common. Incidentally. the Swedish drummer Sven-Ake Johansson and various bass players. An important early live performance by this trio was at the 'Pop and Blues Festival. They also performed at various clubs and galleries in Berlin and Frankfurt. and he re-organised the band several times. Lanse Hapshash and. club. finally disbanding the group in the Spring of 1969. among them the British multi-instrumentalist Steve Jolliffe (of Steamhammer).F. The single is now very valuable (circa DEM 300).0. and music with the well-known composer KarlHeinz Stockhausen. improvised and psychedelic music at various venues in Germany. who played 6 & 12 string guitar. showing the band's roots in soul and blues. Both Conrad Schnitzler and Klaus Schulze had been through some academic studies previously.She's beginning to fly!. Kurt Herkenberg (later a member of Curly Curve!). guided by Thomas Kessler (a professor and contemporary classical music composer) in his studio.. The Ones disbanded shortly after this single was released. Froese met the remarkable painter Salvador Dali in Cadaques. While touring with The Ones in Spain. Froese. they played surreal.. with a picture sleeve showing a young Froese.. For the rest of the year this group practised intensely. along with other exciting new bands like Amon Duul and Guru Guru. Conrad Schnitzler had studied sculpturing as the first pupil of Joseph Beyss. wanted to experiment with uncommon instruments. Froese played sessions and gigs with several musicians. In Froese's opinion Tangerine Dream still didn't sound 'different' enough. . and featured Volker Hombach. At the Essen international song festival in the Autumn of 1968. in many ways being the German equivalent of London's U. From January 1968 onwards. wailing acid guitar on this track. generally gaining good reviews. For six months. He made some music for Dali's exhibitions then. Essen' on 11 October 1969.

Froese and Klaus Schulze never got on too well together as individuals. piano harp. while Froese only permitted Klaus Schulze to do some quite anonymous drumming. manager of the new-born Ohr label. it was logical to finish side two with the start of side one. He formed Ash Ra Tempel with Hartmut Enke and Manuel Gottsching in August 1970 before starting his fantastic solo career. The highlight of the album came next. as he immediately gave them a recording contract and released the album in June 1970. "Fly And Collision Of The Comas Sola" had three sections... The three individuals had too many ideas and too strong personalities to keep a permanent partnership. dominated by the heavy acid guitar work of Froese. Berlin. "Sunrise In The Third System" opened the album in a quiet way with a piano harp (or is it zither?). Schnitzler did some live appearances with Kluster. The finished tapes were sent off to Ralf-Ulrich Kaiser. Stommeln. It finished off with a strange. They had become acquainted in 1968 when Tangerine Dream and Agitation Free both played live at the Zodiac club. Froese found a new drummer in Agitation Free's Chris Franke. The album's thematic concept was the cycle of life from birth to death . bass. VCS 3 synthesizer) and Schroder (hammond and farfisa organ) in the Dierks Studio. this album also featured two guests: Udo Dennebourg (flute and words) and Roland Paulick (VCS 3 synthesizer). Conrad Schnitzler's peculiar use of violin and cello was important to the album's revolutionary new sound.In October 1969. and thus introduced the term 'cosmic music' to German rock. It opened with electronic oscillating VCS 3 noises. The organ chord sequence from the end of that album's title-track pops up in "Cold Smoke" and in a more disguised format elsewhere on the album.and then back to rebirth! Seen in relation to this. Two important guests participated in the recordings. lotos flute. By the way. Tangerine Dream recorded Electronic Meditation at the Mixed Media Studio. perhaps an indication on how their earlier incarnations sounded live at the Zodiac. mass-like requiem with hypnotic organ and spoken German lyrics. The title track was the first of many subsequent side long compositions. The album's title is taken from the star system that is our nearest neighbour in space. This one sounded very improvised and was based on flute and strange electronic sounds. Electronic Meditation is undoubtedly one of the true milestones of German rock and an all-time classic. Tangerine Dream revealed their passion for Pink Floyd's innovative A Saucerful Of Secrets album. before Klaus Schulze introduced percussion and a slow rhythm to which there was added flute and guitar improvisations. In October 1970 they gave a controversial concert for an audience of a thousand. zither. continued with a guitar chord-based melody and ended with a cascade of rumbling percussion with improvised flute-play. before starting his own. This record . organ). "Ashes To Ashes" was a kind of thumping acid blues with even more distorted acid guitar. He was obviously impressed. The cover had a strange painting collage made by Monique Froese. Sadly this exciting line-up was quite short-lived. Franke (percussion. Steve Schroder came in on organ. the 13-minute track "Journey Through A Burning Brain". then it increased in strength and gave way to Froese's characteristic glissando guitar. Six flipper games were connected to an amplifier and the band made improvised music to the electronically treated noises appearing from the flipper games! In January 1971 their second album Alpha Centauri was produced by Froese (guitar. obscure but artistically successful solo career. her first of many album designs for the group. Klaus Schulze had already been fired from the group at the time of the album release. Compared with their later albums. Like Ash Ra Tempel. but were not mentioned on the album sleeve: Thomas von Keyserling (flute) and Jimmy Jackson (organ). The five tracks are very imaginative and sound remarkably fresh today: "Genesis" opened with tonal clusters of cello. this wasn't particularly electronic music.

the album had a most pretentious concept. A rare single. "Fauni-Gena" set the direction for Froese's future solo album Epsilon In Malayan Pale.) of the mellotron. but this time it was very deep in the mix. For some months Tangerine Dream's only activities were to study in Kessler's studio. Most surprising was the closing track "Wahn". the reviewers weren't always too pleased with this album. was a double album and their most classical effort ever. If their two previous albums had been much heralded in the German press. The next one. later exploding in a violent climax and floating around in a quiet ambience for the last 15 minutes. instead it relied 100% on associative atmospheres. Froese still played a yelling glissando guitar. It is this stationary universe Tangerine Dream are trying to describe with their Zeit. was chosen as the legendary and highly influential radio-DJ ('Top Gear' programme) John Peel's favourite import album of the year. possibly showing the group displaying an infrequent glimpse of humour. recorded in May 1972 at the same venue as its predecessor. Steve Schroder 'flipped totally out'. Zeit is a gloomy. This single is obligatory for all people interested in German rock! Expect to pay DEM 150 for a copy in great shape. The reality was motionless and unchangeable. started with powerful and pompous percussion and mellotrons. It was recorded between December 1972 and January 1973 and developed on some of the ambience of Zeit. On part one Froese plays really heavy fuzz guitar like you've never heard him do elsewhere! Part two is quieter. strings. According to Froese. human voice. The title track. etc. associative atmosphere. A cello quartet of Christian Vallbracht. Nearly all their old equipment was sold when they made their most important discovery: the rich possibilities of synthesizers! Their next work Zeit. It is based on the theme appearing in the middle of "Fly And Collision Of The Comas Sola". named Atem (breath). quite fascinating record where Tangerine Dream have their first serious stabs with synthesizers. in time for the fullblown acid freak-out Seven Up (recorded in August 1972).was a more spacious and atmospheric attempt than the first. Schroder apparently 'flipped' his way into Ash Ra Tempel. Choosing as its subject matter 'time'. featuring bird song and lots of mellotrons. a direction the group would follow for most of their future. Jochen von Grumbkow (of Holderlin). also dates from early 1971. . with heavy use of mellotron and organ. brass. Zeit was their first album to get some of attention in England. In fact this instrument was a precursor to the electronic synthesizer. who became their new third member. this was an album completely lacking conventional melodies. covering side one. Baumann added dark vibraphone and Franke electronic effects and soft percussion. Here they met Peter Baumann. Hans Joachim Brune and Johannes Lucke introduced the first and most important movement: "Birth Of Liquid Pleiades". Many people found it too stationary for their taste. "Ultima Thule Parts I & 2". Florian Fricke of Popol Vuh guested on moog synthesizer for the beautiful middle-part and Steve Schroder played organ on the hypnotic ending of this movement. but this time brought more motion and some almost ritualistic percussion into the work. The work was divided into four side-long movements. and was fired in February 1972. In general. using their voices in an uncommon and ritualistic way. The ancient philosopher Parmenides had thought of time as an illusion that only existed in our heads. thus creating a rich. but this time the treatment is much closer to progressive rock. Indeed this was the first album to benefit from Froese's long lasting fondness of the artificial sounding tape loops (made up of recordings of conventional instruments like flute.

