Cosmic Dreams at Play - Stoned Circus radio show - Free

[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

• MARTIN ROSCOE d 

• (KARL-HEINZ WEILER d) B 

• SIDHATTA GAUTAMA d C,D 

ALBUMS: 

(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. They recorded their first 

album in the Dierks Studio, January 1971 with the Hauke & Dierks team. This was a fine 

example of more bizarre German progressive rock, clearly inspired by King Crimson, Frank 

Zappa, Soft Machine, Traffic, Family and Deep Purple. They presented long, complex suites of 

heavy progressive riffing, jazz fusion, large amounts of free improvisation, neck-breaking shifts 

of tempo and general insanity on tracks like "Morning Spirit" and "Stomach's Choise". A fine 

achievement, if a little difficult to get into. 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. When the original Nine Days' Wonder disbanded in 1972, he went to England and joined 

Gnidrolog (you can hear him on the classic album Lady Lake). Martin Roscoe drummed for a 

while in 2066 & Then. Seyffer joined Michael Bundt's band Medusa. In December 1972 this 

band suddenly turned out to be the new Nine Days' Wonder. In July 1973 they recorded We 

Never Lost Control, which, understandably, was totally different to the 1971 album: a 'straighter' 

progressive rock album comparable to other Hauke productions like Epsilon, Nektar or Message. 

In 1974, Nine Days' Wonder went through further changes, ended up as a quartet at last. 

They recorded Only The Dancers in September 1974 in England with the guests Dave Jackson 

(sax, flute, from Van den Graaf Generator) and Steve Robinson (keyboards, ex-2066 & Then). 

This was much more a straight rock song oriented album, with tuneful and sophisticated 

compositions. The last incarnation of this unstable group formed in the Summer of 1975. Their 

album Sonnet To Billy Frost (1976) was dismissed in the music press at the time of release, but 

has proved able to stand the test of time. A kind of rock opera. It sounded strangely British 

(short, melodic up-beat rock songs with some linked musical themes and clever lyrics). After 

Nine Days' Wonder disbanded, Unger and Seyffer made three further albums together as 

Wintergarden. 

18 (ACHTZEHN) KARAT GOLD 

Personnel: 

• KLAUS EBERT g, v 

• JORG EVERS g, v 

• LOTHAR MEID b, v 

• KEITH FORSEY d 

ALBUM: 

"All Bumm" (United Artists UAS 29559) 1973 

NB: Originals had a special golden United Artists label. A 1981 re-release exists on Telefunken 6.54853, lacking the golden cover and 

label. 

Achtzehn Karat Gold were a short-lived off-shoot of Amon Duul II of limited musical Interest.

Lothar Meid was with Amon Duul II from 1971 to 1974, although he left and rejoined several 

times, being busy with other part-time projects, such as 18 Karat Gold, Doldinger's Passport and 

Utopia. The half American and half German Klaus Ebert was only 18 years when 18 Karat Gold 

recorded their one and only album. 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. Keith Forsey 

and Jorg Evers also guested on a couple of Amon Duul II albums (also occasionally replacing the 

so-called permanent members live). Forsey, a British session drummer living in Germany at that 

time, also made an excellent album with Paul Vincent as the duo Hallelujah in 1971. 

18 Karat Gold's close connections to Amon Duul II will always secure some interest in their 

lackustre album All Bumm (1973), containing 11 short, mainstream pop-rock songs. Olaf Kubler, 

the well-known Amon Duul II producer and jazz saxophonist, didn't add any exciting ideas to the 

production in this case, I'm afraid. As the album also proved to be a commercial flop, the band 

soon fell apart. ft is still possible to acquire the album quite cheaply. 

69 

Personnel: 

• ARMIN STOVE v, kb 

• ROLAND SCHUPP d 

ALBUMS: 

"Live" () 197 

"Circle of the Crayfish" () 1972 

'The SIXTY NINE, the most experienced TWO MAN big band', so ran the motto for this unusual 

duo, undoubtedly inspired by Hardin & York. Judged by their music, this wasn't an 

overstatement - although there really weren't many two-man bands around at all! A large part of 

Sixty Nine's musical talent lay with vocalist, composer and multi-keyboardist Armin Stove. 

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, they succeeded in 

sounding like a keyboard-based quartet. Just like Nice and E. L. P., Sixty Nine's music was semiclassical. 

It comprised very long organ, piano and moog solos based on classical compositions. I 

don't know why they chose such a name, maybe it was the year of their formation? Their two 

albums make interesting listening time, if you're keen on the classical rock genre. They 

comprised conventional keyboard-based classical-influenced progressive rock performed by an 

unconventional formation! Circle of the Crayfish (1972) included a poster. 

The best cuts by Sixty Nine are mostly captured on their double live album - 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, the technical quality of their albums wasn't too good: the first one 

has a strange, transformed sound. Probably the engineer was heavy-handed with equalisers, as the 

sound was dominated by high-pitched, sizzling treble and a burping bass. Their live set suffered 

from lack of clarity and misplaced phasing effects, even if the engineer was the legendary Konrad 

Plank. Expect to pay 60-80 DEM each for both albums. 

2066 & THEN 

Personnel:

• GEFF HARRISON v 

• CAGEY MROZECK g 

• STEVE ROBINSON [RAINER GEYER] kb, vibes, synth, mellotron, v 

• VEIT MARVOS kb, vibes, synth, mellotron, v 

• DIETER BAUER b 

• KONSTATIN BOMMARIUS d 

ALBUM: 

"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. Unfortunately, their lifespan was rather short: from Spring 1971 to Summer 

1972. 

Their one and only album is nothing short of an all time classic: Reflections On The Future 

(1972), recorded during Autumn 1971 at the Dierks Studio, Stommeln near Cologne. This album 

contained five long heavy progressive tracks with a dramatic mood and a quite unique German 

styling. "At My Home", a fast tempo opener, kicked off the album with stunning heavy guitars, 

swirling hammond organs and Geff Harrison's great, though slightly soul-influenced vocals. The 

next track "Autumn" brought in the topics of death and desintergration. 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, trippy lyrics dealing with the arrival of the Butterking (??) - the king of 

butterflies! The track is an uncommon masterpiece, featuring jungle sound effects, very slow and 

heavy organ and guitar riffs interrupted by perverted "ragtime" piano interludes. The 15 minute 

title track offered some great instrumental excursions, ending with a psychedelic space flight! 

"How Do You Feel" rounded off the album in a marvellous way, featuring a haunting vocal 

arrangement. 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. 

Engineer Dieter Dierks ensured great sound quality and added his patented "cosmic" phasing 

effects. (Those who have heard the Kosmische Kuriere albums will know what I'm talking 

about!) Due to poor sales and a ruined economy, one of Germany's best groups had a premature 

death only months after the album's release. A projected 1972 single was never released. 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. They were later involved in many other 

projects: Geff Harrison and Cagey Mrozeck joined Kin Ping Meh, in time for their third album 

(released on Zebra). Steve Robinson (his real name was Rainer Geyer!) played with Nine Days' 

Wonder and Aera. Veit Marvos recorded with Emergency, Tiger B. Smith and Midnight Circus. 

Konstatin Bommarius played drums for Abacus and on Karthago's Rock'n'Roll Testament. None

of these later projects have stood the test of time as well as Reflections On The Future. United 

Artists originals sell for DEM 500 in mint condition. 

The excellent company Second Battle (operated by a second-hand records shop in Berlin) rereleased 

the album in its original, psychedelic fold-out cover (a colourful painting by Gunter 

Karl) and all its glory in 1989. This was a numbered limited edition of 1,000 copies. Second 

Battle also released a three-sided LP set, named Reflections On The Past in 1991. This was a 

collector's item containing unreleased masters and practise sessions: three tracks from an early 

rehearsal session in May 1971, the original long version of "The Way I Feel Today", 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, recorded in Spring 1972. 

ABACUS 

Personnel: 

• CHRIS WILLIAMS v 

• HANS-ROLF "CHARLY" SCHADE g, v 

• CRISTOPH BARUTZKY pno, kb, synth 

• KLAUS KOHLHASE b 

• (FELIX HANS d) A 

• KONSTATIN BOMMARIUS d B 

ALBUMS: 

(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, who also wrote much of their 

material. Abacus was a successful debut album, recorded August 1971 at the Windrose Studios, 

Hamburg. It was also released on Polydor in the UK. It included six songs which were wellarranged 

and drew influences from sources as different as classical music ("Capuccino"), jazz 

and folk ("Pipedream Revisited", "Song For Brunhilde", "Song For John And Yoko") and 

psychedelic blues ("Radbod Blues"). The organ work of Barutzky dominated their instrumental 

muscle, but Schade's varied guitar (sometimes even sitar) work was also remarkable. This first 

album is often regarded as their best. With their great sense of humour and versatile musical 

style, Abacus can rightly be compared to Nine Days' Wonder . 

Their second album Just A Day's Journey Away! 

(1972) was a competent follow- up, but this 

time the group abandoned their versatile progressive style and concentrated on folk and country. 

I'm not sure everyone will appreciate country songs such as "Ballad Of Lucky Luke"! Although 

"Seasong", "Munchen 23" and "White House May Come" are good enough, the album as a whole 

was less interesting and daring than the previous one. It was recorded at Music Land Studios, 

Munich in June 1972. 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, replacing Felix Hans. This album was a further move towards a more simple and 

commercial style, with four average pop rock songs on side one and the "Everything You Need" 

suite filling up side two. Midway (1973) was another disappointment lacking inspiration. Abacus 

now had a song-oriented style with short tracks, in contrast to their promising 1971 debut.

AERA 

Personnel: 

• MUCK GROH g 

• KLAUS KREUZEDER sax, flt 

• (PETER MALINOWSKY b) A 

• DIETER BAUER b B,C 

• (WOLFGANG TESKE d) B 

• LUCKY SCHROLDT d C 

• CHRISTOPH KNEGER vln C 

ALBUMS: (up to '76) 

(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. In 

1974 they recorded Humanum Est at the local Studio Hiltpoltstein in Nuremberg. It was released 

on the Erlkonig label, operated by the Ihre Kinder'smanager 

Jonas Porst. The six tracks included 

on the album were all written by Groh. The musical quality was acceptable, 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, who was confined to a wheelchair and paralysed in both legs. Teske was replaced by 

Lucky Schroldt, previously the drummer of the legendary early seventies group Wind. Another 

new member, Christoph Kneger didn't make much of himself on the album. This time some 

tracks included vocals, but again most of the material was instrumental jazz rock fusion - fairly 

good, but lacking a bit of invention. Apparently Aera disbanded after this, but was reformed by 

Kreuzeder in 1978. They managed to release quite a few albums during their lifespan, but none 

of them are really essential listening. Merely interesting for the jazz enthusiasts. 

AGITATION FREE 

Personnel: 

• LUTZ 'LUUL' ULBRICH g 

• MICHAEL 'FAME' GUNTHER b 

• (LUTZ KRAMER g) A 

• (AX GENRICH g) B 

• (JORG SCHWENKE g) C 

• (STEFAN DIEZ g) D,E,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 

ALBUMS: 

(C) "Malesch" (Vertigo 6360 607) 1972 

(E) "2nd" (Vertigo 6360 615) 1973

(D,F) "Last" (Barclay 80612 (F)) 1976 

NB: Originals of (1) & (2) have the "swirl" Vertigo label. All Albums are now available on CD (re-issued by the French label Spalax). 

Fragments (featuring previously unreleased material) was due for release on Musique Intemporelle in 1995. 

In 1967 two beat groups from Berlin were on the verge of splitting up. The leading forces behind 

these groups were Lutz 'Luul' Ulbrich and Michael 'Fame' Gunther. They decided to join forces, 

and with some other remaining musicians they took the name Agitation Free. Agitation Free 

were probably the first German group to use slide projectors and a multi-media show during their 

live appearances. For this reason they were engaged as the household band at the Zodiac, Berlin's 

answer to London's U.F.O., where the psychedelic underground was literally flowering. Such 

later famous groups as Tangerine Dream and Curly Curve (well, not so very famous in this 

case...) also appeared at the Zodiac regularly. In early 1968 Agitation Flee were expanded by 

John L. on lead vocals. Not exactly a gifted vocalist, he sometimes entertained the audience by 

walking around naked with a painted penis on stage! He was fired about a year later, apparently 

the rest of the group had grown tired of this particular (peculiar) Stage Show. His voice was 

luckily preserved for later generations when he "sang" on Ash Ra Tempel'sbrilliant 

Schwingungen album in 1972. 

1970 was a very erratic year for Agitation Free. Lutz Kramer quit, and was temporary replaced by 

Ax Genrich, soon to be a member of Guru Guru. Agitation Free shared a practice room at the 

Wilmersdorf music academy with Ash Ra Tempel and Tangerine Dream at (his time, and many 

experiences and ideas were swapped. There was also quite an exchange of members between 

these groups. Agitation Free's instructor was Thomas Kessler, a German avant-garde composer. 

He taught them to play with notations, composition and harmony learning. When Genrich joined 

Guru Guru, he was replaced with Jorg Schwenke. Chris Franke then accepted Edgar Froese's 

offer to be the new drummer in Tangerine Dream after Klaus Schulze quit. Gerd Klemke stepped 

in as Agitation Free's drummer for some months of the last half of 1970. Finally a quintet was 

stabilised in 1971. At the beginning of 1972 the group went on an expanded tour to Egypt, 

Lebanon, Jordan and Greece, sponsored by The Goethe Institute. Michael Gunther recorded local 

musicians they met and jammed with on the tour. Extracts of these recordings were included on 

Malesch (released Summer 1972), which collected the impressions from their eastern travels. 

This excellent album revealed a very talented and competent young group, and it was dedicated 

to their teacher Kessler. "You Play For Us Today" opened with a short dialogue, before a deep, 

majestic organ tone created a trance-like mood. Gunther came in with a great, steady bass riff, 

flavoured with eastern rhythms (Uli Popp guested here on bongos). "Sahara City" started with a 

long and floating guitar glissando, but had a fast, heavy finale. "Ala Tul" and some other tracks 

featured the leader of Between, Peter Michael Hamel, on hammond organ. "Pulse" was an early 

experiment with electronic sequencing. "Khan El Khalai", "Malesch" and the short 'Ruckzuck" 

gave plenty of time for Schwenke and Ulbrich to show off on guitar. An immaculate record! 

In March 1973 Jorg Schwenke had to quit due to his increasing drug habits. His replacement was 

Stefan Diez. A second drummer was also added to the line-up: Dietmar Burmeister who had 

recorded on Seven Up with Ash Ra Tempel. A 90 minutes long production for radio, consisting 

of edited live performances (made during a ten days live session in a house in the German 

countryside) was broadcasted in April 1973. The six-piece group went on a very successful two 

months tour in France. Recordings for radio were also taped during this tour. Parts of these 

finally made it to vinyl on Last three years later, namely "Soundpool" (renamed version of 

"Ruckzuck" from Malesch) and a 17 minute long version of "Laila" (a composition included on 

their forthcoming second album).

With Diez, but without Burmeister, the band went in the studio to record 2nd in July 1973. This 

time music was more subdued and meditative in a sophisticated way. 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, wind and a distant bouzouki played by Ulbrich. A 

harmonic melody line on guitar slides slowly in and builds up a really great track, almost 

predating some of Fichelscher's guitar work with Popol Vuh. "Dialogue And Random" was a 

short synthesizer experiment by Honig, not bearing any resemblance to his solo albums. The 

tuneful two part "Laila" finished side one. Electronic bird sounds on "In The Silence Of The 

Morning Sunrise" opened the other side. The track built up to fragile, jazzy rock almost in the 

melodious Terje Rypdal vein. "A Quiet Walk" included more atmospheric, electronically created 

environment sounds, before bouzouki and treated guitar introduced melody lines. "Haunted 

Island" finished the album in a dramatic vein with a heavy rhythm, mellotrons and Burghard 

Rausch's treated recitation of an Edgar Allan Poe poem. 

Shortly after 2nd, Diez quit and the band's activities now decreased. For a last tour of France In 

January 1974 Gustav Lutjens was engaged as Agitation Free's new second guitarist. Their last 

studio work was a recording of a Erhard Grosskopf composition ("Looping IV") in February 

1974. This would fill up the second side of the Last album, which was only released in France 

posthumously in 1976. It was a nice testament to a superb band. They performed a few concerts 

during the Summer of 1974 and then disbanded after a final goodbye concert in Berlin, 

November 1974. 

Lutz Ulbrich teamed up with Manuel Gottsching in 1976 for several Ashra-projects. He has also 

made scene music for some theatres in Berlin. Michael Honig, as Franke had done five years 

before him joined Tangerine Dream, but was with them for just two months (including a tour in 

Australia) in the Spring of 1975. Before that he had a short collaboration with Klaus Schulze 

(doing concerts in Brussels, Zevenaar and Paris in November and December 1974). It was also 

planned that Honig should join Ashra for a tour in November 1976, but this didn't happen. 

