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Family Of PercussionAptly, Family Of Percussion was the joining of forces by four talented percussionists, a supersession band of jazz, rock and ethnic musicians fronted by renowned drummer Peter Giger. Not easily categorised however, Family Of Percussion made a highly creative cross-culture music of the quality you'd expect from the esteemed musicians involved. Peter Giger (drums, vibes, marimba), Trilok Gurtu (tablas, congas), Doug Hammond (vocals, steel drums, marimba), Tom Nicholas (congas, marimba) FAMILY OF PERCUSSION MESSAGE TO THE ENEMIES OF TIME (6-7/7/78) SUNDAY PALAVER HERE COMES THE FAMILY Faust The brainchild of Uwe Nettelbeck, and commissioned by a Polydor A&R man, the idea of Faust was to create a band to rival the likes of Can and Kraftwerk, pioneering a new music that would also sell! So, Uwe set up studio in a small school hall outside Wümme (between Hamburg and Bremen) and with the aid of engineer Kurt Graupner, he gathered together six unknown musicians and began to hatch the ideas for a devastating and fantastic album. Although never fully detailed on any album cover, the line up of the original Faust was more or less as follows: Werner Diermaier (drums), Joachim Irmler (organ, electronics), Arnulf Meifert (drums), Jean-Hervé Peron (bass, guitars, vocals), Rudolf Sosna (guitar, keyboards), Gunter Wüsthoff (sax, effects). Obviously, other members also sang apart from Jean-Hervé, and they all played other instruments, though none of this has ever been properly documented, and thus exact details are unknown. Testing the water, a concert was organised in autumn 1971, but despite a critical thumbs down and a bewildered audience recording of the Faust debut went ahead. With enthusiastic acclaim from John Peel, their debut album FAUST - uniquely packaged as a clear record in a clear sleeve with a clear insert and striking clenched fist design - soon gained public attention in Britain (despite apathy in Germany), with its excessive invention breaking beyond the normal realms of rock, with much use of electronics, unusual rhythmic structures and songs that weren't really true songs, excessive invention upon surprise after surprise. Unlike their objective, Faust hadn't come up with something totally new, but had built on convention and abused it. Still today FAUST is an extraordinary and weird album. The second album SO FAR (again a novelty package, this time virtually all-black, with a set of 10 picture inserts depicting each track) acted more on parody, with shorter tracks and a wider range of styles, metronomic rock anthems (with nonsensical lyrics), guitars fuzzed with intense electronic effects, pseudo psychedelia onto trippy folk, dadaism and even a closing Pasadena Roof Orchestra styled jazz number! The lyrics are extraordinary, and every track is a surprise - invention upon invention - a bounty of delights. The "So Far" single was a very different version of the album title-track given a weird brassy edge and a very strange mix. A version of the B side later appeared on FAUST IV. Other projects at this time included members working on sessions with Slapp Happy, Anthony Moore, and the minimalist rock classic OUTSIDE THE DREAM SYNDICATE recorded with American avant-gardist Tony Conrad, an album that still confuses a lot of Krautrockers even today! After signing to Virgin, a compilation of studio out-takes THE FAUST TAPES (released at the price of a single), and a session on John Peel's radio show gained them even wider exposure, and a reputation as one of the most bizarre bands around, a fact confirmed by their notoriously outrageous British tour, featuring pneumatic drills and a pinball machine on stage, Faust continued to shock, surprise and delight. Recorded at Virgin's The Manor, FAUST IV was quite different in sound to the earlier albums, still with much dynamic and radical invention, not least the Can cum early Kraftwerk styled riffing on the relentless "Krautrock", yet there was a lighter edge at play too contrasting with the passages of electronics and weird guitars. For a couple of tours following this, Rudolf Sosna had left the band and Jean-Hervé Peron worked with Henry Cow for a while, and in their shoes stepped in Peter Blegvad and Uli Trepte. Despite existing for almost two further years a planned fifth album, although announced by Virgin, was never realised. Some of the sessions from this era (and earlier recordings) appeared on samplers and 7" EP's from Recommended Records. These recordings eventually gained proper release as two excellent retrospectives: MUNIC & ELSEWHERE and THE LAST LP (later compiled onto a single CD). These releases proved that Faust were indeed more prolific in the mid-70's than first thought, and presented some incredible music, covering much new territory. After innumerable rumours and hearsay, it was confirmed that the nucleus of Faust were again playing live in the late-80's. The return of Faust started with a concert in Hamburg (9 October 1990), and then in October 1992 Faust stepped back onto the international scene, with a concert at the Marquee Club in London. The original members: Werner Diermaier, Joachim Irmler and Jean-Hervé Peron, were augmented by one Achim, on extra percussion, for a concert of brazen wild industrial Faust music. CD's have been released documenting both these concerts. Since then, Faust have been touring and working with various musicians, and for the first time have performed live with Tony Conrad. The new album RIEN was awaited with great anticipation for three years, and proved Faust to be just as radical as they ever were, although down to a nucleus of two augmented by numerous guests. A step back to the first Faust really, yet less musical in a sense, possibly because it was mixed by American experimentalist Jim O'Rourke. Surprisingly varied, with diversions to crazed industrial realms, and also a track that's like a hybrid of "So Far" and their work with Tony Conrad, RIEN proves that Faust have never lost the spirit of Krautrock. Werner Diermaier, Joachim Irmler, Arnulf Meifert, Jean-Hervé Peron, Rudolf Sosna, Gunter Wüsthoff FAUST (9/71) So Far / It's A Bit Of Pain SO FAR (3/72) OUTSIDE THE DREAM SYNDICATE (10/72) Credited to: Tony Conrad with Faust THE FAUST TAPES (6/71-6/73) FAUST IV (6/73) Extracts From Faust Party 3 (1972) Faust Party 3 Extracts #2 (1972) MUNIC & ELSEWHERE (1973-75) THE LAST LP (1971-72) featured on: CHEMICAL IMBALANCE, VOL. 2 #3 (9/10/90) The Pyre Of Angus Was In Kathmandu / The Death Of The Composer Was In 1962 (10/72) RIEN (5/94) LONDON 1-3 YOU KNOW FAUST FAUST WAKES NOSFERATU Feuerrote An obscurity from the Pyramid Records archive, captured at Dierks studio in the mid-70's. Apparently their only recordings resulted from an impromptu