His instant replacement was a previous colleague of Franke in Agitation Free: Michael Honig. with plenty of drums and repeating synthesizer sequencer patterns. Atem was originally intended for release on this new label but Froese plainly refused this and the Ohr label was used again. possibly influenced by Timothy Leary's acid drenched message. the album was heavily re-mixed (and instruments added) in 1985. Peter Baumann took another 'holiday' after the completion of Rubycon in February 1975. Green Desert was recorded in August 1973 by Froese and Franke. Over a short period they signed both Faust and Tangerine Dream. which consisted of a large scale composition in two parts. The exploration of electronically-treated natural sounds continued. and in 1973 even renamed Ohr to Kosmische Musik. Kaiser had adopted the term 'cosmic music'. long-haired students crammed the church. The resulting material was often totally different from their recorded output. and now used it to promote all his artists. It wasn't released (CD-only) until 1985 when Relativity (USA) and Jive Electro (Europe) acquired the rights to all the Ohr-albums. in spite of all the music generating machines involved. Tangerine Dream appeared on Peel's 'Top Gear' and soon toured Britain for the first time. Froese felt that his group was marketed as kind of 'cosmic carnival clowns'. and the group have since then had one of their largest followings down there. spooky and unearthly. The fold-out cover displayed a cloudy Monique Froese painting. Chris Franke played the world's then largest. Phaedra shot up to sensationally peak at number 9 in the British LP charts. However. The pope was furious over the event and declared it to be a sacrilege.000 hashish-smoking. The album was wrapped in a green. because for a French tour this month Klaus Schulze unexpectedly stepped into his slot. and refused to let Kaiser release any farther albums. on to which layers of electronic sounds were added. Sequencers kept a steady beat.Tangerine Dream's relationship with the record company Ohr had grown increasingly bitter throughout the years. The general public impression of Tangerine Dream playing live was: 'three mystical men walking around and throbbing notes on large machines. so it's hard to tell how the original 1973 recordings really sounded. That is perhaps why Green Desert was kept in the can for so long. Their mid-seventies albums were pioneering the development of electronic music. foggy fold-out cover with a photo of a drop hitting water taken by Monique. Tangerine Dream recorded their first Worldwide distributed album Phaedra in the last months of 1973. In France they performed a legendary concert at the Reims Cathedral on 13 December 1974: 6. The four tracks on Green Desert are totally different from Atem. (Some foreign releases still had the Kosmische Musik logo on the front!) Kaiser had also developed a weird kind of 'cosmic religion'. The sound was more polished than that of Phaedra. and filled it with their sweet-smelling odours. By this time the group had established a very distinct and characteristic style. Virgin was the only British record company that took an interest in the revolutionary new German rock scene. The music was dramatic. The band was banned from ever playing in a Catholic church again. custom built moog synthesizer. Overall it's more rhythmic. This was another dramatic and great album (maybe the best of the Virgin releases). this time with artificial seagulls and water sounds. He was with . In Australia it did even better. Edgar Froese also recorded his first solo album Aqua at about this time. Baumann was apparently having one of his many 'holidays' from the group then. The first two months of 1975 were spent recording Rubycon. and later added Can and Ashra to their impressive roster. wrapped in fog like some kind of 20th Century wizards'. They always played improvised music. For this reason live tapes are indispensable for the committed fans.

making it a pretty and unusual little track. Stratosfear was perhaps less imaginative than its predecessors. (kb A) (DICKY MUDDE g) A (ANDY MARX g) A (JIM CANNON d) A WOLFGANG EMPERHOFF v B TIMOTHY TOUCHTON v B (A)"Child Of Never Ending Love" (Ohr OMM 56 004) 1972 (B)"Saddle Soap" (EMI 1C062-29651) 1976 . Friedkin had discovered their music some years previously during the making of "The Exorcist". b A) (ALF GARDNER v) A HERBERT IHLE v. being driven by an intelligent sequencer rhythm and flute-voiced mellotron. Along with Kraftwerk.M. but is certainly recommended as a starter for newcomers. The rest of 1975 was dominated by extensive touring in Europe. on their side. using Tangerine Dream's music as his main source of inspiration. The next studio work Stratosfear (recorded in August) was more accessible and acoustic than their previous albums. "The Big Sleep In Search Of Hades" featured harpsichord and bass. for William Friedkin's thriller "Wages Of Fear" (or "Sorcerer". Apart from this. Tangerine Dream were the best known of all German bands internationally. and had been fascinated enough to pursue a new movie project. London. In 1976 Tangerine Dream continued their frequent touring in Europe. Again the album consisted of the title track composition in two parts. Ricochet (1975). Honig wanted to work with tighter compositions and didn't manage to fit in with their often totally improvised live shows. At The Border Of The Marsh From Okefenokee" Edgar Froese played harmonica. (kb. was recorded live during concerts in France and Great Britain another milestone in the history of electronic music! It was named after a video game which gained the group's attention in-between the shows in France. Tangerine Dream started working on their first major movie soundtrack task (previously they had done some work for German TV). TANNED LEATHER Personnel: ALBUMS: • • • • • • • • RAINER PIETSCH v. "Invisible Limits" was dramatic in a way that recalls sinister movie soundtrack music. Late that year. Froese and Franke. accommodating their increasing commercial success. The next album. as was known in the USA). featuring an excellent moog solo from Peter Baumann. They are one of the few bands that started in the late sixties who are still recording. It included four tracks: the title track opened with twelve string guitar before the sequencer takes over. On "3 A. It was probably their most sequencer-guided album ever. They have sold more than 10 million records altogether.the group for their first Australian tour and a memorable appearance at the Royal Albert Hall. featuring hypnotic patterns ideal for spirited guitar and moog improvisations. and have been the most fertile album producers on the German scene. found it difficult to make the same relationship with Honig that they had had with Baumann. Consequently Honig left and Baumann returned. the track was characteristic for Tangerine Dream.

The album was made using tape loops from traditional Vietnamese music to create some kind of 'acoustic sound painting'. Andy Marx (guitar). this album is nothing more than a curiosity. For the Tetragon album they also had a guitar player added. A re-issue in different cover appeared in 1981 on Spoon 015. strings and a symphony orchestra was added too.as good as the artwork used on the British Harvest label! Tanned Leather indeed comprised three Germans and three Englishmen. v JURGEN JAEHNER g ROLF RETTBERG b RALF SCHMIEDLING d "Nature" (Soma SM1) 1971 This group was previously known as the trio Trikolon. I'm afraid. Dave King (bass). On most tracks brass. Nowadays. who released an album of tremendously raw organ led garage rock. The album is of average quality and not exactly progressive rock! Their second album Saddle Soap (1976) is even less exciting. The group was now reduced to a vocal quartet.This was a music project based in Munich and led by Rainer Pietsch. Re-released on CD by Mute in 1995. Klaus Weiss (percussion). Thor Baldursson (keyboards). It contained country-flavoured rock with few interesting moments. Czukay's tape editing skills steadily improved through the years . . Keith Forsey (drums). TECHNICAL SPACE COMPOSER'S CREW Personnel: ALBUM: • • HOLGER CZUKAY ROLF DAMMERS NB: The album was originally released in 500 copies. possibly the only release on the label. Nature (1971) was released on the minor Soma label in a fold-out cover. in many ways predating the discreet background music of certain ambient Brian Eno albums. Canaxis 5 (1969) was an early attempt at manipulating ethnic music (World music). TETRAGON Personnel: ALBUM: • • • • HENDRIK SCHAPES kb. only Holger's bass can be heard occasionally. "Canaxis 5" (Music Factory SRS 2) 1970 The project name for a one-off collaboration between Can's bass player Holger Czukay and the painter Rolf Dammers.as proved by the mid-period Can albums and even more so on his solo albums. Few ordinary instruments were in use. The album was a largely instrumental showcase for Schapes' skills on the keyboards and with a heavier influence from classical music (Bach). documenting the ambient music in its' early childhood. The list of renowned studio musicians participating on it was almost endless. Child Of Never Ending Love (1972) was an ambitious adult oriented soft-rock album that came in a fold-out cover with a cute drawing of angelic small children . The result was a strange sound milage. It contained only two tracks: "Boat-Woman-Song" and "Canaxis". Karl Allaut (guitar) and Stefan Wissnet (bass). but inferior to Trikolon's Cluster (1970). Here are some of them: Paul Vincent (guitar). The end result was quite good.