Agitation Free was one of the best groups to appear in Germany in the early seventies, and their 

albums are obligatory in any German rock collection! 

AINIGMA 

Personnel: 

• WILLI KLUTER kb,v 

• WOLFGANG NETZER g,b,v 

• MICHAEL KLUTER d,v 

ALBUM: 

"Diluvium" (Arc ALPS 151715) 1973 

NB:A limited edition counterfeit was released ca. 1988. This has exactly the same black and white cover as the original, which had an 

insert with information and lyrics. In 1991 yet another counterfeit re-issue appeared. Little Wing re-issued it legally in 1992 with new 

stunning cover artwork and one extra track. 

Ainigma's sound is "no compromise" heavy progressive rock, with fuzzy guitars and a very 

distinct organ sound. This uncomplicated instrumentation is often associated with the sixties 

American garage punk, 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". Their album was recorded from April to May 1973 at PFS studio in four days.

All lyrics were in English and actually very dramatic! The album contains just four songs, with 

the title track filling up one whole side. This extensive and dark seance dealt with the deluge, 

forced on by the greed and evil of humankind and represented the trio at their best. The band 

were from Garmisch-Partenkirchen, in the southern part of Germany. Remarkably enough, 

considering their artistic maturity, they were only between 15 and 17 years old at the time of 

recording. Diluvium is highly recommended for all fans of heavy progressive music, it was 

recently re-released in a superior cover by Little Wing. 

AIR 

ALBUM: 

"Telweise Kacke, Aber Stereo" (Eigenbau AR12) 1973 

An obscure band responsible for one private release, dating from 1973. I have no further 

information about this album. 

AK MUSICK 

ALBUM: 

same (private) 1972 

Another totally unknown group that released an album at their own expense way back in 1972. 

This contained live recordings from one of their concerts. 

ALCATRAZ 

Personnel: 

• RUDIGER BERGHAHN pianett,v 

• KLAUS HOLST g 

• KLAUS NAGURSKI flt, sax 

• RONALD WILSON b 

• JAN RIEK d 

ALBUM: 

"Vampire State Building" (Phillips 6305 128) 1972 

A jazz-rock quintet. On the amazingly titled Vampire State Building they presented a pleasant 

and mainly instrumental progressive jazz-rock sound, with instant recognisable elements from 

Miles Davis' In A Silent Way and early King Crimson albums. Most successful was the 12 

minute track "Simple Headphone Mind". The 13 minute title track was a long improvisation. In 

addition the album had three shorter tracks, of which "Your Chance Of A Lifetime" (with vocals) 

was the best. The album was recorded in Tonstudio Wumme, where Faust and Slapp Happy also 

recorded albums, all engineered by Kurt Graupner. 

Beware of the group Alkatraz that released Doing A Moonlight for United Artists (UAS 30001) 

in 1976. They were British and had nothing to do with the German Alcatraz. 

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?

A singer and multi-instrumentalist from Cologne who released several albums which were 

strongly influenced by the ethnic music of Turkey. His first two albums are now eagerly hunted 

by collectors, 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, so 

take note all you Can collectors! 

ALTONA 

Personnel: 

• KLAUS GERLACH g 

• BERND MICHAEL ROSENBERGER kb, perc 

• MICHAEL VON RONN sax 

• KARL-HEINZ BLUMENBERG v, sax, flt, perc 

• WOLFGANG WULFF sax, perc 

• FRITZ KAHL b, g, perc 

• HANS-HEINZ GOSSLER d 

ALBUM: 

same (RCA PPL 11049) 1974 

This sextet began their recording career as Thrice Mice. As such, they made one album for 

Phillips in 1971 and were also included on the Festival samplers Love & Peace (1970) and Pop 

& Blues Festival '70. Some years later they renamed themselves Altona, now expanded to a 

septet. Altona was the name of a suburb of Hamburg (perhaps this was the place where they 

came from?). A typical Altona song lasted for 5-7 minutes, had lots of sax and guitars and was 

largely based on blues and jazz rock. The first album had a funny cover of ugly tourists wearing 

Hawaiian-shirts wandering around in Hamburg. Their albums were produced by one Klaus 

Bohlmann. Altona were among the better jazz-rockers of the mid-seventies, although they never 

really excelled. Check them out if progressive jazz-rock appeal to you. Their albums can still be 

acquired cheaply. 

AMON DUUL 

Personnel: 

• RAINER BAUER g ,vocals A 

• ULLRICH LEOPOLD b A 

• PETER LEOPOLD d A 

• HELGA FILANDA v, congas, anvil A 

• WOLFGANG KRISCHKE piano, perc A 

• ELLA BAUER v, perc A 

• ANGELIKA FILANDA v, perc A 

• USCHI OBERMAIER perc A 

ALBUMS: 

"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

NB:There was an American release of the first album with a different cover on Prophesy Records. In 1973 the first album was rereleased 

on Metronome's 2001 series as This Is Amon Duul. Around 1978 it appeared on the Rock On Brain series, this time renamed 

Minnelied. All these editions have sleeves different from each other and the original issue. On Ohr there was also a non album single 

"Eternal Flow" coupled with "Paramechanical World" (different version) from 1970. The Experimente was packaged as a double 

album in a budget price series named Time Wind. 

After the Songtagen in Essen In Autumn 1968, the Amon Duul commune spilt into two factions 

due to ideological differences. While Amon Duul II soon became one of the most important 

German bands of the seventies, the first Amon Duul faction was more politically aware and 

would concentrate on multi-media happenings, political activities or demonstrations. Somehow, 

this faction eventually made their way into the recording studio as well. The result was five 

albums that contain some of the most freaky music ever produced in Germany. Through their 

music they wanted to reflect their various drugs and life experiences. 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, repetitive congas, 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. There are certain similarities with the utterly freaked out music by the American sect 

Ya Ho Wa 13. The line-up of Amon Duul could best be described as loose, in 1969 usually 

featuring (A). On one of the album covers all members are seen smoking a joint. The sound 

quality left something to be desired and the production was strange, as the largely improvised 

studio sessions were manipulated by strange echo effects and noises. Psychedelic Underground 

(1969) is a sound document of the anarchic, free-form psychedelic freakout - take it as a warning 

or invitation! Collapsing (1970) featured more of the same and for this reason is quite 

superfluous, other than for the completist. 

Paradieswarts Duul (1971) was certainly a forward step musically: Amon Duul still played 

ritualistic and repetitive music, but now with a more folky approach (acoustic guitars, flute and 

English lyrics). Side one contained the mellow hippie anthem "Love Is Peace". Perhaps this 

musical move was due to Julius Schittenhelm's involvement as a producer. He later recorded 

some folk-flavored solo albums on Schneeball. Amon Duul's blend of acid folk was uncommon. 

By this time only Rainer & Ella Bauer, Ullrich Leopold and Helga Filanda were left from the 

1969 line-up, adding Klaus Esser on guitar. After this, Amon Duul ceased to exist, probably 

along with their sweet dreams of a political revolution. The posthumous release Disaster (a 

double album set) contained previously unreleased recordings from the Psychedelic 

Underground sessions in 1969. This album had a primitive sound quality, as these tapes probably 

were either demos or early backing tracks. Experimente contained even more obscure tapes with 

the tracks entitled simply as "Special Track Experience No. 1 - 24". 

AMON DUUL II 

Personnel: 

• CHRIS KARRER g 

• JOHANNES WEINZIERL g 

• (RENATE KNAUP-KROETENSCHWANZ v) A-M 

• (FALK-U(lrich) ROGNER b A, then kb) A-E,H 

• (CHRISTIAN 'SHRAT' THIERFELD perc, v) A-C 

• (DIETER SERFAS d) A,B 

• (DAVE ANDERSON b) B,C 

• (PETER LEOPOLD d) B-F,I,L-N

• (LOTHAR MEID b) D-F,H,I,L 

• (KEITH FORSEY d) D 

• (KARL-HEINZ HAUSMANN kb) F 

• (DANNY FICHELCHER d,g,v) G-J 

• (ROBBY HEIBL b) K,M 

• (NANDO TISCHER g) M 

• (STEFAN ZAUNER kb,v,g) N 

• (KLAUS EBERT b,v,g) N 


(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 6.22056) 1974 

(M)"Made In Germany" (2LP) (Nova 6.28350) 1975 

(N)"Pyragony X" (Nova 6.22890) 1976 

NB: As they were a quite successful group (also internationally), there are a lot of re-issues, compilations as well as pressings from other 

countries in existence. All albums are now available on CD. BBC Radio1 Live In Concert Plus (1992 Windsong WINCD 027 (UK)) is a 

collection of 5 live tracks recorded in the UK, Spring 1973 and 3 studio outtakes of the Dance of the Lemmings sessions. 

The Munich-based band Amon Duul was one of the first German bands to emerge out of the 

psychedelic era. Founded as an anarchic musical commune in 1967 by former jazzer Chris Karrer 

with Ulli and Peter Leopold, Amon Duul soon sent out a proud declaration: 'we are eleven adults 

and two children which are gathered to make all kinds of expressions, also musical'. They 

appeared at the Essen song festival in Autumn 1968. Shortly thereafter they split into two 

separate groups. Amon Duul's activities ceased after a couple of years, but Amon Duul II 

survived through the seventies and became one of the most important German groups. The group 

formed around Chris Karrer in the Autumn of 1968. Their first gigs were very erratic, as some of 

the members had just started playing their instruments. This lack of a conventional musical 

experience helped Amon Duul II to establish themselves as one of the major underground acts in 

Germany. Their reputation grew fast and they soon secured a signing with Liberty. In early 1969, 

Phallus Dei ('God's penis') was recorded with two new members: Peter Leopold (drums, he 

switched from the other Amon Duul group) and Dave Anderson (bass, an Englishman who had 

been a roadie for Kippington Lodge). Rogner now switched from bass to keyboards. Also two 

guests were involved: Christian Burchard (vibes, see Embryo) and Holger Trulzsch (percussion, 

see Popol Vuh). Olaf Kubler was the man responsible for the innovative production. He was also 

a jazz musician, most known as saxophonist with Doldinger's quartet). The album was a genuine 

late psychedelic masterpiece, a landmark in German rock. They were probably the first German 

band that was confident enough to present large amounts of improvised music. Phallus Dei was a 

travel through mysterious science fiction soundscapes, sometimes predating the sound of groups 

like Hawkwind. This album, like all the subsequent ones up to 1973, had spectacular psychedelic 

cover artwork. Most of these designs were made by Falk-U Rogner. "Phallus Del" filled up one 

whole side of the album, and had one of the most ridiculous stereo panning ever recorded (try to 

listen to it with headphones!). It was their first large scale improvisation, hinting at the things to 

come on their two next albums. Other memorable tracks was "Luzifers Gholom" and "Dem

Guten, Schonen Wahren" with strange, harsh vocal parts from Shrat. Chris Karrer contributed 

with some nice electric violin parts and had guitar battles with John Weinzierl. One of the band's 

concerts at the time was filmed, resulting in a musical cult movie "Amon Duul plays Phallus 

Dei". The soundtrack for the film "San Domingo" was recorded later the same year and for this 

they were awarded a Bundesfilm prize. 

Percussionist Dieter Serfas left before the sessions for their double album Yeti, recorded early in 

1970. As such, it offered more time for their large variety of ideas: the first record had prewritten 

(i.e. reasonably consistent) acid rock songs, with all time classics such as the "Soap Shop 

Rock" suite, "Archangels Thunderbird" (also released as a single) and "Eyeshaking King", with 

its incredibly raw fuzz guitar on overgear and distorted vocals. 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, while the loose and mellow closing track was a re-union session 

with members from the other AD fraction. In the Spring of 1970, Shrat left Amon Duul II to form 

Sameti, while Dave Anderson returned to England and joined Hawkwind. Lothar Meid, an old 

friend of Chris Karrer, became their new bassist. He was a talented musician with his roots in 

jazz. In 1969 he co-founded Embryo, but quit before their debut album. Along with Jimmy 

Jackson he then played in a band named Tambarin around 1969-70. 

1970 had been a very successful year for Amon Duul II. They were voted the "best underground 

group" by readers of the magazine Musical Express. Fortunately the band decided to follow a 

similar path in 1971, and released another double album, Tanz Der Lemminge, in March. 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. The result 

was even more successful this time! This was Amon Duul II's music at their experimental peak. 

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 "Restless- 

Skylight-Transistor-child". Both were divided into several sub-titles, some of which were segued 

once again! The collage editing technique on these tracks recalled Grateful Dead's classic album 

Anthem For The Sun. For me, the group never surpassed this material: a tour-de-force of 

changing moods, acid guitar, surrealistic images, sitars and strange vocals. Record two contained 

a weird instrumental opus entitled "Chamsin Soundtrack" where each part showcased a different 

angle of the Amon Duul II sound. "The Marilyn Monroe-Memorial-Church" on side three was a 

fascinating otherworldly trip into the floating reigns of the unconscious, guided by echo ridden, 

manipulated guitars, piano, bass and attacks of percussion. 

Imagine a revised, 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, sounding like an extension of "Interstellar Overdrive". 

The next album Carnival In Babylon was recorded late 1971 in the Bavaria Studio. It had a more 

melodic and accessible style. Apparently Amon Duul II had calmed down a bit by now since the 

intense acid images of their first three albums. Some of the six tracks were even verging on 

progressive, ethnic folk rock, lace "All The Years Round" and "Tables Are Turned". These were 

sung by Renate Knaup, who was offered much more space on this album. Their traditions of long 

improvisations were maintained by the 10 minute long "Hawknose Harlequin", apparently edited 

down from a 40 minute long jam session. "Kronwinkl 12" (written by Weinzierl) continued 

another Amon Duul II tradition: that of short, catchy acid rock songs, although this time a more

straight performance. Falk Rogner contributed to this album as 'guest' only, their regular 

keyboard player was now Karl-Heinz Hausmann. This relationship didn't last for long, as 

Hausmann left the group again at the end of 1971. A more important departure around the same 

time was Peter Leopold who wanted to study medicine. Soon after, also Lothar Meid left to join 

Doldinger's Passport. With three members gone, Amon Duul II were soon scheduled for their 

first UK tour (in June 1972). Karrer, Weinzierl, 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). 

Some rumours about disbanding were brought to an end by the release of Wolf City (recorded in 

July 1972). Falk-U Rogner and Lothar Meid were back in action again. This album was surely a 

great success, a firm Amon Duul II favourite among many people. Almost every track was 

outstanding in its own right: "Wie Der Wind Am Einer Strasse" was an ethnic rock fusion, 

sounding almost like Popol Vuh. The title track was a forceful rocker with vocals from Lothar 

Meid. "Sleepwalker's Timeless Bridge" displayed Fichelscher's talent both as a drummer, 

guitarist and vocalist. A whole lot of guests were involved as usual, among them Jimmy Jackson 

(organ), Al Gromer (sitar), Rolf Zacher (the strange vocals on the infamous "Deutsche Nepal"), 

Olaf Kubler (sax) and Pandit Shankar (tablas). 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. In 

December 1972 and January 1973 this line-up toured UK. Some recordings found their way onto 

album Live in London (see below). Lothar Meid left after this to record with Achtzehn Karat 

Gold. After a third and last UK tour (without a regular bass player) in the Spring of 1973, 

Fichelscher also left - to join Popol Vuh as a full-time member. BBC recordings from this tour 

were released in 1992 as Live In Concert. They reveal a chaotic, loud and aggressive Amon Duul 

II playing interesting versions of songs mainly from their 1972 and 1973 albums. This album 

release also included two out-takes from the Dance Der Lemminge sessions. 

The next studio album Vive La Trance (1973) revealed a band in the process of losing their 

previous musical direction. It included as many as 11 tracks, almost as many as all their earlier 

ones altogether. The result wasn't really too bad, but Amon Duul II were now becoming more 

accessible and song-oriented. Most people agree that the album is uneven, although fans of 

Hawkwind's style when they featured Robert Calvert might enjoy it. Only the longest track 

"Apocalyptic Bore" was memorable. The album introduced a new member: Robby Heibl (bass). 

Guests were Peter Kramper (piano, their engineer), Lothar Meid and Keith Forsey (drums). 

At the end of 1973 Amon Duul II were in disarray and to make things worse, members drifted in 

and out of the band all the time. Karrer and Weinzierl did their best to keep the band in some 

shape, 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), Conny Veit (guitar). 

Nick Woodland (guitar), Andy Wix (bass) and Peter Leopold (drums). At this stage, few believed 

the group would survive. In August 1974 the seventh album Live in London was released to fulfil 

the contract with United Artists. This comprised old material from the second UK tour 

(December 1972 and January 1973), edited and manipulated in the studio. For this reason the 

album was tighter than their 1970 and 1971 studio left albums, from which the repertoire was 

chosen. United Artists also released a collection of singles and shorter LP tracks in 1975:

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", "Between The Eyes", 

"Rattlesnake-plumcake" and "Lemmingmania", all previously only released on singles. It was 

packed in a nice silver sleeve with lemmings. 