jam session, and no albums were ever released. All that has been issued thus far is the track "Ganz Wie Du Willst" which is a loose jam in the vein of Amon Düül, though sounding much more untogether and free-form, making use of effects and studio trickery. Neil Andersen (guitar, synthesizer), Hans Lorenzen (guitar), Toby Robinson (guitar) featured on: UNKNOWN DEUTSCHLAND: VOLUME 1 Firehorse A polished and complex symphonic progressive by a veritable supergroup of 70's rock musicians, notably including ex-Eloy/Jane keyboardist Manfred Wieczorke, and aptly with much Pink Floyd and Yes styling. Firehorse were cursed really, in that they had too many influences, were over-weighted in the vocal department, especially with David Hanselmann involved! For those liking the later 70's style of progressives, Firehorse may appeal, although they had little style of their own. Manfred Wieczorke (keyboards), Rudi Kädling (drums), Jürgen Baumann (keyboards), Florian V. Hofen (bass, vocals), Heiner Schädel (vocals), David Hanselmann (vocals), Jutta "Li" Garrattoni (vocals), Peter Ludwig (guitar), Sandy Nedde (guitar), Hasso Anhoek (timbales, congas), Heinz Alberding (sax) ON THE WIND Flame Dream Along with Irrwisch, Flame Dream presented the more commercial edge of 70's and 80's Swiss progressive rock, which related close to German bands of the era like Eloy or Anyone's Daughter. Featuring strong arrangements and elaborately crafted songs, Flame Dream could be considered as the Swiss Genesis, with little originality of their own. All their albums feature excellent musicianship, high quality production, a Peter Gabriel styled lead vocalist, and are quite enjoyable. Certainly they were easily on par with any contemporary British counterparts. For some unknown reason, the album TRAVAGANZA was released in the UK as being by Travaganza, not Flame Dream! Peter Furrer (drums), Roland Ruckstuhl (keyboards), Urs Hochuli (bass, guitars), Peter Wolf (voice, woodwinds) CALATEA ELEMENTS OUT IN THE DARK (1980) SUPERVISION TRAVAGANZA Flaming Bess Progressive - with male & female vocals on 2nd. Joachim Jansen (organ, violin, synthesizer, piano, clavinet), Peter Wahle (drums, guitar, percussion), Hans Wende (bass, guitar, clavinet, drums), + Wolfgang Neumann (vocals), Bruno Blättler (guitar), Wolfgang Hoffmann (guitar), Barry Peeler (guitar), Bernd Renn (bass), Helmut Leinhas (timbales), Frank Kirchner (sax) TANZ DER GOETTER VERLORENE WELT Floh De Cologne Outrageous and purely innovative, Floh De Cologne, since their inception in 1966 as a student cabaret and music band, constantly surprised, puzzled and always deliberately broke convention. Their elaborate stage shows, socio-political theatrical productions and pure musical innovation lead to obvious comparisons with the similarly radical Mothers Of Invention. Yet, whilst the Mothers were chiefly the vehicle of one musician, Floh De Cologne were a collective unit of creative musicians and actors, who continually dared to take chances, provoke and surprise their audience via a blend of rock, satire and theatre. Together with political activist Dieter Suverkrup, their debut was a sharp poignant anti-Vietnam war stab, almost like a play it is very lyrical (if you don't understand German, it's a bit heavy going) and not very musically involved. But, after this, they progressed in leaps and bounds. With FLIEßBANDBABYS BEAT-SHOW (the very first Ohr LP) they had changed considerably to a much more musical footing, with a complex rock suite blending many styles. Like all Floh De Cologne records it was another concept work, this time though it was a furiously aggressive anti-capitalist statement, running a whole gamut of musical styles, and features Floh De Cologne at their most psychedelic. It's a formula they developed further on subsequent albums, on ROCKOPER PROFITGEIER (meaning "Profit Vulture's rock opera" which had a really gory elaborate cover with pull-out vulture intestines!) they aptly developed a more rock song based formula, and were also in a more aggressive mood. All in all a fascinating blend, though not normal "rock opera", that became an influence to many younger German bands. The last in this more psychedelic rock edged vein was the bizarre double LUCKY STREIK which presented the Floh De Cologne experience in concert with a totally new work. The most unusual and innovative of all Floh De Cologne albums was GEYER~ SYMPHONIE, which concerns the life of corporate magnate Friedrich Flick and his exploits, and even if one doesn't understand German the music is still extraordinary, a concoction of rock, blues, jazz and experimental theatre, with diverse elements like death marches, skiffle, Rock 'n' Roll, even schlager and spaghetti western type musics! Trying to picture such a concoction is impossible, yet Floh De Cologne not only manage it, but succeed with amazing results. Pure innovation! After this, further albums moved a little closer to progressive rock, notably due to the addition of Vridolin Enxing (who gradually took over as leader), though MUMIEN (with its aptly dark H.R. Giger cover) and TILT! are quite exceptional too, being in the FLIEßBANDBABYS BEAT-SHOW style yet with complex progressive stylings instead of the psychedelic. And then, maddest of the lot, there's the totally outrageous re-writing of "Little Red Riding Hood" on the wacky radio-play styled ROTKÄPCHEN. Despite virtually ending up as a parody of themselves as a satirical pop band in the end, Floh De Cologne must be regarded as one of the most unique groups to emerge out of Krautrock. Hansi Frank (drums, organ, vocals), Dieter Klemm (percussion, bass, vocals), Markus Schmidt (bass, guitar, organ, vocals), Dick Städtler (guitar, organ, bass, vocals), Gerd Wollschon (percussion, organ, vocals) VIETNAM (4/68) FLIEßBANDBABYS BEAT-SHOW (3/70) St. Pauli, Dumein Loch Zur Welt / Bruno-Lied ROCKOPER PROFITGEIER (11-13/1/71) Emil In Erkenschwick / Zahlen Mußt Du LUCKY STREIK LIVE (25/11/72) Der Lowenthaler / Bayrisches Heimatlied GEYER~ SYMPHONIE (1973) Dieser Chilenische Sommer Was Suss MUMIEN (6/74) TILT! (7/75) ROTKÄPPCHEN PRIMA FREIHEIT KOSLOWSKI FAATERLAND Florian Geyer At the more mainstream end of German heavy rock, but still with a few Teutonic touches, Florian Geyer had little to commend them, despite the collectability of their sole self-produced LP. Florian Geyer were listenable, but very ordinary, especially as on occasions they steer dangerously close to Status Quo. K. Dieter Stieg (bass, vocals), Jürgen Glüge (drums), Manfred Wolff (guitar, lead vocals) Candle Of My Burial / Monday Afternoon BEGGAR'S PRIDE Flute & Voice An unusual Berlin duo, Flute & Voice were in fact much more multi-instrumental than their name would suggest! The music on their debut IMAGINATIONS OF LIGHT was a strongly ethnic concoction