perc. Cornucopia. They recorded an album in 1973 named Variety. They were joined by Gerd Pohl. flt HARALD KONIETZKO b NORBERT DROOGIES d ERWIN NOACK perc NB: Originals of 1 & 2 should have the Brain-Metronome-label. THIRSTY MOON Personnel: ALBUMS (up to '76): • • • • • • • • JURGEN DROOGIES g. An early second pressing of 1 on green Brain (w/out Metronomewriting on label) exists.009) 1976 Brain signed a considerable number of jazz and fusion influenced 'progressive' rock bands in the early seventies. Wordehoff had a distinctive drum style with a strange. This inventive mix was most successful on the long title track. clarinet. Ricky Ramor and Kajo Sandrik remained in Germany when the orchestra they were playing in returned to Hungary.an inventive and mostly instrumental jazz-rock fusion. It is tempting to compare them to several Peter Hauke productions like Nektar. v B MICHAEL KOBS kb WILLI PAPE sax.. Among Thirsty Moon's characteristics were massive use of percussion (congas) and . perc FRANK VOIGT flt RICKY RAMOR b FRIED WORDEHOFF d "Variety" (Menga MEL 3301) 1973 Hungarians Rodrigo Ramor." was another great effort. Five tracks ranging from the 21 minute suite "Yellow Sunshine" to the short songs "Love Me" and "Rooms Behind Your Mind". a large band from Bremen. perc (HANS-WERNER RANWIG kb. kb. Creative Rock. This comprised a variety of different styles! The Hungarians in the band brought with them rich influences from classical music and gypsy folk music. Kollektiv. Their debut album appeared in 1972. light touch almost lacking bass drum. (A)same (Brain 1021) 1972 (B)"You'll Never Come Back" (Brain 1041) 1973 (B)"Blitz" (Brain 1079) 1975 (B)"Real Good Time" (Brain 60. jazz-rock and classical quotations interspersed by melodic vocal parts. where the solo improvisations were given free reign. Emergency and Thirsty Moon. Among these were Release Music Orchestra. "Draw Conclusion From. v) A SIEGFRIED PISALLA g. a 15 minute journey through boogie blues..THINK Personnel: ALBUM: • • • • • • RODRIGO RAMOR v. produced by Jochen Petersen (of lkarus and Randy Pie fame) at Studio Maschen. The Germans had a more rockoriented approach to their playing. All green Brain copies of 3 & 4 are originals. Frank Voigt and Fried Wordehoff for the studio project Think. perc GERD POHL g KAJO SANDRIK vln. Omega and Epsilon. Their music was comparable to the groups listed earlier .

thin and cranky in a late sixties' way. mellow atmospheres to psychedelic outbursts with reversed tapes and phasing effects. distinctive German type of progressive jazz-rock typified by underground legends like Xhol or Out Of Focus (2nd & 3rd album). this was most apparent on opening track "Jo Joe". Tiger Rock (1972) pictured the trio dressed in tiger furs . and was replaced by Siegfried Pisalla. (A)same (Vertigo 6360 610) 1973 (A)"We're the Tiger Bunch" (Bacillus BLPS 19176) 1974 At the end of 1972 the group Second Life changed their name to Tiger B. SMITH Personnel: ALBUMS: • • • • HOLGER SCHMIDT g. This album was just as varied as their first. ranging from soft. After a couple of years. the group resurfaced as Altona and made two further albums for RCA in 1974 and 1975. TIGER B. the next two are quite good. Blitz (1975) broke away from the early style with a more easy-going and up-beat instrumental rock. The group broke up after the disappointing Real Good Time (1976). The leading soloist in Thrice Mice was Wolfgang Buhre. Their album was recorded during November and December 1970 in Hamburg and released on Phillips in 1971. Vocalist Karl-Heinz Blumenberg had little to do most of the time. The album is so varied that it's hardly describable! Hans-Werner Ranwig quit before You'll Never Come Back (1973). Smith. On "Vivaldi" the three soloists were playing duets with themselves in turn! Minnemann's organ sound was high.electric piano in dynamic arrangements. One side was completely instrumental. The distinctive German underground sound (rooted in jazz) marked the track "Torekov". v (CLAUS MEINHARDT b) A THOMAS JAUER b B KARL-HEINZ TRAHT d NB: UK release of 2 on Janus had cover of the 1. playing the patented. The first two Thirsty Moon albums are recommended. The sleeve of their first album under this new name. THRICE MICE Personnel: ALBUM: • • • • • • WOLFGANG BUHRE sax WERNER VON GOSEN g WOLFRAM MINNEMANN kb KARL-HEINZ BLUMENBERG v RAINER VON GOSEN b ARNO BREDEHOFT d same (Phillips 6305) 1971 A sextet from Hamburg. Buhre often tried to copy the wah-wah sax style of Ian Underwood of Mothers Of Invention. presumably they too were dissatisfied with the album.

B BERND KIEFER b (OLAF CASALICH d) A (GERD PAETZKE d) B "ZABBA" LINDNER d C. interspersed with very long. Tiger B. tuned in and dropped out" to the progressive music at the end of the sixties (but remained faithful to their roots). NB 56) 1976 A heavy-symphonic album I've not encountered.D ULI TREPTE g D NB: 1 was re-released on CD by Second Battle in 1992. Peter Trunk (bass). We're the Tiger Bunch (1973) was recorded with several guest musicians. Ellen Meyer's vocals were comparable to Janis Joplin. they were a blues and soulrock band who "turned on. organ. flute and drum solos. perc) A. 1980. This was really a band of future talents. but Schmidt and Traut continued to work together in the new wave band Strassenjungs.B (CARLO KARGES g. piano). as had Tomorrow's Gift: Ellen Meyer. The latter had another 20 minute track: "At The Earth/Indian Rope Man" and the shorter "Begin Of A . Still it is a good example of their raw live sound. (B)same (2 LP) (Plus 1/2) 1970 (C)"Goodbye Future" (Spiegelei 28515) 1973 Tomorrow's Gift were responsible for the first release (of only three totally) on the Plus label (owned by Miller International). There were powerful long tracks with plenty of guitar. possibly his first production ever) was unpolished and some of the material a little rough around the edges. It was released on the legendary 'swirl' Vertigo in a single sleeve. vocals). TOMORROW'S GIFT Personnel: ALBUMS: • • • • • • • • • MANFRED RURUP kb (ELLEN MEYER v) A. Arguably she didn't have a voice as strong lnga as Rumpf. sometimes chaotic instrumental parts. Like Frumpy and Joy Unlimited. It would have been better to edit the material down to a single album! There is more than an album-worth of live material by Tomorrow's Gift issued on the two festival samplers Pop & Blues Festival '70 and Love and Peace. same (Elephant Rec. The production (courtesy of Jochen Petersen (Ikarus). This was quite an ordinary rock'n'roll album that failed to reveal any new ideas. TOBOGAN ALBUM: NB: Re-issued on Cain CL 4791 ca. namely Rainer Marz (guitar. Smith apparently attempted to create a fuller sound. Veit Marvos (organ. flute) and Curt Cress (drums). Hanus Berka (sax.and heavily painted. Both mentioned bands had female vocalists. but it was another album of rather average quality. Meinhardt left in the middle of 1974 to be replaced by Thomas Jauer for their last live engagements. three of the members being still teenagers. but her's was good enough to serve the music. The first one had a 20 minute version of Donovan's "Season Of The Witch" re-titled "Sound Of Which" (sic!).B (WOLFGANG TRESCHER flt) A. The group disbanded in 1975. Their eponymous double album had a typical vintage progressive sound.