At last, Karrer and Weinzierl surprisingly managed to re-assemble Knaup, Meid, Leopold and 

Rogner for the recordings of Hijack (released October 1974). They had signed a new record deal 

with Nova in Germany and Atlantic in the UK. Regrettfully the album was a patchy collection of 

mediocre pop rock songs, much like a second Achtzehn Karat Gold album. Many of the best 

contributions came from Lothar Meid, who composed more material this time than on the 

previous albums. Unfortunately, as Meid left soon after the album was completed. He made some 

solo albums, but failed to gain commercial and artistic success. The bass player from the Vive La 

Trance sessions, Robby Heibl returned to the group. A third guitarist, Nando Tischer, was also 

added, again expanding the group to a septet. Their ambitious project Made In Germany was 

recorded in July 1975. This was the first of four albums to be produced by Jurgen S. Korduletsch. 

He added strings and brass to some tracks. The session musician Thor Baldursson contributed 

with additional keyboards. It was their third double album and told the story about a certain and 

fictitious Mr. Kraut. Due to bad sales, the original issue was soon withdrawn and replaced with a 

condensed single LP version in a different cover. Although better than the two preceding studio 

albums, it was still lacking a bit in energy and inspiration. The group's financial account was in 

deficit, which caused half the group (Heibl, Tischer, Rogner and Knaup) to leave in frustration. 

Karrer, Weinzierl and Leopold still managed to keep the band running due to their strong will. 

The tenth album Pyragony X was released in October 1976, with the help of two new members: 

Stefan Zauner (keyboards, vocals, guitar) and Klaus Ebert (bass, vocals, guitar). Strangely 

enough, the two new members had almost taken full control over the band's musical direction 

with their fairly good keyboard-dominated symphonic pop rock. Only the eastern sounding 

opening piece "Flower Of The Orient" bore any resemblance with the old Amon Duul II sound. 

AMOS KEY 

Personnel: 

• THOMAS MOLIN kb, v 

• ANDREAS GROSS g, b, v 

• LUTZ LUDWIG d 

ALBUM: 

"First Key" (Spiegelei SU 26413) 1974 

NB: re-issued on CD by Germanophon in 1994. 

This group made one single (and a rare) album for Spiegelei. They were a keyboard dominated 

trio. Amos Key had a great admiration for classical composers like Bach, Beethoven and 

Schumann, to whom this album was dedicated. The album surprisingly contained many tracks, 

compared to other combined classical one progressive albums: nine in all, none exceeding six 

minutes in length. A fairly competent outfit, in many ways equivalent to the Dutch group 

Ekseption. 

ANALOGY 

Personnel: 

• MARTIN THURN g

• NICOLA PANKOFF kb 

• WOLFGANG SCHOENE b 

• HERMANN-JURGEN NIENHAUS d 

• (JUTTA NIENHAUS v) A 

• ROCCO ABATE flt B 

ALBUM: (up to '76) 

same (Ventotto) (ITA) 1972 

Re-issued in 1990 on CD by Vinyl Magic (VM 017). The orogonal vinyl issue is extremely rare and copies sell for 2,000 DEM! 

This band was based in Italy and had an Italian keyboard player. They formed in 1970 under the 

name The Yoice. A single ("Sold Out" coupled with "God's Own Land") was released in 1971, 

gaining the young group some attention in Italy. They gradually developed a more "progressive" 

and experimental style and changed their name to Analogy in 1972. In Milan they recorded their 

self-titled first album. 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", 

"Dark Reflections" and "Analogy". The album is a masterpiece of progressive rock comparable 

to Circus 2,000, Julian's Treatment, Sandrose or Earth &Fire. Analogy's distinctions were Jutta 

Nienhaus' unique, vicious vocals, Thurn's and Pankoff's impressive instrumental skills on guitar 

and organ respectively and the overall dark atmosphere of their music. All people with a keen 

interest in early seventies progressive rock will love this album. 

Strangely enough, the band remained practically unknown outside of Italy. In 1973 their stunning 

female vocalist left and was replaced by a classically trained flute player named Rocco Abate. 

Shortly thereafter Martin Thurn composed a 30 minute set of thematically-linked musical pieces 

simply entitled "The Suite". In this work the classical music of the Renaissance-period was 

combined with progressive rock. Analogy played this work several times live and received good 

reviews. In spite of this, they failed to attain support from any record labels and duly disbanded 

in 1974. Their album is indispensable and highly recommended. ("The Suite" was at last 

completed and recorded in 1980). 

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. Their style has been compared to Nosferatu and the Belgian band Waterloo. 

ANIMA 

Personnel: 

• PAUL FUCHS fuchshorn, voice, perc 

• LIMPE FUCHS voice, perc 

• J. A. 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, released in 1971. The year 

after they were joined by J. A. Rettenbacher (bass) and Friedrich Gulda (piano, a well known

Austrian free jazz musician), and became Anima. The purpose of this album was to reveal the 

music hidden deep inside man from birth, by way of totally free improvisation. The two lengthy 

tracks were excerpts from even longer live performances. The musical value of their atonal 

experiments is strictly limited, at feast for fans of progressive rock. Only of interest to hard-core 

free jazz fans, I think. I don't know the Austrian album. 

ANNEXUS QUAM 

Personnel: 

• PETER WERNER g, voice, perc 

• HANS KAMPER bassoon, Spanish g, voice, perc 

• OVE VOLQUARTZ sax 

• HARALD KLEMM flt, voice, perc 

• (UWE BICK d, voice, perc) A 

• (JURGEN JONUSCHIES b, voice, perc) A 

• (WERNER HOSTERMANN clarinet, kb, voice, perc) A 

• MARTIN HABENICHT b B 

ALBUMS: 

(A)"Osmose" (Ohr OMM 556 007) 1970 

(B)"Beziehungen" (Ohr OMM 556 028) 1972 

There's an exclusive track on the 1970 Ohr sampler Ohrenschmaus named "Kollodium". 

This was a weird experimental jazz rock outfit from Kamp-Lintfort. They started in September 

1967 as Ambition Of Music. In 1968 bassoons and trumpets were incorporated in the band, and 

they began to play jazz influenced live shows, both in Germany and abroad. Their two albums for 

Ohr were disparate in musical style: Osmose (1971) was a "progressive jazz rock" album. The 

four tracks were untitled. Most interesting was the opening piece, which in some ways predated 

the sound of Faust. The other tracks were often spiced with strange sounds and noises. 

Altogether, a typical sample of the German fusion sound. This interesting album also had a 

unique fold-up gimmick cover. 

On the second album Beziehungen (1972) the group attempted to combine the fusion elements 

from the first album with free-jazz improvisations. Only some parts of this album were 

successful, like parts of the 16 minute track "Dreh Dich Nicht Um". The two-part "Leyenburg" 

improvisations, which occupied half the album, were almost free-form music. 

ANTON, 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. 

ARDO DOMBEC 

Personnel: 

• HAROLD GLEU g, harm, v 

• HELMUT HACHMANN sax, flt 

• WOLFGANG SPINNER d, v

• MICHAEL UFER b 

ALBUM: 

"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, harmless ones this time! The group has 

often been dismissed as 'bad, boring and jazzy' (I know those words are synonymous for some 

people), but their album was actually quite good! Sax, guitar and flute dominated their sound. 

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. "Downtown 

Paradise Lost" told about getting busted in Hamburg's red light district. They were also good 

musicians and enjoyed playing strange or complex rhythms, as Soft Machine did before them. 

Colosseum were also a likely inspiration to them. The group had two further tracks included on 

the Pilz' Heavy Christmas sampler. 

ARKTIS 

Personnel: 

• KARIN TOPPIG v 

• KLAUS BLACHUT g 

• KLAUS GOLLNER b 

• HARRY KOTTEK d 

ALBUMS: 

same (Bonbons 4040) 1974 

"Tapes" (Bonbons 7502) 1975 

"76 - On The Rocks" (private) 1976 

NB: 1 re-issued on CD in 1993 by Penner records with 3 bonus tracks. 

2 re-issued on CD in 1994 by Penner records with 2 bonus tracks. 

This band from the surroundings of Bonn was formed in March 1973. During the Summer of 

1973 the band rehearsed a set of original compositions. In order to get publicity and, hopefully, a 

recording contract the band decided to produce a self-financed record. Thus Arktis was recorded 

in two days at Tonstudio am Dom, Cologne, October 1973. Only 300 copies were pressed and 

released in March 1974, most of them given away free to concert booking agencies, record 

companies, publishers, radio stations and the music press. The four tracks on it have a 

rudimentary garage rock sound featuring tons of multi-backed wah-wah and fuzz guitars much 

like Baumstamm, Grave, Florian Geyer or Da Capo. Klaus Blachut wrote nearly all their material 

and executed all the neckbreaking guitar pyrotechnics. Particularly good (apart from a short 

boogie part resembling Status Quo) was the 20 minute track "Rare Girl" with its never ending 

guitar digressions. Such a guitar-based album could easily be judged as 'simpler' than the 

majority of progressive rock albums, but the band is charmingly enthusiastic and Karin Toppig's 

tough vocals matched the powerful music. 

Unfortunately, the band was ignored by the major labels. In December 1974 three demos was 

recorded by Konrad Plank in his studio for a possible second album on a proper record label. Still 

their attempts were in vain. As a last resort, Arktis released Arktis Tapes in May 1975 in a 

pressing of 500 copies, again as a promotional tool. The album consisted of tracks recorded in a 

rehearsal room during 1974 and 1975. Once again Arktis failed to gain attention and the band 

split. Klaus Blachut later recorded his solo album 1982. Just 200 copies were released. The two

Arktis albums have rocketed in price on the collectors' marked during the eighties. Both are 

recommended for collectors of private pressings and obscurities. Their third album was recently 

re-discovered and featured one great long track in addition to shorter tracks in a more mainstream 

direction. 

ARMAGGEDON 

Personnel: 

• FRANK DIEZ v, g 

• MANFRED GALATIK kb, b, v 

• MICHAEL NURNBERG b, g 

• JURGEN LORENZEN d 

ALBUM: 

same (Kuckuck 2375 003) 1970 

Re-released on CD by Ohrwaschl in 1991. 

Why didn't this group record more than just one album? Their self-titled album is a heavy 

progressive masterpiece with excellent, Hendrix-influenced guitar work and vocals by Frank 

Diez. Armageddon was the start of his long and impressive career. Their album had six tracks, 

and two of them were cover versions. Most impressive was the 10 minute version of Jeff Beck 

Group's "Rice Pudding". This track had some of the greatest heavy guitar riffing to appear on a 

German record. Their version of Spooky Tooth's "Better By You, Better Than Me" was also 

competent enough. In addition, both Frank Diez and Manfred Galatik wrote great songs, as 

typified by the tracks "People Talking" and "Open". Michael Nurnberg and Jurgen Lorenzen 

provided a strong backing. 

Armageddon's album has rocketed in price during recent years, due to the ever increasing 

interest. However, demand for the group was poor way back in 1970, and Armaggedon soon 

broke up. Diez never played material with a similar energy again, his next step was to join the 

'slightly-above-average' jazz-rockers Emergency. Luckily the Armaggedon album was released 

on CD in 1991 with a sharp and clean digitally remastered sound (in a limited edition of 1,000 

numbered copies). 

ASH RA TEMPEL 

Personnel: 

• MANUEL GOTTSCHING g; kb, synth (H) 

• (HARTMUT ENKE b) A-D 

• (KLAUS SCHULZE d) A, 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, kb) G 

• ALBUMS:

(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, F) 1994 

NB: 7 was available in France a year before the international release. The French release was credited to Ash Ra Tempel and had a 

completely different fold-out cover. "Communication-Best of" (PDU PLD SQ 6074, 1976) is an Italian-only sampler with tracks and 

extracts from 1-6. 

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. Gottsching had lessons in 

classical guitar for five years, while Enke just was starting to play bass. Other youngsters drifted 

in and out of the band, which was playing versions of then current pop hits for school parties, etc. 

Already as a 15 year old boy, Gottsching was beginning to experiment with fuzz, wah-wah and 

echo effects, in the wake of psychedelia. In an interview I did with him in December 1989, 

Gottsching admitted that Pink Floyd's innovative experimentation was a huge influence at that 

time. With Volker Zibell (harmonica) and Wolfgang Muller (drums), Enke & Gottsching 

appeared live on German TV early in 1970 as Steeple Chase Blues Band. This formation was, 

however, short-lived. Zibell now lives in Norway and has recorded with several Norwegian new 

wave bands. 

Enke & Gottsching studied experimental composition at avant-garde composer Thomas Kessler's 

studio in Berlin. There they met another eager student named Klaus Schulze, who then played 

drums as well as experimenting with strange tape loops and effects. He had just quit Tangerine 

Dream, and they soon found out that they shared musical ideas. Together they formed the first 

Ash Ra Tempel line-up in August 1970, and soon begun to play live. 

Their self-titled first work was recorded early March 1971 (with the late Konrad Plank 

engineering). It was released on Rolf-Ulrich Kaiser's legendary Ohr label in a most beautiful 

gimmick cover. The front side of it could be opened up in the middle (like the Dr. Z album 

released on Vertigo the same year), symbolising a double temple door. This was designed by a 

friend of the group that later also did the cover for Schwingungen. The first album included just 

two extended tracks, sounding close to their raw and sometimes really WILD live shows at the 

time. "Amboss" is a kind of teutonic "Careful With That Axe, Eugene" without the keyboards. It 

starts off calm and soft, but gradually increases to a furious, fuzzy acid guitar nightmare. 

"Traummaschine" is, in sharp contrast, a floating, dreamy track, just as the title implies. This 

diversion between the first and second album sides became a trade mark for several later albums. 

It was a highly impressive start. Their strength was their ability to make the most unearthly 

sounds in the usually very limited guitar, bass and drums trio format. 

In September 1971 Klaus Schulze decided to leave. His artistic ambitions far exceeded the task 

of being just a drummer in the band. Six months later, Irrlicht would start off his impressive solo 

career. Wolfgang Muller from the Steeple Chase Blues band took his place. 

Ash Ra Tempel's second album 

Schwingungen was released in the Summer of 1972. This is a 

more structured work, but still very much based on long, instrumental improvisations. Side one 

included vocals by John L., a previous member of Agitation Free. He was fired from this group

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, when I come back from my lysergic day-dream, 

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, divided into subtitles "Suche" and "Liebe". The 

first part is dominated by soft vibes and electronics, 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, Steve Schroder and Dietmar Burmeister. Schroder had been a member 

of Tangerine Dream (at the time of Alpha Centauri), but had been fired, as Edgar Froese thought 

of him as 'freaking totally out'. If this really was the case, 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", recorded in the Summer of 1972 for the Ohr sampler Kosmische Musik. Due to a 

technical mistake in the recording process, it was a mono recording. This sampler also included a 

Schulze track not released elsewhere, and has become quite valuable nowadays. 

A.R.T. met the famed American acid guru and author of "Turn Out, Turn In, Drop Out", Dr. 

Timothy Leary, in Switzerland. Leary was living there in exile after being thrown out of USA by 

the authorities. It was decided to record a concept album dealing with Leary's theories about the 

seven levels of human consciousness. The group made a rough musical score, and then travelled 

to Bern (Leary was denied a residence permit in Berlin!) to record it. Some reasonably freaky 

guests also took part in the studio recordings. The resulting album Seven Up is one that the acid 

heads can't live without; indeed many people consider it as their best (I don't). It's certainly their 

most psychedelic! Leary's vocal performances are comparable to John L.'s previous attempts on 

Schwingungen. The album included seven tracks - one to describe each level of consciousness, 

but each side (subtitled as "Space" and "Time") run continuously. The acid-blues rocker 

"Downtown" starts off the album, "Power Drive" sounds very close to Hawkwind's space rock, 

"Right Hand Lover" is boogie blues with numerous spacey sound effects, while "Velvet Genes" 

closed side one with a reprise of "Downtown". As on their previous albums, side two was more 

subdued and dream-like in style. It featured wordless, high pitched vocals, strange electronic 

effects and new variations on the "Saucerful of Secrets" organ chord sequence. A brave album, 

indeed! Seven Up was the first release on Kaiser's brand new label Kosmische Courier. In reality, 

this was just a renamed relaunch of the Ohr label. All Ohr artists that were still alive and 

recording, would eventually appear on KM, the exception being Tangerine Dream, whose leader 

Edgar Froese simply refused to be associated with Kaiser's "cosmic circus" (in Froese's words). 

The reason for this resurrection was the need to promote Kaiser's visions and cosmic message. 

Part of his 'cosmic' philosophy was: 'we humans are all a big family!' - it sounds like the usual 

hippie ideology to me, but perhaps the real message has been lost by the passing years...