that was not at all easy to pin down. An understated kind of folky rock that seemed to step on from King Crimson's "Moonchild" with weird jazzy and raga touches, hinting at Kalacakra or the Third Ear Band, though totally devoid of any emotion. In fact, the whole album sounds "stoned". The HEAVY CHRISTMAS track was more straight folk. Hans "Flute" Reffert (guitars, flute), Hans "Voice" Brandeis (sitar, guitar, voice) IMAGINATIONS OF LIGHT (1970) featured on: HEAVY CHRISTMAS Frame Strongly interconnected with fellow Marburg band Pell Mell, though the musical connection is not always so obvious, Frame exhibited a style that had very little in common with them really, being much more influenced by the late-60's heavy psychedelia and blues rock by the likes of Deep Purple or Vanilla Fudge. Only some of the rhythmic structures hinted at the Pell Mell connection. Mixing in folky styles and progressive touches into their heavy rock style, their sole album FRAME OF MIND bore the unmistakable stamp of Dieter Dierks at the mixing desk, with great use of dynamics and stereo dimension. Really varied, steering away from the mainstream of early-70's rock, with many classic moves and excellent vocals, all giving it that something special, it's an album that's still amazingly fresh even today. Andy Kirnberger was a featured guest on early Pell Mell albums, after Frame's demise he went on to the vastly inferior Hardcake Special, whilst Cherry Hochdörfer and Wolfgang Klaus moved to Pell Mell. Andy Kirnberger (guitars, vocals, piano), Cherry Hochdörfer (organ, piano, Mellotron, spinet), Peter Lotz (bass, vocals, percussion), Dieter Becker (vocals, percussion), Wolfgang Claus (drums, percussion) FRAME OF MIND Franz K. Formed in Witten in 1969 as Franz Kafka. In their early days they were one of those very Teutonic underground rock bands, akin to Ton Steine Scherben or Lokomotive Kreuzberg, with a hard-edged agit-rock style. By the time of their debut (becoming just Franz K.) they had matured their sound from the early days of Fugs and Mothers style theatre in German. SENSEMANN featured just two side-long tracks offering a great deal of freedom for invention, with aggressive German lyrics and similarly angular freaky guitars characterising their sound. A psychedelic hard-rock twist on Ton Steine Scherben perhaps. Franz K. continued for many years, ROCK IN DEUTSCH is also reputedly good, but on later albums (at least another nine!) the vocals took over and they moved to a more mainstream rock and cabaret mixture, totally lacking the innovation of their debut. Peter Josefus (bass, vocals), Stefan Josefus (drums), Mick Hannes (guitar) SENSEMANN (12/71-1/72) ROCK IN DEUTSCH (8-9/73) Friedemann Aka Friedemann Witecka, a multi-instrumental new-age and fusion musician, producing varied instrumental music between later Blonker and Andreas Vollenweider, though sometimes with a jazzy edge. Probably the most interesting thing about his output, is the esteemed musicians he's managed to secure as guests. Friedemann (vocals, guitar, bass, percussion, zither), + Jane Reid (percussion), Friedemann Leinert (flute), Rainer Böhm (sitar), Angelika Behre (vocals) SONGS FOR A BEGINNING THE BEGINNING OF HOPE VOYAGER (1982-83) Friedhof Friedhof were an early-70's underground band who produced just the one obscure album, and then disappeared into obscurity. The self-titled record, which sounds like it's recorded in a sewer, is largely a collection of totally freaked-out guitar, bass and drums instrumentals, charged to the power of brain-numbing intensity. So, whilst a touch grungy and raw in the production department, the sheer quality of the music overrides the technical defects. This is one for those who not only like their rock music with guitars afire, but - white hot! Ernst-Ulrich Freitag (guitars), Norbert Schulz (bass, percussion), Rainer Bartl (drums) FRIEDHOF Edgar Froese Founder and only continual member of Tangerine Dream (for almost three decades now), Edgar Froese could be seen in the 70's as one of the most innovative of German rock musicians. Although originally just a guitarist, starting with the psych-pop band The Ones, Edgar is also widely regarded as one of the innovators of synthesizer and electronic rock music. Innovation was the key factor on his early solo albums, a fact especially evident on his first solo release AQUA, which was a very imaginative concoction of bubbling and crackling electronics, symbolic of water and ice, with sequencers and Mellotron, taking a much weirder step aside from Tangerine Dream's PHAEDRA. Edgar also tried his hand at other musics that didn't really fit the Tangerine Dream mould, like the esoteric Mellotron and sound-effects drenched YPSILON IN MALAYSIAN PALE, that is so amazingly spooky, and in contrast the throbbing multi-guitars featured on side one of MACULA TRANSFER. Often, elements of Edgar Froese's solos would make it into Tangerine Dream live concert jams, notably the MACULA TRANSFER themes that found their way in to Tangerine Dream's 1976 set. The double AGES took another step to TD realms, introducing Klaus Krieger (aka Klaus Krüger) to the fold. As with later Tangerine Dream, Edgar's later solos lacked those early sparks of innovation, and sounded pretty much like the Tangerine Dream of the era they were recorded in. AQUA (11/73-3/74) YPSILON IN MALAYSIAN PALE (6-7/75) MACULA TRANSFER (6/76) AGES (8-11/77) STUNTMAN (1979) SOLO 1974-1979 (1974-79) KAMIKAZE 1989 (1982) PINNACLES (5/83) Peter Frohmader One of the most innovative of musicians to emerge in the 80's, Peter Frohmader's origins in music go back to the early-70's. He was in many bands during the Krautrock era, which included Alpha Centauri (1971, reputedly a radical avant-garde band), Electronic Delusion (1973, Tangerine Dream inspired electronic experimental), Kanaan (1975, jazz-rock electronic), and he also got involved with the new-wave. But Peter was a Krautrocker, so in 1979 Peter started two new projects: the hard-rock band CIA, and the experimental solo/group project Nekropolis, to do his music. His LP debut MUSIK AUS DEM SCHATTENREICH ("Music From The Darklands" in English), was quite extraordinary, aptly as dark and abstract as the sinister cover: a mysterious blend of electronics, guitars and percussives with rock aesthetics, a weird concoction recalling early Cluster and esoteric Amon Düül II. NEKROPOLIS 2 revealed a fascination with the music of Magma, especially the development of Jannick Top inspired bass guitar work, and in fact whole orchestras of bass guitars are used! Nekropolis often gigged as a proper band, in fact we learned recently that Nekropolis existed live as various incarnations since the 70's, but it wasn't until the 80's that they were documented on record, as on NEKROPOLIS LIVE, with a music