This. and their constant. Both concerts were recorded before their debut album. The guiding forces of the band were Ralph Mobius aka Rio Reiser and Ralph Steitz aka R. Extrabreit and Nena. Manfred Rurup later recorded with Carsten Bohn's Bandstand. general Zappa-esque weirdness and musical jokes. A single "Macht Kaputt Was Euch Kaputt Macht" coupled with "Wir Streiken" was released in 1970. Original guitarist Carlo Karges later worked with groups as different as Novalis. The sound of Tomorrow's Gift had changed completely and now leaned towards instrumental jazz-rock with forceful keyboard and bass interplay.P. It was indeed a very varied album: Canterbury-influenced jazz-rock with improvised free jazz parts (a bit comparable to the first Annexus Quam album). but Manfred Rurup and Bernd Kiefer kept the band going. After this. TON STEINE SCHERBEN Personnel: ALBUMS (up to '76): • • • • • • • • • RIO REISER [RALPH MOBIUS] v. LANRUE [RALPH STEITZ] g NIKEL PALLAT v B. with whom they performed live. for obvious reasons.S. In January 1973 they were joined by guitarist Uli Trepte. aggressive political agitation. Hoffmann's Comic Theater changed its' name to Ton Steine Scherben. Their concerts often . Lanrue who first played together in the quartet Degalaxis in 1965. He also guested on the Release Music Orchestra album Get The Ball (1976). Half a year later Trepte quit and was replaced with sax and clarinet player Norbert Jacobsen.000". The most important artists of this movement were Ton Steine Scherben. The single sold surprisingly well and the band appeared on German TV. Elephant and lnga Rumpf. quickly established them as leading proponents of the Berlin counter culture. Kai Sichtelmann and Wolfgang Seidel aka Wolf Sequenza also joined this group in 1969 and 1970 respectively. Then at last Spiegelei/Aamok released it in a funny die-cut round hole cover. In 1967 Mobius was involved in the foundation of an early beat-rock-opera attempt named "Robinson 2. They recruited "Zabba" Lindner from Sphinx Tush and recorded Goodbye Future (1972) as a trio.New Sound".C (JORG SCHLOTTERER flt. bassoon. That year Mobius and Steitz also formed a theatre and music group named Hoffmann's Comic Theater. This new quartet changed their name Release Music Orchestra and recorded five albums for Brain.S.P. previously of Guru Guru. g R. along with Lokomotive Kreuzberg. an ironic title considering the name of the group! This album was technically better. perc) B KAI SICHTERMANN b (WOLF SEQUENZA [WOLFGANG SEIDEL] d) A (OLAF LITZAU d) B KLAUS "FUNKY" GOTZNER d C VEGAS VON TRANTOR perc C (A)"Warum geht es Mir so dreckig?" (David Volksmund TSS 1) 1971 (B)"Keine Macht fur Niemand" (2 LP) (David Volksmund TSS 2) 1972 (C)"Wenn den Nacht am Tiefsten" (2 LP) (David Volksmund TSS 3) 1975 West Berlin was. a city where many political rock bands developed during the late sixties and early seventies. The five-piece Tomorrow's Gift split up in 1971. as the engineering and production were handled by Konrad Plank. The album wasn't released until a year after the recordings were completed.

guitar and flute interplay. The audiences expected the band to be aggressive leaders of a desired. the band earned their reputation as the first new wave/punk band in Germany. making experimental electronic music. TORTILLA FLAT Personnel: ALBUM: • • • • • • HERMANN JOSEF BOSTEN flt. but were met by a band outrageously dressed in satin and velvet.resulted in riots and house occupations. Certainly an interesting album for those of you who enjoy jazz-rock! TRIKOLON Personnel: ALBUM: • • • HENDRIK SCHAPES kb. In the late seventies he resurfaced with Conrad Schnitzler. quite different to Floh de Cologne's style. However. Wenn den Nacht am Tiefsten (1975). Along with its predecessor. was another double one. a double album which covered a much larger musical span than the debut. glockenspiel ALBERT SCHIPPERS perc "Fur ein 3/4 Stunde" (private TF 0175) 1974 This was a 'Canterbury'. Soon they drifted into obscurity. this was their highest achievement. The Swiss authorities honoured this action by declaring the band 'persona non grata'. After an early 1972 tour. v ROLF RETTBERG b RALF SCHMIEDLING d . The band's debut LP appeared in September 1971 on their own David Volksmund label. The next album. Wolf Sequenza left the band at the end of 1971. Indeed. tpt. taking 12 months to complete and including a lot of different musical styles. the band promptly organised a demonstration against political injustice in Switzerland. entitled Hr Fressack (Rothkehlchen 1) (1973). Jorg Schlotterer and Jochen Petersen contributed to the album. after rethinking their stage presentation. the band temporarily withdrew from live appearances and in 1973 the only life-sign was (the reinforced) Hoffmann's Comic Theater record for children. this was a fine collection of progressive political rock. Their music was totally instrumental jazz-rock. Ton Steine Scherben was again met by acclaim. After a concert in Basel. In the Spring of 1974 they attempted a live come-back with mixed results. but tile members took part in a variety of side projects. marked by some interesting electric piano. The band's next work was Keine Macht For Niemand. With very aggressive music and lyrics. forthcoming political revolution. A member of the group's living commune once finished a television-broadcasted public discussion by splitting the studio's table with an axe. Focus and Supersister-influenced fusion ensemble. partly recorded live at Alto Mensa. g MANFRED HERTEN g FRANZ BRANDT kb HERIBERT SCHIPPERS b HANS FRIEDRICH BOSTEN d. who recorded a highly sought-after private pressing which will cost you more than 500 DEM today. who poured out glitter from the stage. Their lyrics this time were more resigned.

After this. TRITONUS Personnel: ALBUMS: • • • • PETER K. Check out Bundt's solo albums if you enjoy the Tritonus-style. like Michael Bundt. SEILER kb. v. catchy tunes and great keyboard arrangements (mainly synthesizers). The sleeve of their 1970 album Cluster listed Brian Auger and Keith Emerson as inspiration sources. in the tradition of Emerson. Seiler seemed to lose the interest in Tritonus. Seiler had a musical background from his university days (he studied classical music) which prompted him to form a "classical rock" trio."Cluster" (private) 1970 A trio led by Hendrik Schapes. Triumvirat's music was very keyboard-oriented. one blues number composed by Ambrose and an adaptation of a rondo by Mozart. This was a very primitive live recording of four extended tracks: two Schaper originals. (A)same (BASF 17 22384-1) 1975 (B)"Between the Universe" (BASF CC 229467) 1976 Peter K. Essentially very long keyboard improvisations interrupted only by a trumpet blow-out. benefiting from Geff Harrison's vocals (ex-2066 & Then and Kin Ping Meh). (B)"Mediterranean Tales Across the Water" (Harvest 1C062-29441) 1972 (C)"Illusions On A Double Dimple" (Harvest 1C062-29491/SHSP 4030 (UK)/11311 (US)) 1974 (C)"Spartacus" (Harvest 1C062-29567/SHSP 4048 (UK)/11392 (US)) 1975 (D)"Old Loves Die Hard" (Harvest 1C062-29622/Capitol 11551 (US)) 1976 This is probably the best internationally known German symphonic rock band. TRIUMVIRAT Personnel: ALBUMS (up to '76): • • • • • • JURGEN FRITZ kb. Their first album (1975) was quite conventional for the symphonic rock genre.D (HANS PAPE b) B HELMUT KOLLEN b C HANS BATHELT d NB: 1 was only issued in Germany. re-issue of 2 on Acanta 229467. synth RONALD BRAND b. However. Lake and Palmer. These references will give you a good idea of what the music was like. earning their reputation as the German equivalent of . g CHARLIE JEST d GEFF HARRISON v B NB: Re-issue of 1 on Acanta 223841. v BARRY PALMER v D DICK FRANGENBERG b A. Between the Universe (1976) was a definite improvement. Trikolon meanwhile changed name to Tetragon and recorded another album in 1971. as on "Trumpet For Example". Much the same musical concept (minus bass and trumpet) was adapted by the group Sixty-Nine. and worked increasingly with other musicians.