While recording Seven Up in Switzerland, Ash Ra Tempel also met a local 'underground' figure: 

the painter and artist Walter Wegmuller. It was soon decided to make another great concept 

album, this time about the Tarot. Both Gottsching and Enke played lead guitars on the Tarot 

sessions, recorded in December 1972. On this occasion, they were also temporarily re-united 

with Schulze, now totally occupied by experimenting with electronics. But this double set didn't 

become (as first proposed) just an A.R.T. & Wegmuller project. Three members from 

Wallenstein, namely Jurgen Dollase (keyboards). Jerry Berkers (bass) and Harold Grosskopf 

(drums) along with Walter Westrupp (ace, guitar, known for his albums with Bernd Witthuser) 

also contributed, resulting in a rich, full and versatile sound. Walter Wegmuller composed all the 

lyrics and painted a brand new Tarot card set for the occasion, which was included in the lavish 

German double album package. For more information about this project, consult the Wegmuller 

entry. During breaks in the Tarot recordings, the original Ash Ra Tempel trio (Gottsching, Enke 

& Schulze) recorded the fourth album Join Inn in just hours. Contained therein were two lengthy 

improvisations! "Freak'n'Roll", a showcase for Gottsching's talented, bluesy up-beat 

improvisations and "Jenseits" (meaning 'beyond'), dominated by Schulze's freshly developed 

synthetic sound painting techniques. This track had spoken lyrics read by Rosi Muller, 

Gottsching's long time girl-friend and new part time member of the group. Join Inn was a 

pleasant enough recording, but brought no new landmarks for Ash Ra Tempel. 

This line-up also performed live. Some gigs in France at the beginning of 1973 were however 

very erratic, as Hartmut Enke tended to increasingly do very strange things on stage. Manuel 

Gottsching: 'we were in the middle of a number when he suddenly stopped playing. After the gig, 

when I and Klaus asked him why he stopped playing, he said that it was all too beautiful so he 

just couldn't play'. He got very involved in the Timothy Leary philosophy...' Enke obviously had 

to quit Ash Ra Tempel. Attempts to assemble his own group came to nothing and his musical 

career was finished. 

When Schulze left to continue his solo career, Gottsching was suddenly left alone in the group. 

He now participated in the extensive Cosmic Jokers jam sessions. Kaiser had rented a studio for 

four months (February to May 1973) where all the musicians, according to rumours, lived partly 

on a diet of marijuana and LSD. Between the endless parties, several hours of music also were 

recorded. Involved this time were basically the same musicians as on the Tarot sessions: 

Gottsching, Schulze, Dollase, Grosskopf, Dieter Dierks (bass) and Rosi Muller, Gille Lettmann, 

Brian Barritt, Lizz Elliott & David (all occasional voices). Kaiser and Gille Lettmann later edited 

the vast amounts of material, and released three albums under the pro-forma group name 

(Cosmic Jokers) in 1974. Some additional material was also used on the KM samplers Sci Fi 

Party and Gilles Zeitschiff. All these releases were made without the knowledge or permission of 

the musicians involved. Schulze nowadays dismisses those recordings as 'awful', bill on the other 

hand Gottsching still regards them as 'pleasant recordings'. 

After all the freaky jam sessions of the previous years, 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. 

Gottsching formed a new, loose Ash Ra Tempel line-up with his session friends Dieter Dierks 

(engineering), Harald Grosskopf and Rosi Muller. The resulting album Starring Rosi was a big 

surprise. Gone were all those freaky jams. A more melodious, harmonic and accessible style now 

dominated. "Laughter Loving" sounds like an improved "Freak'n'Roll", "Day-dream" is a most

eautiful meditative ballad, "Schizo" a melancholic fragile guitar number, "Cosmic Tango" a 

little joke (or a side-kick to Kaiser?). The only long track, "Interplay of Forces", does sound 

closer to the older Ash Ra Tempel style, complete with vibes. "The Fairy Dance" was a strange 

little ditty for acoustic guitar and mellotron. "Bring Me Up" represented the first time Göttsching 

experimented with funky rock (later he would repeat this on Correlations). In many ways, this 

quite successful album (artistically) was a turning point that gave Gottsching the confidence to 

start his solo career, keeping the Ash Ra Tempel name. 

Gottsching's own Studio Roma was ready for use in 1974, and all alone he recorded the all time 

classic Inventions For Electric Guitar (which was exactly what it was!). It was recorded on a 

primitive TEAC four track player, but used all its possibilities to make a unique album, featuring 

guitar as the one and only instrument. Tape loops were recorded at different speeds and treated 

with echo effects. This gave the impression that synthesizer sequencers had been used - it was 

actually a minimalistic sequencer album without a sequencer in sight! The recordings were 

complex and took a long time to complete. It was even more difficult to recreate these sounds 

live. Just a few gigs were played with the helping hands of Lutz Ulbrich (guitars, keyboards), 

previously a member of Agitation Free. Together they also made some soundtrack music in 1975 

- for the film "Le Berceau De Cristal", directed by Philippe Carrel. The title track was at long last 

released on an Edelton sampler in 1990. 

The next Ash Ra Tempel album, New Age Of Earth, was first released in France (where the 

group had its largest following) by Polydor in late 1976. However, when British Virgin released 

the album world-wide with a different cover in March 1977, the extracted name Ashra was used. 

After Inventions... Manuel was 'fed-up' with guitars for a little while and released a very 

keyboard-dominated album. This was another great musical triumph: Manuel now pioneered the 

'new age' genre with his harmonic and meditative synthetic music. Strongest of all was "Ocean of 

Tenderness", a floating world of swelling electronic waves and pulses (and even some distant 

guitars). The 22 minute long "Nightdust" recalled Klaus Schulze's 'picture music' at the time of 

Timewind. 

Under the leadership of Manuel Gottsching, Ash Ra Tempel have been among the most 

important bands of the Berlin electronic rock scene. 

ASTERIX 

ALBUM: 

same (Decca SLK 16695) 1970 

Lucifer's Friend recorded the Asterix album before they changed their name. This contained 

shorter tracks with a typical hard rock edge. Valued by collector's at around 125 DEM in mint 

condition it's quite good musically. Look at the Lucifer's Friend entry for more info. 

ATLANTIS 

Personnel: 

• INGA RUMPF v 

• KARL-HEINZ SCHOTT b 

• (JEAN-JAQUES KRAVETZ kb) A,B 

• ADRIAN ASKEW kb C 

• FRANK DIEZ g A,D

• (DIETER BORNSCHLEGEL g) B 

• ALEX CONTI g C 

• (CURT CRESS d) A 

• RINGO FUNK d B,C 

• REINER MARZ g D 

ALBUMS: 

(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 

Atlantis also released three singles for Vertigo. 

1 & 2 were also re-released on CD by Repertoire circa 1992. 

When Frumpy disbanded in 1972, three of the members formed the 'super group' Atlantis, named 

after Plato's mythical continent that sank into the water. Vocalist Inga Rumpf was arguably the 

German answer to Janis Joplin with her distinct, gutsy blues voice. Along with Rumpf from 

Frumpy came Jean-Jaques Kravetz and Karl-Heinz Schott. The two additional members of 

Atlantis had recently left Emergency Frank Diez and Curt Cress. The band soon secured a 

contract with the German branch of Vertigo. Their first album was recorded in London and had a 

laid-back US West Coast feel to the music. The keyboards were quite dominant, and Rumpf of 

course sang the some blues and soul influenced tracks in her characteristic way. Along with Diez, 

she composed all of the songs. Cress and Diez quit the group again at the same time as the album 

was released. Dieter Bornschlegel became the new guitarist and Ringo Funk from Jeronimo took 

up the drums. 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. There were further changes in the 

line-up when Jean-Jaques Kravetz quit to record a solo album (and then join Randy Pie). 

Bornschlegel also soon left Atlantis. Their replacements in time for the third album Ooh, Baby 

(1974) were Adrian Askew and Alex Conti, the latter had previously played guitar in Curly 

Curve. These two new members wrote most of the new material, which veered still closer 

towards funky soul rock. Tile double live album released in 1975 contained different live 

recordings from 1973-1975. In the Summer of 1975 the group was again transformed. Diez was 

brought back along with a second guitarist, Rainer Marz (ex-Jeronimo, for Get On Board (1975). 

This had a rockier sound, but was a less inspired work than the previous albums. One further LP 

was recorded, but not released until 1978. Atlantis finally disbanded in 1976. The group had, 

particularly during their first two years of existence, considerable commercial success in 

Germany. Inga Rumpf has since recorded several solo albums. 

BAIER-WESTRUPP 

Personnel: 

• WALTER WESTRUPP v, g 

• FRANK BAIER v, g 

ALBUMS: 

"Unterwegs" (Der Andere Song 25795) 1975

"Pumpt Den Skiffle aus dem Boden" (Songbird 1C062-31140) 1976 

"Dat Muss Doch Auch Wat Spaken Bringen" (Plane S66601) 1976 

NB: 1 and 2 released as "Die Walter HC Meier Pumpe"! 

A folk duo comprising Walter Westrupp (known for his albums with Bernd Witthuser) and Frank 

Baier (previously of the folk group Kattong). Their albums contained standard acoustic folk in 

the German language. 

BAUMSTAM 

Personnel: 

• ULRICH KLAWITTER g, v 

• MICHAEL LOBBE g 

• VOLKER WOBBE b 

• GERHARDT MEYER d 

ALBUM: 

"On Tour" (BMF BS 6232 855) 1972 

NB: Re-released on CD by TRC in 1990. The second edition of this is re-mixed. 

A little known band which made one single and a tremendous album. Their album consisted of 

nine standard length, blues based hard rock songs, similar to rural sounding loud rockin' bands 

like Reaction and Incredible Hog. Part of the album was recorded live. The great treasure of this 

album is the mean and growling guitar sound, 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). In 

1990 a re-release at last appeared on CD (released by TRC), which could be acquired a bit more 

cheaply! 

BEDA FOLK 

Personnel: 

• MANFRED JASPERS fiddle, acc, mandolin, g 

• EITEL TIMM g, banjo, mandola, bodhran 

• ANDREAS STANISAK tin whistle, acc, pno 

• DIETMAR DOMBROWSKI g, mandolin 

ALBUM: 

"I Will Go" (Happy Bird 5005) 1975 

This group made a folk-rock album of Irish folk songs, named I Will Go (1975). The album 

contained 12 such tracks all arranged by the band. It was recorded In October 1973, produced by 

Fred Christmann and released on the short-lived Highdelberg-based label Happy Bird. 

BETWEEN 

Personnel: 

• PETER-MICHAEL HAMEL kb 

• ROBERT ELISCU oboe, flt 

• ROBERTO DETREE g, b 

• COTCH BLACK perc 

• (JAMES GALWAY flt) A

• (ULRICH STRANZ vla) A 

• CHARLES CAMPBELL perc B 

ALBUMS (up to '76): 

(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. The group were 

formed in 1970 on the initiative of Peter-Michael Hamel as Between The Chairs, but as this 

expression has different meanings in German and English, the name was soon shortened to 

Between. Hamel had studied composition since 1967 and wanted to create a new musical genre 

(an ambitious man!), between (pun!) all the existing ones. The other German of the band, Ulrich 

Stranz, had a similar academic background. The American Robert Eliscu came to Germany in the 

late sixties to play with the Munich and Berlin philharmonic orchestras. Another American 

citizen, Cotch Black, played tablas and percussion. Roberto Detree was an Argentinean and had 

played Spanish guitar in classical folk music ensembles in his homeland. He also built musical 

instruments. 

James Galway joined briefly as sixth member before the recording of Einstieg, (released October 

1971 on the Wergo label) he was a critically acclaimed musician well known for his classical 

music recordings. The album included several short tracks, recorded at the Staatliche Musikhochschule 

in Munich, plus a 9 1/2 minute avant-garde piece, "Space Ship", recorded in Berlin. 

Between demonstrated their ability to play different styles (jazz, folk and avant-garde), but did 

not manage to merge these styles. Most successful was Eliscu's "Katakomben" and Hamel's 

"Triumphzug Kaiser Maximillian". Those tracks had a dramatic atmosphere with wordless 

vocals, bongo rhythms, oboe, flute and organ. Also interesting were the tracks grounded on 

Detree's roots in South-American folk music. The more free-form numbers "Memories" and 

"Flight Of Ideas" were uninspired improvisations with an ethnic touch, a direction already 

explored to full effect by Limbus 3 and 4. 

Galway and Stranz, both of whom had kept a very low profile on the album, left to concentrate 

on classical music in 1972. This left more room for Hamel and Eliscu to develop longer tracks 

and more meditative music. Hamel released his first solo album in 1972 and guested on the first 

Agitation Free album. Eliscu guested on several Popol Vuh albums. 

The second Between album And The Waters Opened (1973) included six tracks. This only had 

acoustic instruments and included a new member: Charles Campbell. On the whole, it was a 

better and more homogeneous merging of styles than their first album. It was Between's only 

release on the legendary "swirl" Vertigo label (the next one had the "spaceship" artwork!). The 

front cover artwork was quite remarkable: a drawing of a gigantic splash of colours - illustrating 

the event when the waters opened. Dharana from 1974 was a kind of world music symphony 

recorded with the aid of the SWF orchestra. This work was based more on improvisation than 

composition, particularly the 20 minute long title track. Also worth mentioning is Eliscu's 

beautiful 11 minute piece "Joy... Sadness... Joy". The same year Between also made music to 

poems by the actor Gerd Westphal Hesse. This resulted in Hesse Between Music, released 

January 1975. Besides Hesse, who recited his own poems, several guests also appeared on the 

album, like Al Gromer (sitar, who also recorded with Popol Vuh and Amon Duul II) and Tom

van der Geld (vibraphone). Hamel has recorded several solo albums, some containing music 

reminiscent of Between, but generally more experimental and minimalistic. Eliscu has mostly 

concentrated on classical music. Between are best remembered for their albums in the period 

1973-1975. Their strength was in their more extended tracks, which gave these talented 

musicians time to express their ideas through the improvisations. 

BIRTH CONTROL 

Personnel: 

• (REINHOLD SOBOTTA kb) A,B 

• (WOLFGANG NEUSER kb) C 

• ZEUS B. HELD kb D,E 

• BRUNO FRENZEL g B-E 

• (BERND KOSCHMIDDER b) A-C 

• PETER FOLLER b D,E 

• (ROLF GURRA sax, v) A 

• (EGON BALDER d) A 

• BERND NOSKE v, d B-E 

• (DIRK STEFFENS g) D 


(B)same (Metronome MLP 15.566) 1970 

(B)"Operation" (Ohr OMM 56.015) 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 60.019) 1976 

When it comes to German progressive hard rock based on the Deep Purple formula, none were 

better than Birth Control! They were formed in 1968. The band name was a reaction against the 

Pope's declaration that contraceptives were sinful. They played mainly instrumental jazz rock 

cover versions of Brian Auger, Graham Bond, etc, in those early days. For some live 

engagements they were expanded with a guitarist, a vocalist and a trumpeter. Their first single 

"October" coupled with "Freedom" was released on Amadeo in 1969. 

Line-up (B) recorded an album for Metronome, released in a round cover, imitating a box of 

contraceptive pills. This came in the first in a series of, what were for many people, thoughtprovoking 

covers. The music was still grounded in jazz-rock (particularly the material composed 

by Sobotta), but the new members brought with them rock influences (particularly evident on the 

material composed by Bruno Frenzel). The album also had a cover version of Doors' "Light My 

Fire". It was a work of average quality, lacking a bit in experience and musical craftsmanship. It 

also suffered from a thin production. 

Their next album Operation was indeed a great improvement. The cover had a drawing of a baby 

eating ant monster, watched by an excited Pope. Inside the fold-out cover another drawing 

revealed the group members being part of a baby eating machine. An outrageous cover for sure! 

Musically, they had now found their own, heavy guitar and organ based sound, in many ways 

similar to British hands like Spooky Tooth and Deep Purple. The best cut was the opening track

"Stop Little Lady". 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, a sampler featuring six tracks from their first two 

albums and three rarer tracks, previously only available on Ohr singles: "Hope" (1970 A-side OS 

57.003), "What's Your Name" (1972 A-side OS 57.007) and "Believe In The Pill" (1972 B-side 

OS 57.007). The cover showed a foetus lying in a dustbin, again causing much controversy! 

The steady sales resulted in a contract with the major company CBS. Hoodoo Man was released 

in January 1973 and contained 6 tracks that refined their sound even more. This was a brilliant 

album with very confident guitar and organ riffs and interplay. Noske's voice had improved (he 

was one of the best German male vocalists) and he also drummed better than ever. The key tracks 

this time were the classic 10 minute "Gamma Ray" (a live favourite), "Buy!" (7:10) and "Get 

Down To Your Fate" (7:56). The cover art wasn't as outrageous as the usual Birth Control 

standard: just a drawing of a very big, fat woman repressing a little wind-up man! 

At this time the band had the ambition to break through internationally. 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. The quintet of Noske, Frenzel, Steffens, Held and 

Foller recorded Rebirth (1974), failed to keep pace with the ambition. Steffens left again to form 

his own hard rock trio. The other four undertook another German tour that resulted in a double 

live album, comprising five tracks in all with much instrumental work. This was appealing for 

the convinced fans, but not for the masses. On the rover the group was pictured sitting in car 

armed with machine guns, shooting at a baby carriage. Plastic People (1975) was a concept 

album attempting to create a more varied sound beyond the standard heavy progressive formula. 