mixing elements of Magma, King Crimson and acid Krautrock, close to Spacebox. This band toured and also played at a couple of RIO festivals. Despite a diversion into Material-like electro-funk on the EP FORGOTTEN ENEMY most subsequent work has been almost purely electronic. Though still, Peter has surprised on occasions with the electronic rock of RITUAL, and other adventurous works, like WINTERMUSIC and his grandiose "bass symphonies" that are devastating to behold. These evolved out of the bass works on NEKROPOLIS 2 and amount to Peter creating orchestra's of bass guitars all on his own! Peter's synthesizer-based music, starts with the esoteric and hypnotic (very limited pressing) 10" TWO COMPOSITIONS, which set the trend for a new type of music, a music further developed as abstract and visionary forms, on the cassettes ORAKEL/TIEFE and JULES VERNE CYCLE. The later cassette SPHERES was, in contrast, an exercise in meditational new-age music. Contrasting with those pioneering works, on his LP releases, he ventured onto complex synthetically orchestrated extravaganzas, featuring elaborately arranged classical and rock elements, starting with CULTES DES GOULES and continuing with the gothic symphonies of the HOMUNCULUS albums. This trend, with some exceptions is what Peter has pursued on his CD albums. NEKROPOLIS '81, VOL. 1 NEKROPOLIS '81, VOL. 2 NEKROPOLIS '81, VOL. 3 NEKROPOLIS '81, VOL. 4 NEKROPOLIS: MUSIK AUS DEM SCHATTENREICH NEKROPOLIS 2 TWO COMPOSITIONS NEKROPOLIS LIVE (25-27/7/83) featured on: MUSIK FÜR DICH (1982) THE FORGOTTEN ENEMY (1983-84) CULTES DES GOULES (5-11/84) ORAKEL/TIEFE (1983) RITUAL (1985) JULES VERNE CYCLE (1982) HOMUNCULUS, VOL. 1 (1985) HOMUNCULUS, VOL. 2 (1986-87) WINTERMUSIC (1984) THROUGH TIME & MYSTERY-ENDING (1987) SPHERES From A very obscure jazz-fusion band from the Hamburg area, with a penchant for jamming, for long tracks and Miles Davis styled riffing. Their albums sound a mite dated today, but have a unique charm because of that, especially with their distinctly European sound, and being full of complexities and an abundance of solos. Gustl Mayer (tenor/soprano saxes), Dieter von Goetze (bass), Klaus Göbel (organ), Kurt Bong (drums, percussion) "0611" CAT QUARTER POWER ON Frumpy Born out of the 60's folk-pop band The City Preachers, and inspired by the burgeoning progressive scene, Frumpy were formed in March 1970 with the idea of creating a fusion of rock, blues, classical, folk and psychedelic. Frumpy were a unique combination. Though they debuted at the Pop & Blues festival, they were much too progressive and experimental to appeal to pop audiences, Frumpy were much more than that. The classical elements were endowed by French keyboard player Jean-Jacques Kravetz, a most imaginative organist rivalling Keith Emerson, Dave Stewart or Marián Varga easily, who had worked with Michel Polnareff during the 60's. The blues and folk elements were courtesy of Inga Rumpf's often remarkably unfeminine vocals and her poignantly observant lyrics. After numerous concerts and festival appearances, Frumpy's debut LP was a guaranteed success, and to assure everyone that Frumpy were nothing like The City Preachers an apt title was chosen: ALL WILL BE CHANGED. Frumpy's greatest triumph however was FRUMPY 2, which saw the addition of former Sphinx Tush guitarist Rainer Baumann. Having just two tracks per side, this was the definitive Frumpy style to savour, there was lots of room for extensive instrumental work, guitar and keyboard duets, with classical and blues diversions, all wrapped up by excellent songs from Inga. It hinted at, and previewed the excellent vastly extended works as found on the posthumously released double live album. Hereafter numerous personnel changes occurred and, though still a very good album, as a result BY THE WAY suffered somewhat. During this period Kravetz went on to work with Udo Lindenberg and also record a solo album, Rainer Baumann also established a solo career, and subsequently Frumpy transmuted into Atlantis. Inga Rumpf (vocals, percussion), Jean-Jacques Kravetz (organ, piano, Mellotron, percussion, sax, spinet), Karl-Heinz Schott (bass, percussion), Carsten Bohn (drums, percussion) featured on: POP & BLUES FESTIVAL '70 ALL WILL BE CHANGED (8/70) Roadriding / Time Makes Wise FRUMPY 2 (1971) BY THE WAY (3/72) LIVE (9+12/71,4/72) Führs Fröhling Two thirds of the symphonic rock trio Schicke-Führs-Fröhling. As a duo, they were initially formed out of necessity when Eduard Schicke left the trio for a while. As a duo they offered a rich music blending acoustic guitars and keyboards, sometimes along similar lines to Kolbe & Illenberger, Alain Markusfeld or Anthony Phillips, otherwise light instrumental music with progressive and unusual touches. Especially rewarding was their debut AMMERLAND, though subsequent releases paled somewhat, veering towards new-age and easy listening light classical music. Heinz Fröhling (guitars), Gerhard Führs (synthesizers, Mellotron, piano) AMMERLAND featured on: BRAIN FESTIVAL ESSEN II STRINGS (6-7/79) DIARY Gäa Nothing is known about this obscure and classic band, except their sole album released on the rare and sought after Kerston label. Gäa were a typically cosmic Krautrock band, who like Mythos or Virus, infused their Teutonic art with lots of guitars, keyboards and much in the way of Pink Floyd styling. With enigmatic lyrics in German, lengthy largely instrumental tracks with all the classic moves, spaced-out organs - the works - "On the way to Uranus" is a magical album, a Krautrock classic! Werner Frey (guitars, lead vocals), Stefan Dörr (drums, vocals), Werner Jungmann (vocals, congas), Günter Lackes (organ, piano, vocals), Peter Bell (bass, flute, vocals) AUF DER BAHN ZUM URANUS (1973) Galactic Explorers A 70's obscurity, unknown of until recently. They may have only existed for the recording of one LP. "Lunarscape" (side 1 of the LP) opens like a mixture of Florian Fricke synthesizer and Peter Michael Hamel systemic organ, diverting to a section that resembles Wired, or very atmospheric Tangerine Dream or Ash Ra Tempel - magic stuff. Apparently, Reinhard Karwatky's involvement was a by-product of Dzyan's ELECTRIC SILENCE, which was recorded around the same time, and his influence is especially felt on the spooky "Ethereal Jazz". Johannes Lütz (Moog, organ), Holst Seisert (synthesizers, electric piano, effects), Reinhard Karwatky (synthesizers, percussion, organ) EPITAPH FOR VENUS Galaxy An inventive, yet heavily lyrical, progressive rock with a fresh direct approach, though Richard Kersten had a Jon Anderson cum John Wetton type voice, the Galaxy sound was notably inspired by the likes of Nektar, Omega, Message, etc., and bore the unmistakable mark of Dieter Dierks. Three-fifths of Galaxy later turned up as members