synth NB: The album has been re-released on Cade CSM 10004.F. however. mellotron or piano on Point Of Eruption! They were however able to produce a minor classic under relatively primitive conditions. "Point Of Eruption" (private T5476) 1976 A quartet who made a fine private pressing called Point Of Eruption." (Spiegelei 28 578-3U) 1976 The bass player Peter Trunk's album featured the well-known jazz musicians: Manfred Schoof . Triumvirat's conceptual albums were often based around moments from European history.T. Old Loves Die Hard (1976) saw the addition of the vocalist Barry Palmer and the re-instatement of former bassist Dick Frangenberg. often based firmly on classical themes. Troya's sound was melancholic and lyrical . v WILHELM WEISCHER b PETER SAVELSBERG kb. Organist and leader Jurgen Fritz assembled the original trio in 1970. their music was slaughtered by the overcool music journalists. comparable to mid-seventies bands like Novalis. even to previous legends as Murphy Blend. Lake and Palmer. PETER TRUNK ALBUM: "Sincerely P. v KLAUS PANNEWIG d. This contained six extended tracks ranging from the guitar-ridden.Emerson. Jane. the band wasn't able to sell its' records so well. triumphal instrumental overtures "Chromatik" and "Sinclair" to the sensitive and nostalgic "Festival". moving them dangerously close to supermarket-muzak. their favourite group plays their daily gig moreever powerful Thousands of friends and strangers are sitting feet by feet to hear the heartbeat Overall. an ode to the early seventies live hippie festivals: Then the first group appears on the stage their sound is average Next. TROYA Personnel: ALBUM: • • • • ELMAR WEGMANN g. vast instrumental exhibitions. Ekseption or P. Minotaurus. In the press. Cologne. then as now! Spartacus (1975) is considered by many to be Triumvirat's best album. Illusions On A Double Dimple (1974) did so well in the USA that it entered the Billboard charts! It was the combination of accessible symphonicprogressive music coupled with good marketing by EMI that made this possible! In Germany. I don't know the year of this issue. I can't actually hear any flutes. The long instrumental parts were dominated by organ and guitar. In 1971 Hans Pape become their bassist and participated in the recording of their first album Mediterranean Tales in the Electrola Studio. Epidaurus. In addition.classical influenced progressive folk-rock. January 1972. It is tempting to think that these bands always attempted to outdo each other with their pompous. This album sweetened their style.M. CD re-issue in 1993 on Lost Pipe Dreams LP 016. flt. Hans Pape later quit and was replaced by Helmut Kollen.

Jiggs Whigham (trombone). Siegfried Schwab (guitar on one track).T. resulting in something a bit closer to Niagara. but the first solo project of Lothar Meid (bass. Sigi Schwab (guitar. v KLAUS FRESENLUS v STEFAN KOWA b. Chris Karrer (guitar on one track). UTOPIA ALBUM: same (United Artists UAS 29438) 1972 Not to be confused with any of Todd Rundgren's projects. However this record offered more space for the drums. The album was made with help from several of his earlier band mates: Renate Knaup (vocals on one track). Curt Cress (drums) and Joe Nay (drums. keyboards). this Utopia wasn't really a group. percussion). Their music was rudimentary and raw-edged heavy symphonic rock . Fortunately. Jasper van t'Hof (keyboards). Sincerely P.as if delivered straight from the rehearsal room in the garage! Unfortunately they had a creaky vocalist that partly spoils the listening pleasure for me!' TYLL ALBUM: "Sexphone" (Kerston FK 65025) 1975 A little known group who released an album on the same label as Gaa & Epidermis. Only 200 copies were originally printed and half of them were destroyed in a fire. was recorded at Studio 70. v HANNS DECHANT d NB: Re-issued on CD by Penner in 1994 featuring 2 bonus tracks. an album of average jazz compositions. TYBURN TALL Personnel: ALBUM: • • • • • WERNER GALLO g RHEINHARD MAGIN kb. He wrote all tracks in collaboration with Olaf Kubler. TWOGETHER ALBUM: "A Couple Of Times" (Victory 12636) 1973 It seems as though Sixty-Nine inspired other musicians to try out the possibilities of an organ and drum duo. resulting in a practically unknown private pressing.. Shake Keane (fluegelhorn). vocals. the Tyburn Tall album is now avaiable on CD for a much cheaper price. Munich. tarang). This was indeed the case with this obscure project. It couldn't be released under his name due to contractual difficulties.(trumpet). Kristian Schultze (electric piano on one track) and Edgar Hofmann (sax on one track) from Embryo and/or Passport. Another . John Weinzierl (guitar on one track). Danny Fichelscher (drums on four tracks) and Olaf Kubler (sax. moog and gong on four tracks) from Amon Duul II plus Jimmy Jackson (organ and piano on all eight tracks). Meid had played with all these formations. same (Lutz Kern) 1972 These unknowns from Speyer are responsible for the most expensive German private pressing I know about! I've heard about a copy changing hands for 5000 DEM.

except for Schwab and Kubler. but the majority benefited from the rich. "Utopia No. In conclusion: this album . VAMPIRES OF DARTMOOR ALBUM: "Dracula's Music Cabaret" (Metronome MLP 10262) 1969 As the title reveals. Kubler is unknown to me. whereas "Psycho Contact" linked all tracks on Psychedelic Dance Party.participating musician worth mentioning is Andy Marx (guitar on three tracks) of Cherubin and Udo Lindenberg's first group. "Saw Mill Part Two" (5:05) is more like Amon Duul II. not far removed from a Floydtype depression from 1969. as well as recording several solo albums. here's a closer look at their fascinating album: "Missa Solis" (12:15) starts off in a slow. 1" and "Nasi Goreng" The musicians were apparently only listed on the British version of the album. even down to the fact that both albums had recurring themes: Psychedelic Underground had the "Meister Jakob". Indeed the album had an appropriate title. "Saw Mill Part I" (5:22) is a garage rock song with Renate Knaup-like vocals that soon sets off to an outer space of strange sounds . are not listed on the cover. Son & Holy Ghost with Embryo in 1972. utilising sound effects. it consisted of a weird kind of instrumental up-beat music. For your amusement. Vinegar could be ranked along with Mammut as one of the most important examples of such bands. The next project of Lothar Meid was the less interesting Achtzehn Karat Gold with Klaus Ebert. Jorg Evers and Keith Forsey. electric guitar and brass.theme linking all tracks. driven by violin. Most important in this connection was the spectacular keyboard work of Jimmy Jackson on excellent tracks like "Deutsche Nepal" (with strange vocals by Rolf Zacher and quite different to the Amon Duul II version on Wolf City!). before the guitar and organ develop the main theme. The resulting album had a couple of weak tracks.of minor musical interest! VAMPIRE'S SOUND CORPORATION Personnel: ALBUM: • • SIEGFRIED SCHWAB MANFRED KUBLER "Psychedelic Dance Party" (Mercury 134 615) 1969 Something of a curiosity these days. VINEGAR ALBUM: same (private) 1971 This obscure group made an excellent album in the "garage-underground-progressive" genre way back in 1971. joining Wolfgang Dauner Group and later recording Father. which had a female version of Dracula on the front. dense production and the experienced jazz-rock musicians. organ and guitar. A violin comes in and makes a short solo appearance to great effect. The actual players. but Schwab later became well-known as a skilled jazz guitarist. the Psychedelic Dance Party album was recorded at Audio Tonstudio. In a way this album is musically similar to the Bokaj Retsiem's (Rainer Degner) equally strange album Psychedelic Underground. Berlin under the leadership of Siegfried Schwab and Manfred Kubler (they wrote all 11 tracks). "Der Kaiser Auf Der Erbse" (7:04) goes in another direction. this was a kind of rock cabaret . lyrical and sinister way. suddenly drunk Goths enter the studio! The last track is "Fleisch" (7:04). an instrumental return to the almost classical themes introduced in the second half of "Missa Solis"."A Saucerful Of Secrets" reborn.

VIRUS • • • • • • • • • Personnel: ALBUMS: JORG-DIETER KRAHE kb (WERNER MONKA g) A BERND ROSNER g B (BERND "MOLLE" HOHMANN v. Bernd "Molle" Hohmann. v B WOLFGANG RIEKE d AXEL NIELING d B NB: 1 re-issued in 1991 on CD by Second Battle (SB 015). go out and get it! VIRGO Personnel: ALBUM (up to '76): • • • • BOBBY STERN sax HENRYK DARLOWSKI pno REINHARD GLODER double b LOTHAR SCHARF d same (Vertigo 6360 624) 1975 A conventional jazz-rock fusion group. v B (REINHOLD SPIEGELFELD b) A JURGEN SCHAFER b. Bernd Hohmann had left for Weed. more akin to all-European instrumental jazz-rock than to the German underground. before vanishing from the . Jorg-Dieter Krahe.is quite fabulous. Virus were Werner Monka. g. Virus now played a more mainstream. The title track included an instrumental classical adaptation of the Rolling Stones' "Paint It Black". The varied album also had a more hard rocking track named "Burning Candle". The nickname "Molle" on the sleeve of Revelation was mistakenly connected to Werner Monka.indeed it was a revelation! Their style was strongly influenced by Pink Floyd (David Gilmour) and Deep Purple (Ian Lord). the young heavy psychedelic rock group Virus produced one of best early progressive albums in Germany . Their instrumental work was even better on the 12 minute "Endless Game". flt) A WERNER VOGT b. much like a mellow and matured "Interstellar Overdrive". For Thoughts (1971). not at all bad. Gone were the psychedelic space-rock and long instrumental workouts. both Virus' sound and the band itself had changed considerably. Reinhold Spiegelfeld and Wolfgang Rieke. but clearly inferior to their debut. They also contributed to the great Pilz album Heavy Christmas (1971). The album had five long tracks. rough and heavy blues-rock. (A)"Revelation" (BASF ORC 15) 1970 (B)"Thoughts" (Pilz 20 21102-9) 1971 With Revelation. Only Krahe and Rieke were left from the original group. 2 re-issued in 1991 on CD by Ohrwaschl. Finally "Nur Noch Zwei Lichtjahre" guided the listener into deep space. Hamburg and produced by none other than Konrad Plank. The album was recorded in Star Studios.