The guests Jochen von Grumbkow (cello), Christoph Noppeney (viola) and Friedemann Leinert 

(flute), all from Holderlin, appeared on the track "My Mind". Plastic People was their best album 

since Hoodoo Man. Regrettably the group were not able to develop this style in any proper way. 

Backdoor Possibilities (1976) was a partly failed attempt to include more jazz and classical 

elements into their hard rock. Birth Control were now recording for Brain, since CBS had lost 

faith in them. 

In 1983 founder member Bruno Frenzel died after a long illness. 

BLACKBIRDS 

Personnel: 

• WERNER BREINIG g 

• HEINZ KOOP b 

• HUBERT KOOP kb 

• HELMUT VIGNEROM d 

ALBUM: 

• "No Destination" (Saga FID 2113) (UK) 1968 

Personnel: 

• WERNER BREINIG g, flt, vln 

• PETER BELY kb, v 

• WOLFGANG BODE b, v

• CHARLES SIKORA d, v 

ALBUM: 

• "Touch Of Music" (Opp 5) 1971 

The story of Blackbirds is the story of two different groups, both led by Werner Breinig. His first 

incarnation of Blackbirds was a beat group formed in Saarland 1965. Their album No 

Destination (1968) was only released in the UK on the Saga label. It consisted of psychedelic 

beat music comparable to the first Petards album. It is worth noting that German 'underground' 

albums were real rarities way back in 1968, the new underground scene had just began flowering 

with fresh bands like Amon Duul, Guru Guru and Tangerine Dream. The songs (ten in all) were 

short, but included some interesting organ work. Presumably the Blackbirds didn't quite match 

the musical revolution of the late sixties (as the above mentioned groups did!) and disbanded. 

When Blackbirds resurfaced in 1971 with Touch Of Music (1971). They had adopted a nice, 

poetic and classical influenced progressive style. There was also room for some more powerful 

passages in-between, characteristic for the early seventies progressive music we all have learned 

to love. The album included six tracks in all and was released on the hideous Opp label where a 

Hairy Chapter album also found an outlet. 

Both the Blackbirds albums are now very rare, it's hard to pinpoint the current asking price as it 

very much depends on what YOU are willing to pay. A very rough estimate would be 125 DEM 

for No Destination and 175 DEM for Touch Of Music. 

BLACKWATER PARK 

Personnel: 

• RICHARD ROUTLEDGE v, g 

• MICHAEL FECHNER g 

• ANDREAS SCHOLZ b 

• NORBERT KAGELMANN d 

ALBUM: 

"Dirt Box" (BASF 20 21238-6) 1971 

NB: Also re-released on CD by Second Battle. 

Another one of those German bands with a British vocalist (Andreas Scholz came from the 

recently disbanded Murphy Blend!). Dirt Box had a promisingly weird cover, but the music was 

quite common for the period: guitar-based hard blues-rock in the Anglo-American style. The 

material written by Fechner and Scholz ("Mental Block", "Rock Song" and "Indian Summer") 

was the best, recalling the brilliance of Armaggedon. Routledge's material tended towards boogie 

blues and sounded more like Free. He also wrote all the lyrics. The album also included a good 

cover version of the Beatles' "For No One". This is one of many albums of which the original 

copies sell for small fortunes today. To meet the increasing demand, Second Battle re-released 

the album in 1990 in its original sleeve. If you go for originals though, expect to part with 250 

DEM. 

BLUES & ELECTRONIC 

ALBUM: 

same (BASF 20 21150-9) 1971 

I have no available information about this obscure name. This might be a project of Okko 

Bekker, who released a project album named Sitar & Electronics on GASP about the same time.

BOKAJ RETSIEM 

Personnel incl.: 

• RAINER DEGNER g 

ALBUM: 

"Psychedelic Undergrond" (Fass WY 1532) 1969 

Mr. Rainer Degner, previously the guitarist of the sixties beat group German Bonds, had a 

passion for the old German children's song "Meister Jakob". In fact, this is also the real name of 

this studio project (with session musicians), but due to the arrival of psychedelia, strange things 

were happening, and the letters 'bokaj retsiem' must be reversed to make any sense! Degner's 

album included some absolutely perverse arrangements of "Meister Jakob", but also some great 

acid guitar parts in the typical late sixties style. One of the few German psychedelic albums in 

existence, and for this reason a quite interesting and uncommon item! Members of The Rattles 

also contributed to this album. It is also worth mentioning that his old fellows in German Bonds, 

Peter Hecht and Dieter Horns, also made several strange albums under pseudonym beside their 

normal career in Lucifer's Friend. 

BRAINSTORM 

Personnel: 

• ROLAND SCHAEFFER g, kb, sax, v 

• RAINER BODENSOHN b, flt, v 

• EDDY VON OVERHEIDT kb, v 

• JOACHIM KEINZER d 

• ENNO DERNOV g, b B 

ALBUMS: 

(A)"Smile A While" (Spiegelei 28505) 1972 

(B)"Second Smile" (Spiegelei 28596) 1973 

This was a jazz rock group led by Roland Schaeffer, a future member of Guru Guru. Their 

albums contained quite average quality jazz rock, probably influenced by the British so-called 

Canterbury scene. On Second Smile (1974), a fifth member was added: Enno Dernov. 

CHRIS BRAUN BAND 

Personnel: 

• CHRIS BRAUN v 

• ELMAR KROHN g(A), d(C) 

• (HORST SCHREIBER g) A 

• BERND ADAMKEWITZ g B,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. Line-up (A) recorded the first album Both Sides (1972), which received a

ad press. The band went through many changes in 1973, at one time even Jimmy Jackson (wellknown 

as the organist of Embryo, Passport, etc.) was a member. Horst Schreiber departed to 

form Sperrmull. At the end of the year a quintet settled to record a new album. Foreign Lady 

(1974) was another rather ordinary rock album with influences from blues and soul. Braun's 

musical activities were few for some years, but in 1980 he formed a new band. 

BRAVE NEW WORLD 

Personnel: 

• JOHN O'BRIEN-DOCKER g, v, kb, perc 

• LUCAS LINDHOLM b, kb 

• HERB GELLER flt, sax, cor anglais 

• REINHART FIRCHOW recorder, flt 

ALBUM: 

"Impressions On Reading Aldous Huxley" (Vertigo 6360 606) 1972 

NB: A Polydor album by a group named Brave New World Oh Calcutta has nothing to do with this Brave New World. 

Brave New World was a studio project expressing the ideas of the Irishman John O'Brien- 

Docker, previously leader of City Preachers. Above are the musicians that appeared on 

Impressions On Reading Aldous Huxley (1972) plus Thomas Kuckuck (imaginative engineer). 

The overall sound was quite original: mainly instrumental music with lots of flutes, strange 

percussion, studio manipulations and sound effects. This was no ordinary instrumental fusion, 

rather a druggy kind of excursion through folk, rock and jazz in a dramatic and/or melancholic 

mood. Since 1972, little has been heard from O'Brien-Docker, although he wrote the lyrics for 

the Randy Pie albums Highway Driver (Sophisticated) (1974) and Kitsch (1975). 

BREAKFAST 

Personnel: 

• FERDI KUHNEL v, flt, perc 

• HORST SCHREIBER g, v, 

• GUNTMAR FEUERSTEIN kb, v, perc 

• EBERHARD VOELZ b, v 

• BILL BAKINE d, perc 

• JURGEN KAMPERT g, v 

ALBUM: 

"It's Time For" (Sky 004) 1976 

A quite unknown group that released just one album for Sky. It's Time For Breakfast (1976). 

This album was stylistically similar to other late seventies 'light progressive' bands like Octopus, 

Shaa Khan, Straight Shooter and Ramses. Breakfast's music had a slight folky touch and good 

multi-voice arrangements. All their material was quite song-oriented, and therefore there are no 

interesting, extended tracks to be explored here' The album was recorded at Konrad Plank's 

studio. Horst Schreiber (guitar, vocals), previously played in Chris Braun Band (with Bill 

Bakine) & Spermull. 

BRIDGE 

ALBUM: 

"Overdrive" (Tempo 5003) 1972 

An unknown group performing standard jazz-rock of an average quality.

BROSELMASCHINE 

Personnel (Broselmaschine): 

• PETER BURSCH g 

• JENNI SCHUCKER v, flt 

• WILLI KISSMER v, g 

• LUTZ RINGER b 

• MIKE HELLBACH mellotron, perc 

ALBUM: 

• same (Pilz 20 2100-2) 1971 

Personnel (Peter Bursch & Die Broselmaschine): 

• PETER BURSCH g 

• WILLI KISSMER v, g 

• KLAUS DAPPER flt, b, sax, tuba 

ALBUM (up to '76): 

• same (Xenophone 161.012) 1976 

This was the project of Peter Bursch, a master of acoustic guitar. Besides the Broselmaschine 

albums, he has issued several hand books on how to play acoustic guitar. He formed the first 

Broselmaschine line-up way back in 1968, inspired by the American folk music of Bob Dylan, 

Joan Baez, Phil Ochs and Joni Mitchell. Some of these people brought with them experiences 

from Irish and British folklore. During the early seventies the band lived as a commune in 

Duisburg. Their first album was recorded in August 1971 and released on Pilz. It included six 

tracks in all, most outstanding was their Steeleye Span-ish version of the Scottish traditional song 

"Lassie", which came with perfect multi-voice harmonies electric guitar and mandolin. Other 

tracks like "Schmetterling" had a more eastern flavour with sitar. It is one of the best German 

folk rock albums ever recorded! 

Regretfully Broselmaschine disbanded about a year after this release. Some of the members 

travelled to India. In 1975 Peter Bursch formed a new Broselmaschine, 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. In spite of these guest 

appearances, the resulting album was still in a clearly defined folk style, although quite different 

from the 1972 album. 

BROTHER T & FAMILY 

ALBUM: 

"Bralling Of The Rock" (Fass 15008) 1970 

No further information available about this one, perhaps it was another exploitation album 

featuring Lucifer's Friend members? 

BULLDOG 

Personnel: 

• GERHARDT STONING pno, v 

• MICHAEL EHRHARDT g 

• GUNTHER OEMICHEN g

• GERD OPPERMANN b 

• RAINER PAEGEBIV d, v 

ALBUM: 

same (private 135/51662) 1976 

A very obscure group. 

BULLFROG 

Personnel: 

• 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, but this name was already used by another group so they 

changed to Bullfrog just before the recording of their first LP. The sleeve pictured some very 

long haired and freaky musicians with a mean look. Their music was typical mid-seventies hard 

rock with a pompous touch. It failed to make any lasting impression as it lacked originality. Their 

instrumentation was guitar-based, perhaps comparable to the style of Jane. 

FRANZ De BYL 


same (Metronome MLP 15383) 1971 

"Und" (Thorofon ATH 114) 1972 

Franz de Byl was and is a relatively unknown folk artist. His albums are filled up with relaxing 

and silent short acoustic folk songs (or sometimes folk-blues). The first one was recorded with 

the violin player Heiner Hohnhaus. Most noteworthy was the front cover, where the two guys 

were pictured completely naked! Und (1972) was released on the Thorofon label, that also 

released the first Emtidi album. Recommended only for folk fanatics! 

CAN 

Personnel: 

• IRMIN SCHMIDT kb 

• (DAVID JOHNSON flt) A 

• MICHAEL KAROLI g 

• HOLGER CZUKAY b 

• JAKI LIEBEZEIT d 

• (MALCOLM MOONEY v) B,C 

• (DAMO SUZUKI v) C,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

(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 

NB: A Liberty sampler named Electric Rock featured the Can track "Thief", not released elsewhere until 1981's Delay 1968. 

1 was re-issued on Liberty LBS 83342 (1969). Some of the original Music Factory copies had a rear sticker with the Liberty order 

number. A second re-issue appeared on Spoon (004) in 1981. All Liberty and United Artists albums were re-issued on Spoon in 1981 

(005-010). 

All albums are now available on CD. 

This very important and legendary group was formed in Cologne in July 1968, on the initiative of 

Irmin Schmidt (keyboards) and David Johnson (flute). They aimed to make a totally new music 

by merging very different musical styles. Irmin Schroldt and Holger Czukay had both studied 

under Karl-Heinz Stockhausen and had some background in jazz ensembles. In addition to this, 

Schmidt had been educated at the Dortmund Academy, studying walthorn and orchestral 

direction. Jaki Liebezeit had since his early schooldays played trumpet, flute and percussion, but 

he eventually settled behind the drum kit in a free jazz band. Michael Karoli was ten years 

younger than the other members, and the only one not to have an academic background. His 

musical training came from several unknown jazz-rock groups. It was Jimi Hendrix who inspired 

him to play in a rock band. David Johnson was an American avant-garde composer. At the end of 

1968 he left the new-founded group and returned to his homeland. Just before that, another 

American citizen had joined the group to complete the line-up, a black vocalist named Malcolm 

Mooney. The only recording of these six musicians playing together is the very obscure single 

"Kama Sutra Parts I & 2" (Metronome M25-128), 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, 

limited edition of 2,000 copies released in France). 

Can finished their own primitive studio and dubbed it Schloss Norvenich in January 1969. For 

most of their career, all their recordings were made there. In spite of just having a four track tape 

machine at their disposal, the recordings were of a high technical quality, partly due to the great 

technical ability of Holger Czukay (acting as their engineer and tape editor). Their first set of 

finished tapes were circulated to several record companies. It is possible that the Delay 1968 

album (1981) was compiled from these tapes. As Can didn't get an initial response, they wasted 

no more time approaching record companies but made further recordings, resulting in Monster 

Movie (1969), being released by themselves as a private pressing of 600 copies. 

This was indeed one of the rock history's most radical and inventive debut albums! In December 

the same year, a recording contract with Liberty / United Artists was signed, and Monster Movie 

was repackaged and released again. If inspired by a number of avant-garde composers as well as 

Jimi Hendrix, Pink Floyd and Velvet Underground, Can definitively managed to create their very 

own, unique style. This was characterised by gasping, repeated and spoken vocals, heavily 

distorted guitars, shimmering organ, a simple and ritualistic bass and sensitive rhythms. Indeed 

this album was the reference point for most of their subsequent albums, particularly the classic 

tracks "Father Cannot Yell" and "You Doo Right". Can usually recorded their music live in the 

studio - playing, toying and improvising to great effect! Amon Duul II's first album Phallus Dei 

(1969) was the result of a similar process, resulting in a handful of reasonably structured "songs" 

and one lengthy full blown improvisation as a conclusion to the album. 

If Monster Movie had been the soundtrack to Can's very own, imaginary headmovie, they were

soon contacted by several movie directors to make real film soundtracks. In October 1970 the 

album Soundtracks was released, containing music from five different movies. Most of it was 

more accessible than Monster Movie, but nevertheless the album had its share of classics: "Soul 

Desert", "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. The recordings were 

produced over a twelve month long period, and featured new vocalist Damo Suzuki on four 

tracks. Malcolm Mooney had become mentally ill, left the group and returned home to the USA 

in December 1969, thus ending the first phase in Can's history. Can had searched for a new 

vocalist for four months, before they discovered the Japanese replacement Damo Suzuki busking 

in the streets of Cologne. His strength was his peculiar phrasing technique rather than his vocals, 

a strange styling that was indeed appropriate for Can's rhythmic and repetitive music. With 

Suzuki in their ranks. Can went on rehearsing and recording Tago Mago for the rest of 1970. 

This varied double album, reputably taking the name from a magician, is usually considered to be 

their best work. As many of the Amon Duul II albums from the same period, it had one record 

with a somewhat structured work, and the other containing much weirder, improvised 

experiments. "Paper House" lifted the album off with menacing slow, progressive rock and 

"Mushroom" introduced the unique, rambling Can rhythms, here with strange echo and reverb 

effects added. "Oh Yeah" started off with an explosion gradually evolving into a hypnotic and 

repetitive melody with added backwards effects. "Halleluwah" was a foretaste of the rhythmic 

music Can were to work with on their next album Ege Bamyasi. "Aumgn" was a very strange and 

ritualistic sound collage, lacking ordinary rhythms or melody lines. Instead it featured plenty of 

strange, non-verbal vocal sounds and crashing percussion, with lots of weird echo effects 

directed by Irmin Schmidt. Liebezeit played contrabass on this track. "Peking O" was probably 

the weirdest Can track ever, far too insane to be described! "Bring Me Coffee Or Tea" closed the 

album in a, by Can standards, more normal way. This was a real masterpiece of German rock 

containing abnormally imaginative music! In fact, the album did surprisingly well; it sold enough 

to enter the German best-seller lists, 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. Many of them saw the group as: 'the German Velvet 

Underground or Mothers Of Invention'. For sure, these descriptions were only used for lack of 

better Anglo-American reference points. A 45 was also selected for release from the Tago Mago 

sessions: "Turtles Have Short Legs" coupled with "Halleluwah (edited version)" (Liberty 15465). 