of Waniyetula. Richard Kersten (vocals), Heinz Kühne (guitars, vocals), Norbert Abels (keyboards, vocals), Hermann Beckert (bass), Victor Bergmann (drums) NATURE'S CLEAR WELL GAM The name GAM is an acronym of the three musicians' first names: Günter Schickert, Axel Struck and Michael Leske, a trio of musicians who had worked together under various guises since the early-70's. Günter Schickert is well-known as a pioneer of the echo-guitar, and his influence is strong in their acid freaky guitar rock. In the spirit of early Ash Ra Tempel or Pink Floyd's "Interstellar Overdrive", the jam sessions on GAM 1976 are full of invention, with walls of guitars and deranged vocals. As yet, their official studio album EISZEIT (recorded 1978) remains unreleased. Günter Schickert (guitar, vocals, trumpet), Axel Struck (guitars, vocals), Michael Leske (drums, percussion) GAM 1976 (1976) Gash One of the many heavy bands of the early-70's, Gash had little imagination of their own. Their LP was good, if a bit over-rated in our opinion. With a gruff vocalist fronting the band, one side of the LP featured three straight-ish heavy rock tracks mixing the styles of Jane and Nektar. Whereas Side 2 contrastingly had one lengthy suite of inventive space-rock, with orchestral padding and the aid of three guests it's quite a spectacular affair that almost makes the album worth having. Jochen "Lude" Peters (organ, piano, cembalo, lead vocals), Reinhard Schmeimann (drums, percussion), Frank Feldhusen (guitars, vocals), Manfred Thiers (bass), + Atze (slide guitar, harmonica), Bernd E. Schulz (screaming), Dicky Tarrach (congas), The New Symphony Orchestra conducted by Peter Hecht City Of Delight / In The Sea A YOUNG MAN'S GASH (4-6/72) Gate Amidst the second wave of German progressives Gate were much more original than most, and in fact they were quite well established on the live scene before they got a record contract. Gate's debut release was thus a live album, capturing them as a creative and unusual guitar fronted progressive. Their richly crafted progressive style was based around complex and lively songs, and was comparable to many other bands of the era, notably with hints of Jane and later Message. With the addition of a full-time keyboard player guesting on RED LIGHT SISTER, this studio album was much more highly produced, and saw them drawn closer to other bands of the era like Birth Control and Pancake, notably with Gentle Giant, Genesis and Pink Floyd influences. We've never been able to track down their third album! Horst Kamp (vocals, percussion), Martin Köhmstedt (guitar), Manfred Schröpfer (guitar, bass, vocals), Angelos Tsangaris (bass, keyboards), Manos Tsangaris (drums, percussion) LIVE (7/76) featured on: BRAIN FESTIVAL ESSEN RED LIGHT SISTER (9/77) featured on: BRAIN FESTIVAL ESSEN II WELL DONE Ax Genrich Formerly with Agitation Free, and then the guitarist on the first five Guru Guru albums, Ax Genrich was the most phenomenal of German guitarists. A genius of his instrument. But, by the time of his debut he'd calmed down on one hand, whilst also becoming much more eccentric. His own debut project HIGHDELBERG was very much in parallel to Mani Neumeier's MANI UND SEINE FREUNDE, involving many of the same musicians (from Kraan, Cluster, Guru Guru, etc.), and similarly was eclectic and varied. In later times, he became involved in folk festival promotion, but then disappeared from the scene. After a very long silence, Ax Genrich eventually resurfaced with a new album in 1994, released due to realising that the reissues of early Guru Guru albums were generating much interest. PSYCHEDELIC GUITAR recaptured a lot of the old Guru Guru spirit, along with much invention and many surprises. No less eccentric than his last album with Guru Guru, and combining the old freaky trips of early Guru jams with modern stylisms. And now, an even greater Guru Guru fan's dream is WAVE CUT, which jumps straight back to the realms of Guru Guru's fourth (and even further back), with more than tongue-in-cheek rock 'n' roll sitting alongside some of the freakiest Guru rock in a decade, it's often an album of total numbing energy. Some of the finest Krautrock of the 90's Ax Genrich (guitar, vocals, percussion, bass, banjo, harmonica), HIGHDELBERG (11/74-2/75) featured on: MUSIK AUS DEM ODENWALD German Oak One of the more obscure Düsseldorf bands, German Oak existed on the underground scene for several years, and remained unknown. Typical of the Düsseldorf industrial sound, but also with that manic percussive air typical of early Amon Düül, they were highly experimental, ignoring standard musical conventions, going for the jugular with an aggressive hard-rock and blues music. Their sole LP, was issued privately in a very small edition and without proper covers, was recorded in an old army bunker and has an eerie mysterious presence. Over the years a few people caught up with this obscurity, and eventually an ex-member of the band plucked up the courage to release it on CD, preceded by three unreleased archive recordings where they were even more extreme. NIBELUNGENLIED is another CD of archive jams and sessions, and covers an even wider range of styles. Wolfgang Franz Czaika (guitars), Ulrich Kallweit (drums, percussion), Harry Kallweit (bass, voice), Manfred Uhr (organs, voice), Norbert Cuckas (guitar, noises) GERMAN OAK (1972) Gift Originating in Augsberg circa 1969 as Phallus Dei, Gift had quite a confused history. Their debut LP as Phallus Dei apparently was never officially released, though it is rumoured to exist. After ill-fated attempts to get a record contract they changed name to Gift and adopted a straighter hard-rock style. Neither album is that extraordinary, though, with the addition of keyboards on BLUE APPLE they became a lot more progressive, and it has some great moments. Note: although the cover of GIFT lists Nick Woodland as a member, he had moved to Subject Esq. before they recorded it! Uwe Patzke (bass, vocals), Rainer Baur (guitar), Helmut Treichel (vocals), Hermann Lange (drums, percussion) GIFT (11/72) BLUE APPLE (2/74) Peter Giger The talented percussionist, formerly of Dzyan, and much sought after for session work with Eberhard Weber, et al., Peter Giger had an adventurous percussion style that is almost instantly recognisable. His own albums feature a mixture of solo and multi-percussion works, along with jazz and ethnic fusions, and are very experimental. He was also the leader of Family Of Percussion. Peter Giger (drums, marimba, bells, gongs), + Gerd Dudek (sax, flute), Trilok Gurtu (tabla, madel), Günter Lenz (bass), Albert Mangelsdorff (trombone) ILLEGITIMATE MUSIC FOR DRUMMERS ONLY - LIVE Giger.Lenz.Marron Formed by former Dzyan members Peter Giger and Eddy Marron, along with jazz bassist Günter Lenz, this