In late Autumn 1971 Blitzkrieg had the repertoire ready for an album. 1981 with original label & sleeves. Dollase had previously studied art and classical music..scene. Jerry Berkers wanted to do more of these folky things. This featured four very long tracks in a symphonic progressive rock style (all written by Dollase) and almost completely instrumental. v) A (DIETER MEIER b) B (JURGEN PLUTO b) C HARALD GROSSKOPF d NB: 3 & 4 are re-released by Bernhard Mikulski GmbH ca. but as a British group already was using the name "Blitzkrieg". Dollase's strained vocal parts lowered the overall standard of this album. Tarot (Walter Wegmuller) and the Cosmic Jokerssessions. but apart from this the music was good! Sadly this was to be . introducing some quieter. It was marketed as the first album by the 'symphonic rock orchestra Wallenstein' (text on the sleeve). Jerry Berkers (from the Netherlands) and Harald Grosskopf (from Germany!). and quit Wallenstein to record his own solo album Unterwegs . they recorded Cosmic Century (1973) in September 1973. folky passages with acoustic guitar between the more usual powerful and pompous electric guitar and organ outbursts. clearly influenced by Dollase's recent "cosmic" experiences. the German group changed their name to Wallenstein and kept Blitzkrieg as the title of their first album. Dense. Musically this was a more dynamic album. WALLENSTEIN Personnel: ALBUMS (up to '76): • • • • • • • JURGEN DOLLASE kb BILL BARONE g (JOACHIM REISER vln) B (JERRY BERKERS b.which musically I find it to be in a rather dull singer & songwriter tradition. It consisted of five refined symphonic rock tracks and a short piano piece.. Jurgen Dollase founded the group Blitzkrieg as an international group with Bill Barone (from the USA). After Dollase and Grosskopf had taken part in the large scale projects Lord Krishna von Goloka (Sergius Golowin). but with a "Pop Import" stamp. Songs & Symphonies" (Kosmische Musik KM 58 014) 1975 Wallenstein were one of Germany's best known "space rock" bands. clearly indebted to Pink Floyd but also developing a personal style of their own. (A)"Blitzkrieg" (Pilz 20 29064-6) 1972 (B)"Mother Universe" (Pilz 20 29113-8) 1972 (B)"Cosmic Century" (Kosmische Musik KM 58 006) 1973 (C)"Stories. complex and powerful stuff! Mother Universe (1972) pictured Dollase's grandma on the sleeve acting as the grandmother of our universe. This album brought another change of style.

Songs & Symphonies (1975) attempted to bring in more conventional rock and jazz styles for a kind of extended fusion. brilliant examples of Wallenstein and/or Floyd influenced space rock with dreamy instrumental passages. but was largely an artistic failure. The other four tracks on side one are much better.: KEN HENSLEY v. with Dierks engineering and Frank Oeser producing.. Judging by their names. Stories. due to the demise of Ohr records in 1973. Stommeln. It was recorded during May and June 1972 in the Dierks Studio. slide g BERND HOHMANN v. Only their adaptation of Bartok's music on "Symphaty for Bela Bartok" was of much interest. Sokolowski and Kalemba were of East-European origins.their last great album. It was wrapped in a great fold-out cover. Ashra and more recently Central Europe Performance. Wallenstein split in 1975 and Bill Barone returned to the USA. The album started with the rather dull "Disappointment". In general this is a very good album and indispensable for fans of the two mentioned groups. WALPURGIS Personnel: ALBUM: • • • • • RYSZARD KALEMBA g JERZY SOKOLOWSKI g. flt MANFRED STADELMANN d. The rest represented Dollase's failed attempts to be a serious singer-songwriter. v GEORGE FRUCHTENICHT b JAN SUNDERMEYER perc. Walpurgis didn't break through and never gained a second opportunity. possibly Polish. eclectic political rock album with German lyrics and some good heavy guitar parts. kb. flt WERNER MONKA g . Harald Grosskopf was engaged as the drummer for Klaus Schulze. WEED • • • Personnel incl. but the really outstanding material was the two lengthy tracks on side two: "What Can I Do" and "My Last Illusion". "Queen Of Saba" (Ohr OMM 556 023) 1972 Walpurgis were another of those one album wonders that sadly vanished from the scene too early! The keyboards on their Queen Of Saba album was played by Jurgen Dollase of Wallenstein. picturing the queen of Saba in an airbrushed painting. v NB: Re-released on CD by Ohrwaschl in 1992. Presumably they weren't "cosmic" enough to qualify for a transfer to the Kosmische Kuriere projects! WAS TUN ALBUM: "Industrie-rock" (Plane S99401) 1975 Reputidly a great. living up to its name..

He recorded the Weed album during March 1971 in between the Uriah Heep albums Salisbury and Look At Yourself. "Tarot" (Kosmische Kuriere KK 2/58 003) 1973 Although Walter Wegmuller is Swiss. Tarot is the ultimate collector's item for cosmic rock freaks. offering some 'weed' of an unknown nature! A fine album. The music is stunning and varied . percussion) had just left this group.ALBUM: NB: Re-released on CD by Second Battle in 1992. those were the participating musicians. Water Wegmuller wrote the lyrics and sang (well.as guests. due to his album's enormous cast of German musicians. now let's deal with the inserts: a 12xl2 inches insert with the 22 trumps of the tarot card set. Actually the compositions on Tarot are more "together" than on the two . Bernd Witthuser (of Witthuser & Westrupp) played acoustic guitar. Klaus Schulze (electronics) was another great asset. Dieter Dierks and Rosi Muller were also credited . adding his impressive and characterstic "cosmic" electronic sounds. Blackwater Park. Berkers and Harald Grosskopf (drums. folky songs with acoustic guitar. he spoke!) on most of the tracks. Weed can be compared to other German heavy progsters of the era. The sleeve of the Weed album is quite noteworthy . The conventional keyboards. it makes sense to list him here. middle-aged house wife is pictured. heavy guitar-based acid blues numbers. Hartmut Enke (also from Ash Ra Temple) for once passed the bass over to Jerry Berkers (ex-Wallenstein) and instead enjoyed guitar battles with Gottsching. same (Phillips 6305 096) 1972 This "concept" album related to an infamous rock'n'roll habit! Unfortunately the album sleeve didn't list the line-up. but very rare and accordingly high priced at the collector's market. mellotron and organ excursions. A complete set in great condition could cost you about 400 DEM. There was one musical piece for each of these cards. but it seems likely that Ken Hensley of Uriah Heep fame had a leading role. Epitaph and Armaggedon. partly due to the scarcity and partly due to the great music on it! This was the third Kosmische Kuriere / Cosmic Jokers large scale project. The album comprised straight-forward heavy progressive blues-rock with twin guitars and organ to the fore. predated by Ash Ra Temple's Seven Up (August 1972) and Sergius Golowin's Lord Krishna von Goloka (Autumn 1972). WALTER WEGMULLER ALBUM: NB: There are also Italian (PDU PLM SQ 6044/45) & French (Barclay 840. long instrumental title track. partly due to the lavish packaging with lots of inserts. mainly piano. which had been painted by Wegmuller himself. the songs and a few words about tarot philosophy. culminating in the excellent. were played by Jurgen Dollase from Wallenstein.088/89) issues of the album with different covers & w/out the inserts. Bernd Hohmann and Werner Monka at least and possibly their rhythm section as well. Klaus Schulze even read his own poem on "Der Weise".cosmic mayhem recalling Seven Up. to clip out with scissors. All six tracks were composed by the concert promoter Bobo Albes and Phillips' household producer Rainer Goltermann made sure the sessions in the Windrose Studios in Hamburg were preserved for posterity. as well as Ken Hensley's similarly obscure (Head Machine) album Orgasm dating from 1969 or 1970. There were 12 smaller inserts in card format: eight with portraits of the musicians and four describing the concept. Well.a somewhat disgusting. The big attraction here is undoubtedly Manuel Gottsching (from Ash Ra Temple) with his brilliant guitar play. Re-released on CD as a limited box set in 1995. electronic sound paintings a la Klaus Schulze. such as Zarathustra. Some members of the 1970/71 Virus line-up were also involved. the line-up.