Further soundtrack projects brought Can even more attention. 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, coupled with "Shikaki Maru Ten" (on United Artists 35304). It was a triumph for the 

whole wave of new German rock (the so-called "kraut-rock") when this single actually sold more 

than 200,000 copies and reached number 1 on the singles' charts! Due to this rather unexpected 

success. Can were virtually forced to play live gigs. Their first British tour (in the Spring of 

1972) received much enthusiastic support. At the same time, Can also launched their third single: 

"Vitamin C" (another movie theme) coupled with "I'm So Green" (U.A. 35472). 

The new album Ege Bamyasi (released August 1972) had Can's distinctly rhythmic music in 

focus. Many of the tracks' arrangements were unusually sparse - featuring ritualistic percussion 

and Suzuki's spoken and/or breathing voice. Other tracks were songs in Can's unique style, short 

and quite melodious, but at the same time bizarre! The best example of this was "Spoon". In spite 

of these elements, Ege Bamyasi wasn't as exciting as Tago Mago. Luckily they came up with

another big one in l973, the inventive Future Days. This time Can relied more on atmosphere 

than power. Things had certainly changed since the agony of Monster Movie. The long title track 

(which opened the album) was a particularly good example of their new style. Tile track "Spray" 

parodied rock riffs, while "Moonshake" also was released as a single with an edited version of 

"Future Days" on the other side (U.A. 35596). "Bel Air" was a lengthy improvisation, covering a 

full album side (edited from a very long session!). Damo Suzuki performed his last concert with 

Can on the 25th August 1973 in Edinburgh and then returned to Japan. The group recorded their 

1974 album Soon Over Babaluma as a foursome. This was an even better collection than Future 

Days containing further lively experiments with refined rhythms from all around the world. 

Schmidt and Karoli now shared the lead vocals parts. "Dizzy, Dizzy" was a fast number with 

whispering vocals, electric violin and echo drumming. "Come Sta, La Luna" had melodramatic 

vocals by Schmidt, radio talk over and bird screams caught by Czukay and a perverted tango 

rhythm from Liebezeit. You've never heard such a tango before! "Chain Reaction" (11:12) had 

furious percussion with several tempo shifts - complete madness! "Quantum Physics" calmed 

things down a bit, as it rolled more on atmospherics. 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.A. 35749). 

In 1975 Can signed new recording contracts - with EMI Electrola in Germany and with Virgin 

world-wide. United Artists, for their part, released 15,000 copies of a retrospective album aptly 

entitled Limited Edition. It contained previously unreleased tracks recorded between 1968 and 

1974. There are many really bright moments in this collection, like the strange story of "Mother 

Upduff" (told by Malcolm Mooney) and "Gommorha" (another soundtrack theme), a 

characteristic Can instrumental. In 1976, this collection was made available again by EMI and 

Virgin as side one and two of the double album Unlimited Edition. Sides three and four offered a 

new selection of previously unreleased tracks. This Can release, recorded live in their studio in 

countless styles and moods, 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. 

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. The track named "Unfinished" really sounded as it 

never was finished, and revealed (in my opinion) the first signs of Can's forthcoming creative 

stagnation. Different vocalists were tried out at this time: the Japanese female singer Michiko 

Nakao, Tim Hardin (performed a song live with the group on one occasion), Michael Cousins 

and the Indonesian Thaiaga Raj Raja Ratnam, but none of these remained with the group. As 

usual, a single was lifted off the album: "Hunters And Collectors" coupled with "Vernal 

Equinox" (Harvest IC006 31392). 

Flow Motion (1976) was an attempt to make more commercial music with funky rhythms and 

new guest vocalists (Peter Gilmour and Rone Timmer). The abnormal group Can had finally 

turned normal, though they remained somewhat eccentric. Their funk rock single "I Want More" 

coupled with "...And More" (Harvest ICOO6-31727 in Germany and Virgin VS 153 in the UK) 

climbed into the British charts. For Christmas 1976, Can released a disco version of "Silent 

Night" coupled with "Cascade Waltz" (Harvest ICOO6-31973 and Virgin VS 166). Unhappy 

with this new direction, Holger Czukay began his withdrawal process from Can. 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 beginning of 1977, and just in time for the Saw Delight sessions. 

Can's legacy to the German rock scene is indispensable, they were a unique group with a unique 

sound. 

CHECKPOINT CHARLIE 

Personnel (approx.): 

• UWE Von TROTHA voice 

• WILFRIED SAHMEN g 

• JOACHIM KREBSSALAT kb 

• JURGEN DRAUTIGAM b, 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. They were part of the same pout rock wave as Floh De 

Cologne and Ton Steine Scherben. Their live recorded album Gruss Gott Mit Hellem Klang 

(1970) is probably the worst album of all time, at least when speaking about it in musical terms. 

For a large part it contained political agitation and theatrical pieces with violent screaming and 

some really obscene German language. 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, bearing the 

same CPM LPS 3 item number! Checkpoint Charlie disbanded in 1971. 

However the band reformed regularly during the following years, and in 1977 on a more 

permanent basis. 

CHERUBIN 

Personnel: 

• ANDY MARX g 

• BO BORN kb 

• WOLF GRAF b 

• PIT TROJER perc, v 

• HARKY WILHELM d, v 

ALBUMS: 

"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, recorded August 1971. He 

then recorded a solo album for Spiegelei in 1973 and later formed Cherubin. Their music 

comprised conventional mainstream light-rock, often with a country or folky touch. I'm afraid it 

sounds very dated nowadays... If you still are interested in checking them out, their first album 

was their best. Many guest musicians appeared on both Cherubin albums, among them Thor 

Baldursson (keyboards), Keith Forsey (drums), Rainer Pietsch (vocals, of Tanned Leather - a 

related studio project group), Wolfgang Crude (sax), Dieter Bauer (bass) and Frank Baum (steel 

guitar).

CHICKEN BONES 


• RAINER GEUECKE v,g 

ALBUM: 

"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, performed in the good old tradition of the early seventies 

heavy progressive scene. Most of the album is instrumental, and offers Rainer Geuecke plenty of 

opportunities to reveal his musical skills. 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. This album has an excellent and well-balanced sound for a private release. 

The recordings were done in only one week live in the studio - or more probably a barn! Only 

300 copies were pressed, so the original is mega rare. Second Battle made and numbered 600 

further copies in 1989 when they re-released the album in its original cover. 

CLUSTER / KLUSTER / HARMONIA 

Personnel (Kluster): 

• HANS-JOACHIM ROEDELIUS 

• DIETER MOEBIUS 

• CONRAD SCHNITZLER 

ALBUMS: 

"Klopfzeichen" (Schwann AMS 511) 1970 

"Zwei: Osterei" (Schwann AMS 512) 1970 

Personnel (Cluster): 




same (Phillips 6305 074) 1971 

"II" (Brain 1006) 1972 

"Zuckerzeit" (Brain 1065) 1974 

"Sowieso" (Sky 005) 1976 

Personnel (Harmonia): 



• MICHAEL ROTHER 

ALBUMS: 

"Musik von" (Brain 1044) 1974 

"De Luxe" (Brain 1073) 1975 

NB: The first pressings of Klopfzeichen (ca. 50 all in all) were issued in a special printed plastic relief cover. This is now a mega rarity, 

worth about 500 DEM. The rest of the edition came in a plain black paper sleeve (folded, i.e. open on three sides), rumored to be only 

300-400 in all. Some people say there were only 100 copies of Klopfzeichen totally. For Kluster Zwei: Osterei, a plastic relief cover was 

used for the whole edition. In 1980 both these albums were re-released with the same item numbers on Schwann (also limited editions), 

but in sleeves totally different from the originals. 

The first Cluster album was re-released in 1980 on Sky 047 in a different cover as Cluster '71. Originals of 2 & 3 came on the green 

Brain label. 3 was re-issued twice: first in 1978 in the original cover but with the brown Brain label and the number 60.116, then in 

1980 on the "Rock on Brain" series with the brown Brain label and in a different sleeve with the number 80.116. 

1st Harmonia LP was re-issued in 1980 on the "Rock on Brain" series as Dino (40.123). Originals of 1 & 2 were on the green Brain 

label 

Hans-Joachim Roedelius must be considered as the grand old man of German rock. He was born 

on 20 October 1934, grew up in East Berlin and had reached the age of 34 when he started to

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: 

• KLAUS SEBASTIAN v, g 

• ROLF SONDERMANN v, b, flt 

• FRIEDEL AHRENS kb 

• WOLFGANG HAUSMANN g, v 

• BERND KLIEMT d, perc, v 

ALBUM: 

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: 

• MANFRED SCHUNKE 

• ED KEY 

ALBUM: 

"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

• RUDY HOLZHAUER perc 

ALBUM: 

"Full Horn" (Brain 1030) 1973 

This was a band of considerable size. There were also important musical contributions from 

producer Jochen Pedersen, previously a member of the little known group Ikarus, who released 

an album for the Plus label. On Full Horn (1973), Cornucopia presented a weird and eccentric 

jazz-rock fusion that is so varied and continuously shifting that it is hard to describe the music. 

The same could be said of their label mates Thirsty Moon. The album started with a 20 minute 

suite called "Day Of A Daydream Believer". This one was an attempt to link very different pieces 

of music (and twisted weirdness). The result was erratic, but quite interesting and unusual. On 

the other end of the scale, "Morning Sun" (3:07) was a tuneful little pop rock song. The 

remaining two tracks fall between these extremes. All were written by the Cornucopia leader 

Cristoph Hardwig. The album is rare, but not very much in demand, and therefore still 

affordable. 

CORPORAL GANDER'S FIRE DOG BRIGADE 

Personnel: 

• THOMAS LEIDENBERGER g, v 

• ANDREAS BUELER b 

• LUCIAN BUELER kb 

• LUCKY SCHMIDT d 

ALBUM: 

"On The Rocks" (Europa E460) 1970 

If you like the idea of the legendary group Wind playing in a more straight forward rock style, 

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. 

The sleeve looked very cheap as well. There are very few similarities to the Wind albums, 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. You'll get short, guitar and song based cover versions of 

"Paranoid", "Into The Fire" and "I Hear You Knocking", along with seven original compositions. 

For more information about the group, please look at the Wind entry. 

COSMIC JOKERS 

Personnel: 

• MANUEL GOTTSCHING g 

• KLAUS SCHULZE electronics 

• JURGEN DOLLASE kb 

• DIETER DIERKS b 

• HARALD GROSSKOPF d 

ALBUMS: 

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, 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, Sergius Golowin: Lord Krishna von

Goloka and Walter Wegmuller. 

From February to May 1973, Rolf-Ulrich Kaiser organised psychedelic jam sessions (sometimes 

more reminiscent of acid tests!) at Studio Dierks. Cosmic Jokers typified how Kaiser wanted to 

communicate with the world to spread his evolving cosmic philosophy. The best moments from 

these four months in the studio were released as three albums in 1974, all supervised by Kaiser 

and Gille Lettmann without asking the participating musicians! The first of these, Cosmic Jokers, 

was a nice album, quite similar to early Ash Ra Tempel. "Galactic Joke" was a nice workout for 

Manuel's talented guitar improvisations. "Cosmic Joy" was a weird, spacious float-out dominated 

by Schulze's explorative electronics, verging on minimalistic surrealism. Galactic Supermarket 

had more conventional music on its long tracks "Kinder Des Alles" and "Galactic Supermarket", 

as Wallenstein member Jurgen Dollase was more in the limelight here. Still it was a great album 

with a cosmic-symphonic flavour to it overall. There were also some overdubbed vocals by Rosi 

Muller and Gille Lettmann. Planeten Sit-in had continuously running (cross-faded) shorter 

tracks, edited down from longer sessions - a kind of potpourri of alternating cosmic 

improvisations, covering well-known A.R.T., Schulze and Wallenstein styles. In my view this 

album doesn't turn out so well as the two preceding ones, hut it's still indispensable for all cosmic 

freaks. 

Besides these three original Cosmic Jokers albums, two "samplers" released the same year 

included yet more material from the previous Studio Dierks sessions, along with extracts from 

the other Kosmische Kuriere and Kosmische Musik releases. Sci Fi Party and Gilles Zeitschiff. 

The first mentioned was a tool for Kosmische Musik to promote its artists, with a cleverly edited 

flow through their material. On some album extracts new vocals were added, as on the edit of 

"Galactic Joke". Finally, Gilles Zeitschiff was a sort of biographical concept, the 'sternmadchen' 

Gille Lettmann spoke about how Timothy Leary came to Germany, his ideas, the Tarot project, 

etc., accompanied by Schulze's VCS 3 synthesizers and more extracts from previously released 

Kosmische Kuriere and Kosmische Musik records, heavily over-dubbed. 

CRAVINKEL 

Personnel: 

• R. KAISER 

• G. THOENES 

• K-G. MEIER 

• G. KRAWINKEL 

ALBUMS: 


"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. Cravinkel (1970) had short tracks with a firm country rock 

touch, which I think was a bad Idea... In fact, the album was recorded in London at the IBC 

studios and produced by Rainer Goltermann (Phillips' "house producer"). The album came in a 

poster fold-out cover which showed the band lazing in a haystack. Garden Of Loneliness (1971) 

had a single cover (nice psychedelic artwork on the front!), but enclosed a poster. Their music 

had by now become heavier and more "progressive" (which can be defined as: "longer tracks, 

more time for instrumental work, and generally better albums"). Side two had a 20 minute jam 

session called "Stoned", an apt title! It was quite a change from their first one, but indeed a

logical development. This album too was a Goltermann production. There is also an obscure 

single from 1971: "Keep On Running" coupled with "Mr. Cooky" (Phillips 6003 158), neither 

track being included on any of the albums. 

CREATIVE ROCK 

Personnel: 

• KLAUS WEBER g, perc 

• RAINER ERBEL v 

• BENNY STREMMEL sax, flt 

• HUBERTUS KREUTNER tpt, flugelhorn 

• GUNTER SCHNEIDE g, b 

• MICHAEL MAAS b, g 

• HEIKO STEINSIEK d 

ALBUMS: 

"Gorilla" (Brain 1017) 1973 

"Lady Pig" (Brain 1074) 1974 

Creative Rock - an ambitious name, but they were merely a quite conventional jazz-rock fusion 

septet. Possible inspirational sources were Chicago, Blood, Sweat & Tears, Nucleus and 

particularly Colloseum. Creative Rock added their own Teutonic slant, though. Gorilla (1973) 

was a good album with eight tracks produced by Konrad Plank at Windrose studios, Hamburg. 

Instrumentally the album contained equal amounts of brass and guitars. Lady Pig (1974) was 

basically more of the same, although by now Creative Rock were beginning to run out of ideas. 

Consequently the band broke up. These two green Brain releases have never been re-issued. 

Anyway, the demand for them is not too great and they can still be acquired at about 35 DEM 

each. 

CURT CRESS 


"Clan" (Atlantic ATL 50079) 1975 

Along with Udo Lindenberg, Mani Neumeier, Harald Grosskopf and Carsten Bohn, Curt Cress 

belongs to the most famous group of German drummers. He started his recording career at the 

age of 17 in the progressive rock group Orange Peel. Later he worked mainly with jazz-rock in 

groups like Passport, Atlantis and Emergency. After four successful years, he left Doldinger's 

Passport in 1977 to form Snowball. In-between, he had recorded his first solo album Curt Cress 

Clan (1975) with Volker Kriegel (guitar), Kristian Schultze (keyboards), Dave King (bass) and 

Ack van Rooyen (fluegelhorn). The album benefited from its experienced musicians, 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, v 

• GERHARD BILLMANN kb, synth 

• KLAUS BRAUN d 

• KLAUS KUKLA b

• DIETER URBASSIK sax 


"Volcano" (private 6621 313) 1976 

A little known group of little importance. Cry Freedom played a straight rock fusion with a touch 

of funk comparable to a slick version of Karthago or Randy Pie. From the start, the group was a 

quintet. 

CURLY CURVE 

Personnel: 

• MARTIN KNADEN g, v 

• HANNO BRUHN g, b, v 

• CHRIS AXEL KLOBER kb, v 

• KURT HERKENBERG b, v 

• HANS WALLBAUM d, perc, v 

ALBUMS: 

same (Brain 1040) 1973 

"Forgotten Tapes" (private) 1981 

This band was from Berlin and regularly appeared at the Zodiac club between 1968 and 1970. 