super trio offered a more jazz oriented yet similar music to Dzyan, but with a jazzier feel. Without the electronics and weirdness of Dzyan, their music centred around Peter Giger's flowery percussion and Eddy Marron's multi-guitars and ethnic saz, and was much more jazz-fusion based. Giger.Lenz.Marron dabbled with unusual time signatures and lots of experimentation with Eastern musics and off-beat rhythmic structures. Peter Giger (drums, percussion), Günter Lenz (basses), Eddy Marron (guitar, saz) BEYOND (12/76) WHERE THE HAMMER HANGS (7/78) Gila Formed in early 1969, out of the Stuttgart political commune, as Gila Füchs, we can only guess as to what their music was like in these early days, yet they quickly established themselves as the foremost exponents of psychedelic space-rock. By 1971, with the shortened name Gila, they recorded one of the finest cosmic classics of Pink Floyd inspired space-rock. GILA (sometimes quoted as "FREE ELECTRIC SOUND") is a mainly instrumental trip and feels much like one suite per side. Superbly conceived, it featured an amazingly innovative music that took hints from all the classic Pink Floyd inventions, and went further, blending in ethnic textures with the complex multi-guitars of Conny Veit, and superb percussive fired space drives. Naturally, it's widely regarded as one of the finest Krautrock albums. Gila were an extraordinary band, at the peak of the Krautrock ladder, and it's a shame that this original incarnation only made the one album. Gila had a vast repertoire, and concerts would include jams in excess of 20 minutes, covering a range from weirder Guru Guru realms to the most ethereal Agitation Free kind of trips. After disbanding for some six months or so, and working as a member of Popol Vuh, Conny Veit decided to form a new incarnation of Gila. This new band was a veritable supergroup, as it featured Popol Vuh leader Florian Fricke and ex-Amon Düül II multi-instrumentalist Daniel Fichelscher. Although hinted at by the earlier Gila, the new Gila sound was very much in the Popol Vuh style, with medieval and ethnic touches in a complexly textured rock music featuring multi-guitars and female vocals. Whereas Popol Vuh were purely a studio band, Gila toured and played many concerts, and existed until summer 1974. After this Danny Fichelscher joined Popol Vuh, and Gila eventually split. Conny Veit then joined Guru Guru for a short while before disappearing from the scene for several years. He reappeared within the ranks of Popol Vuh some time later. Whether he has made any other music, we don't know. Daniel Alluno (drums, bongos, tabla), Fritz Scheyhing (organ, Mellotron, percussion, electronics), Conny Veit (guitars, voice, tabla, electronics), Walter Wiederkehr (bass) GILA "FREE ELECTRIC SOUND" (6/71) BURY MY HEART AT WOUNDED KNEE (1973) Gipsy Love An Austrian Anglo-American styled hard-rock band. We've only heard their debut, which was typical mainstream rock of the early-70's, though it did contain some progressive sections and many a Teutonic touch recalling the likes of Epitaph, Birth Control, et al. Georg Doggette (vocals), Charly Ratzer (guitar, vocals), Jano Stojka (drums, percussion), Kurt Haustein (bass, keyboards, vocals), GIPSY LOVE HERE WE COME Glatter Wahnsinn An obscure jazz-rock band from Duisburg. The roots of Glatter Wahnsinn can be found on the 1978 festival album listed below. At that time they played a high energy fusion, fronted by guitar and keyboards, firmly in the late-60's/early-70's style, with hints of Embryo, Passport, Missus Beastly, sans the winds. On their LP they are quite different, due to it featuring former Kollektiv members Klaus Dapper and Waldo Karpenkiel. Bernd Strohm (guitars), Michael Strohm (bass), Georg Mahr (piano, synthesizer, organ), Rainer Mackenthun (drums) featured on: POP NACHWUCHS-FESTIVAL '78 GLATTER WAHNSINN Goebbels & Harth From the world of free-jazz and the huge brass band Sogenanntes Linksradikales Blasörchester (an ensemble that are musically well out of the scope of this book!), Goebbels & Harth took a radical side-step after becoming involved with the likes of Dagmar Krause, Chris Cutler, etc. The likes of Brecht, Eisler, free-jazz and folk musics all combine in Goebbels & Harth's strange concoctions. Heiner Goebbels also became involved in using electronics and has worked solo (see above), and on INDIANA FÜR MORGEN, their finest LP, the concoction was really radical. Latterly, whilst still working as a duo, they both also became involved in Cassiber. More recently, Alfred Harth has gone on to other projects like the international combo Gestalt Et Jive, and now works mostly on vast theatrical and political works. Heiner Goebbels (piano, accordion), Alfred Harth (saxes, clarinets) HOMMAGE/VIER FÄUSTE FÜR HANNS EISLER (10/76) VON SPRENGEN DES GARTENS (6/78-9/79) INDIANA FÜR MORGEN (8/81) BERTOLD BRECHT: ZEIT WIRDKNAPP (8-10/81) FRANKFURT-PEKING (9/84) LIVE À VICTORIAVILLE (2/10/87) Andy Göldner Andy was formerly the guitarist with the experimental jazz-rock group Exmagma. As well as working extensively since as a session musician, he also fronted his own rock band creating a typically German rock with Kraan and Karthago stylings. BELLEVILLE was very commercial in comparison, mostly a tongue-in-cheek satire affair! Andy Göldner (vocals, guitar), Lou Marignan (bass), Tommy Balluff (keyboards), Klaus Lorey (drums), + Peter Wolbrandt (guitar), Jan Fride (drums), Ellen (choir) OO BELLEVILLE... Golem A space-rockin' hybrid of Gila and instrumental Hendrix type moves, Golem were another band from the lost Pyramid Records archive. Totally instrumental, and a feast for guitar fans, Golem's style was highly derivative, yet also full of invention. On first listen Golem come across as a lost classic of Krautrock without a doubt, with a music that blends everything from Neu! to Novalis, and all crammed full of solos. But, after a few listens, it's easy to see that this was never intended as an album originally, as it's distinctly taken from at least three different sessions, each with a different studio sound and style. The slightly new-wave edge that dogs the last track would indicate that the recordings here vary from around 1972 to 1976, however no firm details are known. Willi Berghoff (guitars), Manfred Hof (organ, Mellotron, synthesizers), Mungo (bass), Joachim Bohne (drums), + Rolf Föller (guitar) ORION AWAKES Golgatha Berlin brassy fusion band who only released the one single, sounding like a cross between Creative Rock and Thirsty Moon, the A-side being a rock arrangement of the well-known hymn. Dies Irae / Children's Game Sergius Golowin The first of what has become known as the "Cosmic Jokers" series, being the first Cosmic Courier supersession organised by Rolf-Ulrich Kaiser, involving Klaus Schulze and