on side 4 they formed a continuous suite. "Springwind" had haunting vocal lines and finally came the 15 minute closing track "Red Morningbird" with its floating. Stommeln. The varied album captured Wind in different moods: "Dear Little Friend" was a thundering heavy rocker and "What Do We Do Now" a vintage progressive rock anthem with fine use of organ and flute. In 1971 they recorded the legendary album Seasons . The next Kosmische Kuriere projects would be the three albums by Cosmic Jokers. "Dragon's Maid". Wind's relationship with CBS ended. mellotron NB: 1 Re-issued on CD by Second Battle (SB 016). This is one of the classics of German progressive rock that will always be remembered for its powerful hammond organ versus electric guitar sound. After one further 1973-single ("Josephine" coupled with "Puppet Master"). This was another very good album. v ANDREAS BUELER b LUCIAN BUELER kb LUCKY SCHMIDT d. folky vibes like the 1969 Pink Floyd. "Romance" is a charming interlude for prepared piano and "Now It's Over" had melancholic. interrupted by some outrageuosly heavy outbursts. "Carnival" and "Tommy's Song" could be compared to the legendary British group Spring. Tarot was recorded in December 1972 in the Dierks studio. Before that he was the drummer in Klaus Doldinger's Quartet in the mid-sixties. partly spoken tale. It should appeal both to fans of progressive heavy rock and fans of folk-rock as performed by the artists on the Pilz label. WIND • • • • • Personnel: ALBUMS: STEVE LEISTNER v THOMAS LEIDENBERGER g. His Drum Box album is unknown to me. and two strange samplers: Gilles Zeitschiff and Sci Fi Party. moody folk whispering. This was the second of three releases on the low price Plus label. KLAUS WEISS ALBUM: "Drum Box" (Phillips 6370 207) 1974 Klaus Weiss (different to the tamboura player Klaus Wiese of Popol Vuh-fame!) is the talented percussionist who directed the Niagara-albums. compiled from jam session. lust like the group Niagara. . "Seasons" (Plus 3) 1971 "Morning" (CBS 65007) 1972 These musicians started their recording career with an album of cover versions as Corporal Gander's Fire Dog Brigade : On The Rocks (1970). It was recorded before Leistner joined and they adopted the name Wind. but I would imagine it contains jazz-rock with lots of percussion. The second album Morning had a different.preceding Kosmische Kuriere projects and easily the best! On side 1 to 3 the tracks are more or less clearly separated. although I'm not sure it would appeal to the same audience as their first album. The opening track "Morning Song" sounded almost like Procol Harum! "The Princess And The Minstrel" (also released as a 33 rpm single with "Schlittenfart" as the B-side!) was a long.one of the most sought-after German albums nowadays. with their soft mellotron textures. recorded between Febrary and May 1973. folky and lyrical fairy-tale atmosphere.

Der Jesuspilz (1972) was a strange concept album.WITTHUSER & WESTRUPP Personnel: ALBUMS: • • BERND WITTHUSER WALTER WESTRUPP NB: Early 80's re-issues exist on Ohr & Pilz with the "Pop Import" stamp. b. In the heat of the many cosmic jamsessions and trips (of different types) involving Sergius Golowin and Walter Wegmuller around 1973. A retrospective double live set. did his first recordings with a choir and played in a baroque ensemble. Nonnen und Toten (1970) was in fact issued as a Witthuser solo. b DICKY TARRACH d . one of those that had a balloon attached to a cut-in on the front cover.album. Lieder von Vampiren. an enormous development on the first one musically. in Autumn 1968. Westrupp later went on to record with Baier-Westrupp. perhaps the Witthuser & Westrupp album that was closest to conventional progressive rock. being an almost "straight" collection of short. To describe music of the German equivalent to the Incredible String Band one often used the phrase 'cosmicfolk'. v FRANK DOSTAL v. Walter Westrupp was from 1965 to 1968 the leader of Night Reveller Skiffle Group. compiled from different concerts from 1968 to 1973 appeared on Kosmische Musik as their last offering. although Westrupp participated on all the recordings. Trips und Traume (1971) was their best album. with more instrumental work. acoustic folk songs. Bauer Plath (1972) featured guests from Wallenstein and was more varied in nature. meanwhile Witthuser attempted a solo career. v (LES HUMPHRIES kb) A CLAUS-ROBERT KRUSE kb. g. The album had outstanding tracks like "Orienta" and the all-time 'weed' anthem "Nimm Einen Joint. There was nothing particularly exciting nor interesting on this album. Mein Freund". v (HELMUT FRANKE g) A KALLE TRAPP g. They started busking in the streets together in the mid-sixties. "Lieder von Vampiren. He learnt to play bassoon and trumpet in a bassoon ensemble. something seemed to break the cosmic due's relationship and they went their separate ways. Nonnen und Toten" (Witthuser solo) (Ohr OMM 56 002) 1970 "Trips und Traume" (Ohr OMM 56 016) 1971 "Der Jesuspilz" (Pilz 20 21098-7) 1972 "Bauer Plath" (Pilz 20 29115-4) 1972 "Live 68-73" (2 LP) (Kosmische Musik KM 58 004) 1973 This duo more or less invented the cosmic-folk genre. tending toward a more progressive-folk direction. It's a collector's item anyway. In 1967 Bernd Witthuser became the manager of the 'Podium' folk club in Bssen. The album only hinted at the things to come later. as it was the third release on Ohr. His greatest achievement as a manager was as the financial manager of the 'Internationalen Essener Songtagen'. WONDERLAND Personnel: • • • • • • • ACHIM REICHEL g.

with Reichel and Dostal teaming up for the Wonderland Band album. His long time collaborator Frank Dostal followed him from this band. WYOMING ALBUMS: NB: 2 was also re-issued twice on Bacillus . clavinet. It was a Peter Hauke production recorded in the Dierks studio. 1" (Polydor 2371 125) 1971 One of Achim Reichel's strangest projects occurred in l97l. The next Wyoming-album In Prison . Jurgen Ermisch (guitar.ALBUM: (A. arrangements). v FRANK DOSTAL v. Reichel and Tarrach had previously been members of the most famous German beat band: The Rattles. All Wonderland singles and four tracks for a projected album were collected in 1973 on a Karusell sampler. organ. Together they recorded as Frankie Dymon Jr. Ladi Geissler (guitar). Tarrach. WONDERLAND BAND Personnel: ALBUM: • • ACHIM REICHEL g. same (Bacillus 6496 010) 1971 "In Prison" (Bacillus BLPS 19079) 1972 Wyoming was the artist name of keyboard-player Peter Bender. it's not certain that you'll be satisfied with your value for the money. among them Clauk-Robert Kruse (guitar. vocals. to which Franke. Benny Bendorf (bass). vocal). Helmut Franke (guitar). vocal. Joe Nay (drums). whose album was an ambitious production featuring 25 guest musicians.as BAC 2005 & 260-09-013. One year and a single later the band ceased its activities. It was hardly a great success (however. as well as the very different Wonderland Band. vintage glitter rock and folky ballads spiced with incredibly strange brass arrangements. This makes it one of the cheapest of the black & white labelled Bacillus albums (the 6494-series) and it can still be acquired for 25 DEM. trumpets and trombones). but Reichel's echo guitars were in this case replaced by solid doses of brass! Wonderland Band's No. Hans-Uwe Remers (piano. after the demise of Wonderland. Kalle Trapp (bass). 1 was equally weird with boogie rock. arrangements). Wonderland recorded three singles before Humphries and Franke quit at the end of 1969. to be replaced by Kalle Trapp and ClausRobert Kruse. Hans Hartmann (bass). Barry Reeves (drums) and Dicky Tarrach (drums. as the short songs sound very dated. The results sounded close to the eclectic solo album Die Grune Reise. chimes. The gimmick window fold-out cover was designed by Walter Seyffer (of Nine Days' Wonder ) and Willi Holzel. He played a quite mainstream pop-rock with folky touches on his first album. bass. Trapp and Kruse all contributed. Stommeln. although a 1972 single featured two unreleased tracks: "Rock'n'Roll People" coupled with "King Of America". Bender was helped by Rainer Marz (guitar.B)"Best Of" (Karusell 2415 078) 1973 This was a beat band formed at the beginning of 1968. lyrics "No. To be honest. there are highlights!) and proved to be a one-off. percussion) and Bernd Billhardt (drums).