Probably their music was more psychedelic in those early days than revealed later on vinyl. The 

Brain album, recorded at the Dierks studio in July 1973 with Frank Oeser producing, had a nice 

fold-out cover but sadly wasn't particularly impressive musically. Standard rock songs with a 

slight heavy blues touch and the key changes and guitar solos you have all heard before. Very 

American sounding music with the tendency to get trapped in boogie-mode. I would compare it 

to the Gash album, a contemporary green Brain release.. The album of 'forgotten tapes' was 

compiled from rehearsal recordings on a TEAC four track tape machine in 1974. For this reason, 

the sound quality isn't very professional. There were plans for a second album, which never saw 

the light of day. The music, as revealed on a limited private release in 1981, was more heavier 

but didn't hint at anything outrageous. Brain apparently lost interest in Curly Curve. Strange to 

note that Herkenberg was a member of the 1967 Tangerine Dream line-up! 

DA CAPO 

Personnel: 

• PETER STANEK g, v 

• PETER TREIBER g, v 

• PETER WIESNER b, v 

• ALFRED URBAN d 

ALBUM: 


NB: Re-issued in 1988 on Litttle Wing LW 1001 with a different cover. Also re-released on CD. 

Only 500 copies were originally pressed. More than half of these were soon destroyed by the band, as they were dissatisfied with the 

recording. This makes the original album one of the rarest German rock albums. 

Da Capo were a part of the South German progressive scene. Taking their name from the second 

Love album, they were heavy influenced by the laid back American west coast sound of bands 

like Quicksilver Messenger Service and The Grateful Dead. Their privately recorded (in two 

days) and released (in a few hundred copies) album, Da Capo included excellent tracks like 

"Find My Way Home", "Young Man" and "Free" - melodic and tuneful songs that were in no 

way inferior to those of the American bands mentioned earlier. The long instrumental track "A

Day In the Rest of My Life" was a nice twin guitar jam, reflecting their live sound. It is sad that 

the band never recorded in a studio again, disbanding about a year later. Da Capo's legacy is as 

one of the best German early seventies private pressings. Thanks to the Little Wing label, it's now 

available once again, featuring a superior, new sleeve design and also a bonus track. 

DADA ZUZU 

ALBUM: 


An almost unknown private pressing. Its existence is doubtful, according to Mr. Willi Oertel (a 

well-known German record collector and dealer). 

WOLFGANG DAUNER / ET CETERA 

Personnel (Et Cetera): 

• WOLFGANG DAUNER kb, electronics, 

• LARRY CORYELL g 

• GUNTHER LENZ b 

• JON HISEMAN d 

• FRED GRACEFUL perc 

ALBUMS (Et Cetera): 

"Knirsch" (BASF MPS 21-21432-2) 1972 

"Live" (BASF MPS 29-21754) 1973 

ALBUMS (other rock): 

"Rischka's Soul" (Brain 1016) 1972 

"Psalmus Spei" (Metronome 15209) 197? 

Wolfgang Dauner is one of Germany's best jazz musicians, and therefore falls a bit outside the 

remit of this book. Through the years he has collaborated with Siegfried Schwab, Jon Hiseman, 

Larry Coryell, Eberhard Weber, Fred Braceful, Matthias Thurow, Zbigniew Seifert, Gunther 

Lenz, Arild Andersen and other famed jazz musicians. The listed albums are collaborations, 

group projects and 'solo' recordings. I'm sure he also has been involved in the making of 

numerous other albums. Four albums should be of special interest for fans of progressive jazz: 

Rischka's Soul is an excellent vintage progressive jazz album, the result of a 1969 live session 

with Eberhard Weber, Siegfried Schwab (who played with Embryo for a while) and Roland 

Wittich. Psalmus Spei is rumoured to be an interesting recording for Metronome (I haven't heard 

it and don't know the line-up). Et Cetera made two albums on BASF MPS that were quite 

experimental. 

DENNIS 

Personnel: 

• CARSTEN BOHN d 

• MANFRED RURUP kb 

• MICHAEL KOBS kb 

• THOMAS KRETSCHMER g 

• KLAUS BRIEST b 

• JIM WILEY b

• WILLI PAPE sax, clarinet, flt 

• OLAF CASALICH perc 

ALBUM: 

"Hyperthalamus" (Nova 6.22352) 1975 

A one-off project featuring Carsten Bohn, Thomas Kretschmer (ex-Frumpy), Manfred Rurup, 

Olaf Casalich (ex-Release Music Orchestra), Michael Kobs and Willi Pape (ex-Thirsty Moon). 

The band was named after Bohn's son Dennis. Their music was basically instrumental 

progressive jazz-rock with much improvisation. The groups in which the musicians previously 

played give a good indication of what to expect here. It is one of the better recordings in this 

field, so it's a pity that the band didn't exist for long. Willi Pape and Carsten Bohn went on to 

Kickbit Information, a band which existed merely for months and didn't make any albums. Bohn 

then formed his Bandstand. 

DESIREE 


• ROLF REGLIN v, g 

• KARL RICHTER g 

• JORG REGLIN b, v 

• SIGGI BRANDT d 


"Make It With A Smile" (Lava TCH 76006) 1976 

A little known guitar-based hard-rock group. Their first album is reputably their best. Their 

compositions were usually short, but well played and often quite memorable. 

DEUTER 


"D" (Kuckuck 2375 009) 1971 

"Aum" (Kuckuck 2375 017) 1972 

"Celebration" (Kuckuck 2375 040) 1976 

NB: There was a promotional issue Soundtracks of 200 copies (according to Mr. Walter Geertsen) with a sound close to Aum, but more 

electronic. I don't know its catalogue number, but it was defenitively not on the 2375 series. 

The multi-instrumentalist Georg Deuter (born 1 February 1945) should really be acclaimed as the 

first new age musician in the world. His blending of beautiful meditative Eastern-influenced 

music and nature sounds was way before his time. In the sixties he worked as a graphic designer 

and newspaper columnist in Munich. However, from childhood onwards he taught himself to 

play flute, guitar and harmonica. In 1970 he embarked on an extended journey to Persia, 

awakening his passion for Eastern ethnic music, philosophy and religions. When he returned to 

Munich, he began to perform at clubs as a one man band, and was signed up with Kuckuck. 

D (1971) was totally different to his later style, making massive use of distorted electric guitars, 

searing organ, raga rock rhythms, psychedelic sound collages and backwards tapes. A real 

psychedelic treat! As with all future albums, Deuter also acted as producer and engineer. Aum 

(1972) was something totally different. His first attempt at merging sitars, tablas and flutes to the 

sounds of birds, wind and water (reflecting Deuter's deep relationship with nature), resulted in an 

addictive, aesthetic music. 

Like Florian Fricke in Popol Vuh, Deuter experienced a religious revival and converted his name 

into Chaitanya Hari Deuter. In Poona, India, he found his guru in Bhagwan Shree Rajneesh.

Celebration (1976) did indeed celebrate Center's spiritual revival and focused on beauty and 

harmony. The peaceful music was full of joy and warmth. Indeed, he had now found his own 

distinctive and personal style, and, from this point on, his albums grew increasingly celestial, 

meditative and beautiful. During the following years, Deuter lived and recorded his music in 

Poona. 

DIES IRAE 

Personnel: 

• CORD WAHLMANN v, harm 

• ROBERT J. SCHIFF b 

• HARALD H.G. THOMA g, v 

• ANDREAS F. CORNELIUS d 

ALBUM: 

"1st" (Pilz 20 21114-7) 1972 

NB: Re-issued on CD by Ohrwaschl. 

This was a great "heavy progressive" quartet from Saarbrucken (near the French border). Their 

first and only album (entitled First) was recorded in just two days (during June 1971) in the Star 

Studio, Hamburg and produced by the then Pilz' label manager Jurgen Schmeisser. Konrad Plank 

was (as ever) engineering. Musically they were inspired by several British heavy rockers. The 

harmonica gave many tracks a bluesy feeling, comparable to the first Black Sabbath album. This 

group proved to be an inspirational source for the lyrics as well, dealing with drugs and the 

occult. Included were titles like "Lucifer", "Harmaggedon Dragonlove", "Witches' Meeting", 

"Red Lebanese" and "Trip". The last mentioned track was the highlight of the album: an eight 

minute long spacy instrumental crescendo building up to a frenzy, almost like the early Ash Ra 

Tempel. However, Dies Irae's finest moment was not to be found on their album. 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, he changed the label's musical focus more towards folk-rock, releasing 

classic albums by Hoelderlin, Emtidi, Broselmaschine and Popol Vuh. 

Dies Irae were indeed hardly folk-rockers, rather folks playing hard rock' They were 

consequently dropped by the label. Their album is indispensable for heavy progressive collectors, 

even if not in the same class as Armageddon! It's not very rare, but much in demand. 

DIEZ & BISCHOF 

Personnel: 

• FRANK DIEZ g 

• PETER BISCHOF v 

ALBUM: 

"Daybreak" (Atlantic ATL 50156) 1975 

When Emergency disbanded in 1974, two of their members, continued to work together as a duo. 

Although Diez was a very experienced musician (he had served bands like Armaggedon, 

Atlantis, Randy Pie, Karthago and Ihre Kinder), he used little of his long musical experience for

Daybreak (1975), an album containing virtually nothing of interest: ten dreadful jazz-pop songs 

similar to Emergency, but much worse! Surprisingly enough, it was produced and engineered by 

Dieter Clerks. Featured musicians on this album were Curt Cress (drums), Kristian Schultze 

(keyboards), Dave King (bass) and Tato Gomez (bass). 

KLAUS DOLDINGER('S PASSPORT) 

Personnel: 

• KLAUS DOLDINGER sax, flt, kb 

• (OLAF KUBLER sax, 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, g B-D 

• (UDO LINDENBERG d) A 

• (BRYAN SPRING d) B 

• CURT CRESS d C,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, flute, 

keyboards). He was born in Berlin on 12 May 1936. He played in diverse amateur jazz bands 

from 1952 onwards. In l962 he formed his first Klaus Doldinger Quartet with Ingfried Hoffmalln 

(piano), Helmut Kalldberger (bass) and Klaus Weiss (drums). Doldinger also made pop, jazz and 

blues in the sixties under the pseudonym Paul Nero, resulting in several albums: Paul Nero's Blue 

Sounds had the line-up of Klaus Doldinger (winds), Steffan von Dobrcinsky (winds). Sahib 

Shilab (bass), Atilla Zoller (guitar), Ingfried Hoilmann (organ), Peter Trunk (bass), Klaus 

Voorman (bass) and Gibson Kemp (drums). They recorded The Big Beat in 1965. 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). Among the participating musicians were: Siegfried 

Schwab (pre-Embryo, guitar on both), Lothar Meid (pre-Amon Duul II, bass on both), Olaf 

Kubler (renowned Amon Duul II producer, sax on both) and Florian Schneider-Esleben (pre- 

Kraftwerk, flute on the 1970 album). For the first Passport album, 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. On 

Second Passport (1972) Doldinger had acquired an entirely new line-up. The third Passport 

formation (C) was ready for concerts and a new album Hand Made in 1973. When Roberts was 

replaced with Kristian Schultze in 1974, Passport were at last a stable unit for a couple of years.

Doldinger's Jubilee Concert (1974) was performed with famous guests like Brian Auger, Pete 

York and Alexis Korner. 

DOM 

Personnel: 

• LAZLO VON BAKSAY b, v, lyrics 

• GABOR VON BAKSAY v, flt, perc 

• REINER DUZALOWSKI g, v, flt 

• HANS GEORG SLOPKA kb, perc, v 

ALBUM: 

"Edge Of Time" (Melocord ST-LP-D 001) 1972 

NB: A re-issue also with Melocord label (red) appeared in the first half of the 80's. This is hard to distinguish from the original, but it is 

dubbed from disc and has inferior sound quality. A legal CD re-issue with good sound quality appeared in 1991 on Witch & Warlock 

limited to 500 numbered copies. 

A group originating in Dusseldorf. The von Baksay's escaped from Hungary in 1956 and settled 

in Dusseldorf. The band Dom came into existence in 1969 and performed live at Cream Cheese, 

the city's leading club for rock music. Their private pressing Edge Of Time was recorded in 1972 

at the Neubauer studio. Featured on the album were four long and mostly instrumental tracks. It 

was an interesting melange of psychedelic, cosmic and folk music in a rather dark and low key 

meditative atmosphere. "Introitus" (8:50) opened the album in an almost spooky way with 

acoustic guitars, flute and hand percussion. Later in the track an organ created a spirited mood 

akin to the vintage Pink Floyd's "Cirrus Minor". "Silence" (8:46) was a sinister trip into deep 

space with organ, unintelligible voices, acoustic guitar, electronic effects and flute. "Edge Of 

Time" (9:01) sounded as if Kalacakra and Tangerine Dream jammed together out in space. 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, wind and rain, 

snow, heat, waters, 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, Eugene" and "Quicksilver". Edge Of Time is unreservedly recommended for all fans of the 

early Pink Floyd (ca. 1968-69) and Tangerine Dream (ca. 1971-75) style, but I'm afraid it's hard 

to find. By the way, "Dom" was the groups reference name for an acid trip that lasted for two 

days.

DORIAN GRAY 

ALBUM: 

"Idaho Transfer" (New Blood) 1976 

A little known group responsible for a rare private pressing. Their music is reputed to be in the 

early seventies heavy progressive vein. 

DROSSELBART 

Personnel: 

• PETER RANDT v, g 

• JEMINA v 

• CHRISTIAN TRACHSEL kb 

• DIETMAR MAINKA g 

• WERNER SCHULER b 

• MARTIN HONEMEYER d 

ALBUM: 

same (Polydor 2371 126) 1970 

Drosselbart's album will always be remembered for its outrageous cover showing a damaged 

globe containing worms. Maybe the group had to express their feelings about mankind's deeds 

here on earth? The band was from Munich. Their only album was recorded October 1970 with 

some help from Ralf Nowy (flute). It comprised eleven excellent, classical-influenced, lyrical 

and/or heavy rock tracks. The German lyrics were well-written, very doomy and aggressive. They 

dealt with religious symbols and mankind's vicious nature. As with Ihre Kinder, the lyrics were 

extremely important for the total view of the album. Several members wrote material for the 

album but Randt did the largest share. Two singles, "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. 

DSCHINN 

Personnel: 

• PETER LORENZ v, g, harp 

• BERND CAPITO g 

• SILVIA VERFUHRT b 

• ULRICH MUND d 

ALBUM: 

same (Bacillus BLPS 19120) 1972 

The Dschinn record had a very convincing Dali plagiate painting on its sleeve, courtesy of one 

Klaus Holitzka. I can reveal that the music isn't as surrealistic as the sleeve would imply, it's a 

quite conventional type of hard rock. This is not meant as a criticism, though - it is a great album! 

The lack of originality is nonchalantly replaced by sheer power, both in the music and the vocals. 

They wrote all nine tracks together, except for the cover version of "For Your Love". It was 

recorded at Tonstudio Mitte, Bremen and produced by Rolf Jenzen, a character unknown to me. 

Sadly this one album is their sole legacy, apart from a track on the 1973 sampler Mama Rock & 

The Sons Of Rock'n'Roll (Bacillus BLS 5526; 2nd edition BAC 2025), named "Rock'n'Roll 

Dschinny". Not even a single was lifted from their eponymous album and the group disappeared

without trace. 

DULL KNIFE 


• GOTTFRIED JANKO kb, v 

ALBUM: 

"Electric Indian" (Phillips 6305 107) 1971 

NB: Re-released on CD by Second Battle 

Another of those hitherto unknown groups that made only one album which has recently shot up 

in price on the collector's market. I have no information about the musicians involved, as they are 

not mentioned on the album sleeve. The composition credits for all tracks went to Gottfried 

Janko, who later became the organist and vocalist on Jane's 1975 album Lady. Dull Knife are 

often mentioned in second hand record lists as 'killer heavy progressive' or something like that, 

hut sometimes played a dreadful sort of soul-rock. The album opened promisingly enough with 

the hard rocking "Plastic People", putting you into the right mood, hut unfortunately the rest of 

the music on this side will scare the shit out of you, if you're not keen on artists like Joe Cocker 

or Tina Turner! Side two improved again, but far too late to save the album. This was another 

Rainer Goltermann production in the Dierks studio. August 1971 (mixed at Windrose, 

Hamburg). 

DZYAN 

Personnel: 

• REINHARD KARWATKY b 

• (JOCHEN LENSCHNER v) A,B 

• (DIETER KRAMER g) A,B 

• (CORD EHRMANN sax) A,B 

• (LUDWIG BRAUM d) A 

• (LOTHAR SCHARF d) B 

• EDDY MARRON g, saz, voice C 

• PETER GIGER d C 

ALBUMS: 

(A)same (Aronda AS 10006) 1972 

(C)"Time Machine" (Bacillus BLPS 19181) 1973 

(C)"Electric Silence" (Bacillus BLPS 19202) 1974 

NB: 2&3 re-released on CD by Bacillus in 1994 

Dzyan recorded a unique kind of electric ethnic jazz-rock. The band look their name from the 

Indian book of creation. They formed in January 1972 as a quintet. After just two months the 

self-titled debut album was recorded, and then released on the minor Aronda label in April 1972. 

This first line-up of the band was just a studio project and promptly disintegrated. Lothar Scharf 

played drums in a revamped Dzyan's first live gigs, before he joined Virgo. In November 1972 

Dzyan were reduced to a trio. 