other notorious musicians from Wallenstein and Witthüser+Westrupp. Sergius Golowin, himself an artist, poet and friend of Timothy Leary, handles the vocals on this extraordinary album, recanting verse most energetically over a music that sounds like a hybrid of Ash Ra Tempel and the Third Ear Band, full of rich musical textures adrift with Mellotron and synthesizers. A timeless work of beauty that has no equal. All the musicians here you will find elsewhere except for the mysterious Jörg Mierke, of whom Klaus Schulze told us was involved in one of his early bands. They recorded, but never gained a name, nor released anything. Sergius Golowin (voice), Jerry Berkers (guitars, bass, bongos, choir), Jürgen Dollase (piano, Mellotron, vibes, triangle, guitar), Jörg Mierke (guitar, organ, percussion, voice, flute, electronics), Klaus Schulze (drums, organ, Mellotron, guitars, electronics, percussion), Walter Westrupp (acoustic guitar, flute, harmonica, psalter, tablas, percussion), Bernd Witthüser (acoustic guitar) LORD KRISHNA VON GOLOKA (1972-73) Gomorrha Originally a psychedelic pop band, the debut album from the mysterious Gomorrha featured a number of rather dated pop songs, topped off by the lengthy opus "Trauma" recorded with the aid of Conny Plank, who turned it into an opus of spectacular electronics and effects, mixing freaky rock with abstract collage. Some time later, and again under the aegis of Conny Plank, they re-recorded the album with English vocals and a more modern sound, releasing it as TRAUMA. A far more successful album, all the compositions being given a new lease of life, with the title track, instead of diving into a collage, treks on to space-rock. Gomorrha's finest moment however was I TURNED TO SEE WHOSE VOICE IT WAS, where Gomorrha's identity had become firmly established: complex psychedelic rock fronted by angry guitars and organ, that could be simultaneously aggressive and spacious, with bizarre lyrics about life, religion, death, etc. They presented a unique, adventurous and constantly surprising form of rock music that has become an island unto itself. Helmut Pohl (drums), Eberhard Kreitsch (bass, organ, piano, vocals), Ali Claudi (guitar, vocals), Ad Ochel (guitar, vibes, vocals), Peter Otten (vocals) GOMORRHA (1969) TRAUMA (1970) I TURNED TO SEE WHOSE VOICE IT WAS Grail These Krautrock "cuckoos" from London played a complex May Blitz/Wallenstein/Parzival (??) hybrid. Chris Williams (lead vocals, autoharp), Paul Barrett (lead guitar, clarinet, choir), Dave Blake (cello, sitar, flute, choir), Stan Decker (bass, guitar, keyboards), Chris Perry (drums) GRAIL (1970) Grave A hard-rock band from Bremen, who existed from 1970. Their sole document of existing for ten years and playing some 100 gigs was the self produced album GRAVE 1. Nothing remarkable, as Grave were of that genre akin to Epitaph, Ice, McOil, Harlis, et al., and being amateurishly produced it's an album that lurked in obscurity until the late-80's. Some of the bonus material on the CD reissue is recorded by a later incarnation of the band in the 80's. Wolfgang Kiesler (guitar), Klaus Moritz (drums), Günter Wendehake (bass), Lutz Wowerat (guitar, vocals) GRAVE 1 Greenlight These were an early Hamburg blues progressive with a relaxed sound, featuring later Novalis drummer Hartwig Biereichel. The only document of their recorded output is on LOVE & PEACE, which is all cover versions that act as vehicles for improvisations on a theme, revealing talented musicians with a unique style. Olaf Weitzel (guitar), Lorenz Westphal (violin, vocals), Ascan Jencquel (bass), Hartwig Biereichel (drums), Alan Milner (organ) featured on: LOVE & PEACE Grobschnitt The history of Grobschnitt (meaning "Rough Cut", as in tobacco) is quite a complex one. In fact it goes way back to 1966 in Hagen, with the band Crew, reputedly one of the very first true Deutsche-Rock bands. They existed until 1969, when they met up with another local band called Charing Cross. These bands joined together for a while as Crew Blues Session, but there was much conflict, with members splitting off, like the eccentric rock-theatre band Wutpickel. Thankfully, for the curious amongst us, much of this Grobschnitt pre-history is documented on the third Eroc album, which includes Wutpickel and Crew Blues Session recordings. Grobschnitt proper, was formed in February 1970. Their diverse background in Deutsche-Rock, psychedelic, theatrical and progressive musics, and wide range of influences, all added up to making Grobschnitt into a highly original, yet accessible rock band. Notably their style drew on Pink Floyd and Yes stylings, but their song style and humour lent more to Frank Zappa and Gong. In fact, Grobschnitt, like Gong, all assumed pseudonyms. I've already mentioned Eroc, their long serving drummer (from the beginning through to the early-80's) whose real name is Joachim H. Ehrig, some other pseudonyms included: Lupo (Gerd-Otto Kühn), Mist (Volkar Kahrs), Popo (Wolfgang Jäger), Wildschwein (Stefan Danielak). In fact it became the convention to use these names in the late-70's. Grobschnitt's debut presented a mature band, blending classical and space-rock styles, with complex dual guitars and keyboards in a music that oozed an eccentric psychedelic feeling. In these early times Grobschnitt were already working towards their ultimate triumph "Solar Music" with the album's closing cosmic excursion "Sun Trip". A very busy live band, popular for their eccentric theatrics and showmanship, by the time of their second album BALLERMANN "Solar Music" had expanded enough to take up a whole LP at 34 minutes. Though the first LP of this double was no less extraordinary, opening with the outrageous "Africa" fronted by Eroc in lunatic Monty Python style, it also offered three other aspects of the Grobschnitt style. Shortly after this Eroc also started to release solo albums, proving he was not only a great drummer, but also a visionary multi-instrumentalist. Developing the song style from BALLERMANN, Grobschnitt then came up with a great commercial triumph, the delightfully easy going and whimsical JUMBO. It was such a success that a German vocal version was also recorded! Definitive Grobschnitt, but unfortunately also the last innovative studio album. On an even lighter and theatrical level was ROCKPOMMEL'S LAND, a fairy tale told with wit and imagination to a music reminiscent of themes from JUMBO, but with notably more Yes styling. But, now, with even more touring, "Solar Music" had developed into a 50 minute concert extravaganza, their pinnacle of creativity had blossomed, changed and grown. The album SOLAR MUSIC LIVE stands as one of the finest progressive albums of the late-70's. Few bands had managed to make it to 1978 without succumbing to commercial pressure, and