The cover artwork was very colourful and psychedelic. perhaps it was due to contractual difficulties with Hansa? It's a classic typical of the jazzy German underground. I don't know why this album wasn't released back in 1970. were released as Hau-Ruk (1971). clean copies costing about 200 DEM. Two long live improvisations. recorded in July 1970. particularly the wah-wah manipulated sax and organ of Belbe and Breuern respectively. In a mysterious way they became Xhol Caravan. . Side two opened with the long "Raise Up High". sax) A OCKI BREUERN kb. after all it was a 1969-release and it has many psychedelic (and even jazz and beat) influences in the music. This was an improvement although there was little here beyond ordinary pop-rock.(1972) had a very colourful painting by Klaus Holitzka. The band signed up with the sacred underground label Ohr. as their final album Motherfuckers GmbH & Co KG (1972) consisted of studio recordings made two years earlier . including a stunning 10-minute organ solo and a fine version of "Love Potion 25" (yep. Actually this wasn't too far removed from the live tracks on Soft Machine's third album. "Schaukel" turned into an obscene rocking monster. offering even more time for instrumental work. There was only one extended track. Musically it was arguably a "progressive" development on Electrip. They managed to get an album of such music out in 1967 and if you can't get it you will hear short extracts from it in the opening radio tuning of the Motherfuckers-album. in addition to Georg Rober (bass) and Curt Cress (drums). just to name a few. and their name had been shortened into Xhol. an energetic mayhem of aggressive playing (a kind of jazz-soul blues-psychedelia) with wild and gutsy vocals. XHOL (CARAVAN)/SOUL CARAVAN Personnel: ALBUM (as Soul Caravan): • • • • • • • TIM BELBE sax (HANSI FISCHER flt. By contrast. tuba KLAUS BRIEST b "SKIP" d (-)"Get In High" (CBS 63268) 1967 (A)"Electrip" (Hansa 80099) 1969 ALBUM (as Xhol Caravan): ALBUMS (as Xhol): (B)"Hau-Ruk" (Ohr Omm 56 014) 1971 (B)"Motherfuckers GmbH & Co KG" (Ohr Omm 56 024) 1972 This important group began life as a soul-rock combo named Soul Caravan in the mid sixties.in fact it's even written 'two years old' in big letters on the handmade front cover. Kraan. the old standard. It was released on Hansa and is now very rare. Xhol apparently disbanded around this time. This was the album that sort of kicked the unique German jazz-rock fusion into life. Ikarus. which gave way to three Zappa-esque fusion instrumentals. picturing the sleeve of a reel tape. The album showcased a couple of changes: Hansi Fischer had quit for Embryo. the 10 minute "Indian Wardance". but here quaintly renumbered!). Under this name they recorded Electrip in 1969. and inspired bands as different as Out Of Focus. Marz helped again. which gradually built in intensity. The album started with a toilet flush. which was surely the highlight. Ardo Dombec. This was another essential album. it was one of the first German progressive albums. Release Music Orchestra and Thirsty Moon. "Breit" was a lazy fusion piece.

perc MICHAEL JUST b. since this was their only release! The band was from Freiburg and was led by Rolf Fichter. Their three albums hinted at marvellous innovation. electric piano. It seems that this label was quite open-minded when it came to signing new bands. which was rambling around the Hamburg clubs more than twenty years ago! Formed way back in 1969. b KLAUS FICHTER d NB: Re-issued in 1992 on CD by the American label Laser's Edge with original die cut cover & the music running unabrapted.000 numbered copies. Reichel had a growing interest in such meditative music then. who produced the album and wrote a poem for the cover. g. for example with Dieter Dierks producing them in 1971? YATHA SIDHRA Personnel: ALBUM: • • • • ROLF FICHTER moog. This album also featured the ex-Xhol member Hansi Fischer. The cover of A Meditation Mass is worth mentioning . vibes. vibes. v KLAUS WERNER kb WOLFGANG BEHRMANN d NB: Re-issued in identical sleeve on Second Battle SB 002 (1989) in a limited edition of 1. same (Metronome MLP 15421) 1972 Hey. circa 1975) had a plain single sleeve. but on the other hand always failed to promote their artists in a proper manners: I Drive (UK). Zarathustra chose a great name. Throughout 1969. Zebra and Polydor. It's a shame that Xhol failed to make the big masterpiece album that they really were capable of making. who wrote this mass. contributing to an obscure beat-age sampler Ausgerehnet Bahanen (Elite Special XZ LP 5105). They acquired a recording contract with Brain. The original front cover had a stencil cut-in for the writing. Grail (UK). check out the first Missus Beastly album (1970). while the second issue (also on the green Brain label. probably due to their relationship with Achim Reichel. Their continuous meditation mass clocks in at just over 40 minutes. associated with both Nietzsche and Strauss. flt PETER ELBRACHT flt MATTHIAS NICOLAI g.If you are searching for more of the same. Zarathustra were still able to get a recording contract with Metronome in 1971. oriental mantra painting. kb. who knows what they could have created. . v. here's another legendary band. And this makes Yatha Sidhra one of the few bands that only got one track released. "A Meditation Mass" (Brain 1045) 1974 This group was responsible for creating one of the longest tracks of the early seventies. which also is slightly evident on his own solo albums for Brain. Hardly distinguished from other raucous heavy progressive bands of the time. ZARATHUSTRA Personnel: ALBUMS: • • • • • ERNST HERZNER v WOLFGANG REIMER g.it's a detailed. two of the members also were part-time members of the beat group Why Five. but was still good-looking! The mainly instrumental music was relaxing and had some very prominent flute parts. guitar and flute on it. Prof Wolfff. sang and played moog.

Made In Germany. Not recommended! . Zauner was also a member of Amon Duul II and left his strong mark on Pyragony X (1976) & the next two. why don't you try Zweistein.Second Life. a kind of Teutonic Uriah Heep ("Gypsy" was one of their live favourites) with some added Jon Lord-like organ licks. ZEBERON ALBUM: same (private) 1971 An unknown band who recorded one album. The resulting album was a tourde-force of energetic heavy progressive rock. Zarathustra were put into the Windrose Studios. ZIPPO ZITTERLINK Personnel incl. who is the one to blame for the five compositions included on the album. In the Poor Sun was released as a private pressing in a multi-coloured single cover. This was an utterly trippy concept triple album. Stefan Zauner (vocals. Hallelujah (UK). Meditation" (3 LP) (Phillips 6630 002) 1970 If albums like Seven Up by Ash Ra Tempel are too straight for your musical taste. guitars. from the same Amon Duul II line-up. guitars). The music was not 'progressive' in the sense of expanded instrumentation and arrangements. It was lavishly packaged with a multi-fold out silver cover and a mirror was mounted on the front sleeve. Hamburg.: ALBUM: • WOLFGANG ORSCHAKOWSKI "In The Poor Sun" (private) 1971 This band sounded like a cross between Guru Guru and German Oak jamming in a dark basement! The only person mentioned on the cover is Wolfgang Orschakowski. flipout and meditation. light and soft symphonic rock comparable to Genesis or Yes. Zarathustra broke up in Spring 1972. Six great tracks with "Nightmare" as the melodic highlight. in November 1971 with an unknown production team of Till Landsmann (producer) and Friedrich Bischoff (engineer). bass. rather it was a straight power-rock album the way it used to be. It might appeal to fans of the Creaminfluenced trio Friedhof . Flipout. The extremely weird sounds hardly deserve the term «music». keyboards) presented keyboards-dominated. dedicating an album each to the trip. Os Mundi and Franz de Byl. also contributed to Zauner's solo albums. STEFAN ZAUNER ALBUM (up to '76): "Narziss" (Ariola 27 026) 1976 On his solo albums. ZWEISTEIN ALBUM: "Trip. respectively. From the Autumn of 1975 to the Spring of 1979. Klaus Ebert (vocals.