even Grobschnitt were forced to change eventually. ILLEGAL is arguably their last creative studio album, though live even 1985's SONNENTANZ has moments of brilliance. Though, without Eroc in their later days the Grobschnitt magic was lost. Joachim Ehrig (effects, drums, percussion), Axel Harlos (drums, percussion), Stefan Danielak (vocals, guitar), Bernhard Uhlemann (bass, flute, percussion), Gerd-Otto Kühn (guitar), Hermann Quetting (organ, piano, spinet, percussion) GROBSCHNITT BALLERMANN (19-24/2/74) JUMBO (5-7/75) Sonnenflug / The Clown ROCKPOMMEL'S LAND (11/76-2/77) SOLAR MUSIC - LIVE (7/4/78) MERRY-GO-ROUND (5-7/79) VOLLE MOLLE (10-12/79) ILLEGAL (1980) RAZZIA KINDER+NARREN (10/83-1/84) SONNENTANZ (5/85) FANTASTEN LAST PARTY - LIVE (2-4/89) Guru Guru Formed in Zurich in summer 1968 by former Irene Schweizer trio musicians: Mani Neumeier (drums) and Uli Trepte (bass) as Guru Guru Groove. the history is abridged here, but they were quick to develop an original music from their free-jazz roots, moving on and developing a new type of psychedelic rock music. Ex Agitation Free Ax Genrich joined a guitarist who could do unbelievable things with his instrument - he could even make it talk! Instantly Guru Guru were one of the hottest bands on the scene and were promptly signed by Ohr Records, making the extraordinary free-form rock album UFO. This proved to be amongst the ultimate musical acid-trips, with greatly condensed versions of music thrashed out in concert jams. Titles like "Stone In" and "Der LSD-Marsh" instantly tell us where they were at! With rattling drums, scuttling, shuddering bass, and a swamp full of guitars, with vocals used mainly for effect, incredible through and through, right down to the ultimate space-trip, "UFO" itself! With the same line-up, the subsequent two albums saw a refinement of style, with composition replacing free-form jamming. Not wanting to yield to the pressure of trying to make it big in a rock band, Uli decided he should try to go it alone. So, now came the start of a regular succession of personnel changes, firstly with bassist Bruno Schaab (previously of Night Sun) filling in on the eponymous fourth album. Another change of label, another bassist (the much travelled jazzer Hans Hartmann), relocating to Heidelberg, and again a change of direction. DON'T CALL US would seem to be very much Ax Genrich's show, with a totally outrageous blend of styles, there's a bit of "Hari Krishna" and much silliness. Eiliff's Houschäng Nejadepour stepped into Ax Genrich's place, turning Guru Guru into a mini fire-breathing Mahavishnu Orchestra, and the unbelievably hot and energetic DANCE OF THE FLAMES. Barely existing long enough to make the album, Conny Veit (from Gila) had joined the band before the album's release. For over a year and a half Guru Guru was shelved as Mani worked on other projects (check the Mani Neumeier section for more on this) though eventually a new band was grouped featuring a reliable side-kick in ex-Brainstorm multi-instrumentalist Roland Schaeffer. This new Guru Guru would create an offbeat blend of jazz, rock, psychedelia and mad-cap cabaret, and debuted with the schizophrenic TANGO FANGO. Live they would perform a selection of new and classic old works like "Der Elektrolurch", as featured on the double live album. Attempting to create a new image, credited to "Guru Guru Sunband", HEY DU! saw Mani becoming lead singer of a Guru Guru that showed hardly any of the innovation of early incarnations (note that the rest of the band worked without Mani as the vastly different experimental band Hausmusik) and eventually again, after the dreadful MANI IN GERMANI, Guru Guru disintegrated. Later 80's reformation attempts were of little interest, some were in fact horrendous attempts to break Guru Guru as a pop band! Though Mani has been prolific and inventive in numerous other projects, as a guest with L.S. Bearforce, Moebius & Plank, Tiere Der Nacht, and also solo. More recently Guru Guru have again reformed, and to great surprise, issued the remarkably offbeat and creative fusion album WAH WAH. Mani Neumeier (drums, cymbals, gongs, voice, tape), Uli Trepte (bass, electronics, radio), Ax Genrich (guitar, echo, pedals) UFO (6/70) HINTEN (7/71) KÄNGURU (28/2-6/3/72) GURU GURU More Hot Juice / 20th Century Rock DON'T CALL US [WE CALL YOU] (8/73) DANCE OF THE FLAMES (12-20/4/74) TANGO FANGO (2/76) featured on: BRAIN FESTIVAL ESSEN GLOBETROTTER (1977) LIVE HEY DU! MANI IN GERMANI (1980-81) HOT ON SPOT (1972) Cosmic Hole / Ungluck Bei Tiffany JUNGLE Haboob A very unusual experimental fusion band, and not really German, featuring master of the choir-organ: Jimmy Jackson, along with other non-German Munich residents. Haboob were very odd, really hard to pin-down, as their concoction sits on the edge of fusion, avant-garde, and psychedelic musics, without really settling anywhere. Odd through and through, with slight hints of Amon Düül II and Embryo, and fascinating because of that, though with hardly any real rock structure. George Green (drums, percussion, vocals), William D. Powell (guitar, vocals), Jimmy Jackson (organs, piano, vocals) HABOOB (1971) Nina Hagen Band Nina Hagen was originally from East Berlin. But, failing to make a name for herself in the DDR during the 70's, Nina defected to the West where she sought her fortune, and quickly became involved in the new-wave scene. Unusually however, her "punk" backing band were in fact Krautrock underground veterans formerly known as Lokomotive Kreuzberg! Nina's unique and aggressive style, sometimes bordering on the outrageous, caught the attention because it was so different. The radical edge however was tamed on UNBEHAGEN. When the band split, and Nina carried on solo, and the rest of the band went on to become the satirical pop group Spliff. Nina Hagen (vocals), Herwig Mitteregger (drums), Manfred Praeker (bass), Bernhard Potschka (guitar), Reinhold Heil (keyboards) NINA HAGEN BAND UNBEHAGEN Hairy Chapter A hard-rock and blues band from Bonn, who existed in other forms (reputedly) in the 60's, though any such history is obscure. As Hairy Chapter, they had a flair for invention, though this wasn't so obvious on their debut EYES which was mostly basic Groundhogs-like rock and blues, with a couple of more psychedelic numbers hinting at Guru Guru. Their real triumph was the heavy brainstormer CAN'T GET THROUGH, which is swamped with fiery guitar work and unusual rhythm structures, topped with feedback and psychedelic effects, close to May Blitz or Chicken Bones. Rudi Haubold (drums), Rudolf Oldenburg (bass), Harry Tilbach (guitars), Harry Unte (vocals) EYES CAN'T GET THROUGH (11/70-1/71) Hallelujah A Krautrock oddity, in that Hallelujah wer Date: 2015-12-18; view: 1257
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