In Studio Dierks, Stommeln, they recorded Time Machine, produced by Peter Hauke and released 

on Bacillus in November 1973. This was an excellent jazz-rock album consisting of four tracks. 

"Kabisrain" was an Eastern-oriented, ethnic number featuring saz, quite similar to Embryo. The 

other three tracks were electro acoustic, inspired by King Crimson and perhaps jazz records 

released on the ECM label. The strongest cut on the album was the 18 minute long title track. 

Dzyan's second album for Bacillus (also recorded by the Hauke & Dierks team) was recorded in

October 1974. It had a similar style to their first, but was a bit more acoustic and Indianflavoured. 

Late in 1974 Reinhard Karwatky, the last remaining original member, decided to leave 

the group. This concluded the story of Dzyan. Along with Embryo, Between and Agitation Free 

they were pioneers of the world music. Giger and Marron eventual recruited Gunter Lenz In 1976 

and recorded one further album as Giger, Lenz & Marron (Niagara MIX 1011-N). 

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. Presumably, Ebert's solo album was dominated by a similar pop rock, although I 

have not heard the album. I don't know if I'm very keen to hear it, either... 

EILIFF 

Personnel: 

• RAINER BRUMINGHAUS kb 

• HERBERT J. KALVERAM sax 

• HOUSCHANG NEJADEPOUR g 

• DETLEF LANDMANN d 

• BILL BROWN b 

ALBUMS: 


"Girlrls!" (Phillips 6305 145) 1972 

Eiliff were one of the so-called "progressive jazz rock bands" of the early seventies. Their two 

albums were recorded in Hamburg, produced by Rainer Goltermann. Their music is hard to 

describe accurately: a complex blend of many different styles, comparisons could be made with 

Colosseum, King Crimson, Nucleus and Miles Davis. With regard to German bands, perhaps a 

comparison with Xhol, Cornucopia or Thirsty Moon is appropriate. Eiliff also occasionally added 

ethnic touches, characterised by sitars and percussion. Their first album had the standard (for 

such bands) 20 minute suite, along with three mid-length tracks. Some sections were good, 

others sound a bit dated nowadays, particularly the jazz improvisations. In general, the album 

was a bit too diverse to make pleasant listening, incorporating as many different styles as it did. 

Eiliff recorded it in the Star Studios with Konrad Plank engineering. Their second and last album 

Girlrls! (1972) was closer to progressive rock otherwise it was quite similar to the first. It was 

recorded at the other famous recording studio of Hamburg: Windrose studios - with F. Bischoff 

engineering. Today Eiliff's albums are in the collector's mid-price rank of 60 to 80 DEM, 

probably justied by their musical content. After Eiliff's demise, Nejadepour played for a short 

while in Guru Guru at the time of Dance Of The Flames (1974). 

EJWUUSL WESSAHGGAN 

ALBUM: 


This was a three piece group that named themselves after a surrealistic book by Clark Ashton 

Smith. On this private release they play four long titles with funny titles like "Dei Geborstenen

Kuppeln von Yethlyreom" - its instrumental, keyboard-based music could be compared to a 

roughly produced Tetragon. A primitive recording of brave improvisations featuring a strange 

seven string instrument called a "filouphon" (this description is courtesy of Mr. Wilfried Oertel). 

Only 300 were made. The group originated from the southern part of Germany, the label bore the 

blue and white Bavarian colours. A record to search out for those willing to part with a small 

fortune. 

EL SHALOM 

Personnel: 

• GUNTER CHRIST g, v 

• KARLHEINZ SCHMITZ g, flt, sax, v 

• JOACHIM BRANDS kb, v 

• HELMUT METER b, recorder, v 

• WOLFGANG MERKENS d 

• HANS DIETER WAGNER soundmixer 

ALBUM: 

"Frost" (Attacca 7625) 1976 

NB: Re-issued in 1994 on CD by Lost Pipe Dreams 

Another largely unknown group who produced a difficult-to-get album in 1976. Frost contained 

eight tracks - featuring both German and English lyrics. With its melodic electric guitars, rich 

string synthesizer textures and lyrical mood, the music is comparable to Minotaurus. 

ELECTRIC FOOD 

ALBUMS: 

same (Europa E424) 1970 

"Flash" (Europa E453) 1971 

Two further low budget albums for Europa, performed by the members of Lucifer's Friend. On 

this occasion, there are no moog versions of classical music as there had been on the Pink Mice 

albums. Instead, these two albums featured cover versions of then current heavy rock hits. 

Europa put out several such albums, for example Corporal Gander's Fire Dog Brigadeand 

Jeff 

Cooper's Stoned Wings . I suppose the triumvirat of Hesslein, Hecht and Horns all were involved 

in the Electric Food project. As usual for these low budget Europa label releases, no information 

was given on the record sleeves, apart from the track listings. All of these aforementioned 

records should be avoided by any other than the hard core collectors. There are better ways to 

spend your hard-earned cash! 

ELECTRIC MUD 

Personnel: 

• MANFRED SIMHAUSER g 

• UDO PREISING b, v 

• AXEL HELM kb 

• JOCHEN DYDUCH d 

ALBUM:

same (Forderturm BL 3020) 1971 

NB: Re-issued in 1993 on CD by Lost Pipe Dreams (LP 017) 

This relatively unknown band made a political rock album with German lyrics in 1971. The 

sound quality is rather primitive and raw, possibly the album was recorded live in the studio (or 

was it a garage?!). There are four tracks in all, dominated by angst-ridden lyrics and long, 

complex instrumental passages dominated by guitar and organ. It's not my bag really, but some 

other collectors like it very much. Parts of the album are comparable to Necronomicon's Tips 

zum Selbstmord, although definitively inferior to this. 

ELECTRIC SANDWICH 

Personnel: 

• JORG OHLERT g, kb 

• KLAUS LORMANN b 

• JOCHEN CARTHAUS v, sax, harm 

• WOLF FABIAN d 

same (Brain 1018) 1972 

Electric Sandwich's only album had a most outstanding opening track, the 8 minute instrumental 

"China", with a repetitive, percussive rhythm and fuzzy wah-wah guitar. Other tracks had an 

impressive electronically treated sax style reminiscent of Ian Underwood. The guitar work was 

fine, but the creaky vocals less impressive! Fortunately, large parts of the album were 

instrumental. "Devil's Dream" and "Nervous Creek" had a slight blues feel and loud rock 

arrangements. Side two mellowed a bit, with softer Jazz and slow boogie blues styles. Again this 

was a Dieter Dierks production, and one you should check out! It was released on the green Brain 

label in 1972 in a funny fold-out cover, picturing a fancy, electric sandwich! The quintet was 

probably from Bonn. 

ELOY 

Personnel: 

• FRANK BORNEMANN g, v(B-) 

• (MANFRED WIECZORKE g(A), kb) A-C 

• DETLEF SCHMIDTCHEN kb, g D 

• (ERICH SCHRIEVER v) A 

• (WOLFGANG STOCKER b) A,B 

• (LUITJEN JANSSEN b) C 

• KLAUS-PETER MATZIOL b D 

• (HELMUTH DRAHT d) A 

• (FRITZ RANDOW d) B-C 

• JURGEN ROSENTHAL d D 


(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 

NB: 1 re-issued as a limited edition by Second Battle in 1990 in its original die-cut dustbin cover. Most albums are now available on CD

One of the best known German bands internationally was (and still is) Eloy, playing a self 

developed, pompous form of space rock. However, Eloy played strongly Anglo-influenced heavy 

progressive rock at the beginning of their career. Frank Bornemann (guitar, vocals) formed the 

band in February 1969, taking the name from the futuristic people appearing in the H. G. Wells' 

story "The Time Machine". In 1970 Eloy won a talent contest in their hometown Hannover. As a 

result, the band got their first opportunity to record in a studio, resulting in the privately-issued 

single "Walk Alone" coupled with "Daybreak". They also did countless live appearances, among 

them opening for Deep Purple and Uriah Heep during their respective German tours. 

A recording contract with Phillips was secured and the band set off to Star Studios, Hamburg, to 

record their first album in April 1971. Also present was Konrad Plank, as well as the mysterious 

producer Mr. Peter M. Freiherr von Lopel. Erich Schriever had the idea for the novelty fold-out 

dustbin sleeve. Apparently this is exactly where Bornemann has wanted to put the album ever 

since. It was one of the few Eloy albums he didn't have full control over. Schriever and 

Wieczorke dominated the writing. Musically this was heavy progressive rock for sure, but it 

lacked a distinctive sound and haunting melodies. After a period of much arguing Bornemann 

took full control over the band, and fired Draht and Schriever. Phillips, in turn, dropped Eloy. 

Fritz Randow became their new drummer, Bornemann became lead vocalist and Wieczorke 

switched from guitar to organ. This line-up re-launched Eloy live May in 1972 at Germesheim. 

For their new recording company (EMI Electrola Harvest) they recorded Inside during the next 

Winter and released it in February 1973. Surprisingly enough, this sounded like a combination of 

Pink Floyd at the time of Meddle and Ian Anderson with a German accent. "Land Of No Body" 

was a great 17 minute opus of space rock. "Inside" and "Up And Down" were also good, but the 

outstanding track was "Future City", a catchy tune with great guitar riffing and a strong rhythm 

backing. This was Floy's most "progressive" album, and also one of their best. 

Late in Autumn 1973, Luitjen Janssen replaced Stocker on bass. Bornemann now wanted to 

make a heavy rock album. Floating (1974) was indeed more powerful, comprising five tracks the 

arrangements of which were far too complex to be dubbed "heavy metal". This heavy kind of 

space rock was most successful on the track "Light From Deep Darkness". Their American 

manager Jay Partridge organised a three month USA tour in the Spring of 1975. For the rest of 

the year, Bornemann mostly worked on his forthcoming full blown concept album Power And 

The Passion, which finally appeared in November. He now assumed to take the role of H. G. 

Wells himself, and wrote an ambitious sci-fi concept about a teenager being able to travel back in 

time to 1358. The album featured both spoken dialogues and massive sound effects just like a 

radio play. The music itself was pompous, polished and 'produced' down to the smallest detail. 

Due to the failure of this album and the lack of success of the USA tour, Eloy disintegrated at the 

beginning of 1976. Wieczorke went to another pompous Hannover rock band: Jane. Randow 

joined the re-vitalised Epitaph. 

Alter some months of reappraising his future, Bornemann came up with a new version of Eloy. 

Indeed it seems that the failure of the previous album hadn't concerned Bornemann at all; he 

wrote the continuing story of the teenager Jamie for Dawn (1976). Rosenthal wrote the lyrics for 

this album. This sequel was an improvement musically, benefiting from better songs and 

arrangements. Still it was a conceptual work of pompous grandeur. It was also their first album to 

sell more than 100 000 copies in Germany.

EMBRYO 

Personnel: 

• CHRISTIAN BURCHARD vibes, d (B-) 

• (JOHN KELLY g, v) A, B 

• (HANSI FISCHER v, flt) C 

• (SIEGFRIED SCHWAB g) E, F 

• (JIMI JACKSON kb) A, D, E 

• (MAL WALDRON kb) D 

• DIETER MIEKAUTSCH kb G, I 

• (EDGAR HOFFMANN sax, vln) A-F 

• (INGO SCHMIDT sax) A 

• CHARLIE MARIANO sax, flt G-I 

• MARIA ARCHER v I 

• (RALPH FISCHER b) B 

• (LOTHAR MEID b) A 

• ROMAN BUNKA b, saz (H) C, G-I 

• (JORG EVERS b) D 

• (DAVE KING b) E, F 

• UWE MULLRICH b H, I 

• (WOLFGANG PAAP d) A 

• (DIETER SERFAS perc) A 


(B)"Opal" (Ohr OMM 56 003) 1970 

(C)"Embryo's Rache" (United Artists UAS 29239) 1971 

(F)"Father, 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 

NB: Originals of 1 had a rubber balloon attached to the front cover. 

Re-issue of 2 & 3 as Classic German Rock Scene (2 LP) on United Artists UAS 29774 in 1976. 

Re-issue of 4 on the 'Rock on Brain' series ca. 1978 (Brain 40.121). 

Re-issue of 5 on the 'Brain 2001' series (Brain 201.109). 

Re-issue of 8 & 9 on Schneeball (ca. 1979) with the same item number. 

An album named This Is (Brain 2001.52) is probably a sampler with tracks from the two Brain albums. 

1 & 2 re-issued on CD by the Italian label Mat. Sonori including bonus tracks. 

Still active today, the Munich band Embryo has been one of the most important and inventive 

bands of the German jazz-rock school. Their formation in 1969 revolved around a nucleus of 

Christian Burchard, Edgar Hoffmann and Lothar Meid (bass). It seems to be a continental 

phenomenon to have drum playing band leaders, just think of Mani Neumeier (Guru Guru) and 

Christian Vander (Magma). Embryo's founder Christian Burchard had started his musical career 

by playing organ in several local rhythm and blues bands. In 1964 he switched to vibraphone and 

jazz when he founded the Contemporary Trio with Edgar Hoffmann (I don't know the third 

member). Three years later they attempted to expand the boundaries of free Jazz with Chris 

Karrer, Peter Leopold, Dieter Serfas and Jimmy Jackson. These musicians soon rose to fame in

Amon Duul II. Christian Burchard was a guest on their first album Phallus Dei (1969). In 1967 

he also played with future Between members Peter-Michael Hamel (keyboards) and Roberto 

Detree (guitar) at the Song Parnass in Munich. Unfortunately no recordings are known of this 

exciting combination. Burchard and Hoffmann also joined the Mal Waldron Quartet in 1967 and 

stayed for two years. Mal Waldron is an internationally well-known black American piano player 

who has worked with jazz legends such as Billie Holiday and John Coltrane. They also 

performed live with Mal Waldron, and got to know proficient jazz soloists such as Steve Lacy, 

Stu Martin, Don Menza, Natan Davis and Lucky Thompson. 

Lothar Meid also had a jazz background. He brought to Embryo two of the musicians he had 

played with in a sixties jazz and soul quintet: Jimi Jackson and Wolfgang Paap. Also Dieter 

Serfas, Ingo Schmidt and John Kelly were early members of Embryo. Kelly came to Germany 

touring with a Scottish hard rock band and had played blues with Alvin Lee before he formed 

Ten Years After. Early live tracks are included as bonus tracks on the CD issue of Opal. In 

Autumn 1969 the first personnel changes took place in Embryo. 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. Lothar Meid left to join 

Doldinger's Motherhood. His replacement was Ralph Fischer, previously part of a folk trio that 

also included Peter-Michael Hamel. Before the recording of Opal in April 1970, the group had 

been reduced to a quartet of Hoffmann, Burchard (now playing drums besides vibraphone), 

Fischer and Kelly. Bettsy Allech (vocals), Roberto Detree (motocello, later a member of 

Between) and Holger Trultzch (bongos, later a member of Popol Vuh) contributed to the album 

as guests. Opal was a highly inventive fusion of rock, jazz, blues, soul and psychedelia, the first 

of five forthcoming classic albums. 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. However, 

the soloist who really was given time to excel was Edgar Hoffmann, helping to define a unique 

German fusion sound also explored by Xhol and Out Of Focus. Hoffmann's electric violin and 

sax graced tracks like "Revolution", "Call" (a Mal Waldron composition) and "People From 

Outer Space". The original copies of Opal had a cover cut-in with a balloon attached, the 

legendary gimmick of the first Ohr albums. Copies with the balloon still intact are now of course 

extremely rare and usually sold for more then 250 DEM. 

The disbanding Xhol supplied Embryo with Hansi Fischer upon their demise at the end of 1970. 

Also Roman Bunka joined Embryo (replacing Ralph Fischer). At this time he was only 19 years 

old. He was to quit and rejoin Embryo several times, but nevertheless was one of their most 

important members. Embryo's Rache (1971) without a guitarist. On this album they were also 

aided by friends: Jimi Jackson, Hermann Breuers (electric piano, organ) and Franz Bontgen 

(vocals). The album was recorded at the Dierks studio. Embryo's long lasting passion for refined 

rhythms began to shine through on this album, noticeably on the opening track "Tausendtussler" . 

If Hoffmann was the instrumental backbone of Opal, it was Fisher's flute and Jackson's 

keyboards (particularly on Jackson's own contribution "Revenge") that dominated this time. This 

was really an album of fantastic instrumental duels more jazzy in direction than Opal, with only 

occasional vocals. Bunka and Fischer soon went their own ways. Burchard and Hoffmann rerecorded 

the Waldron composition "Call" in a great 18 minute version close to conventional jazz 

with Jackson, Waldron and Jorg Evers (bass) late in 1971. This wasn't exactly what their record 

company United Artists wanted, and they turned down both this recording and the subsequent

Rocksession recordings from February to March 1972. The latter was at last released on Brain at 

the end of 1973. 

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. A guitarist (he also played more exotic string 

instruments) firmly rooted in jazz, Siegfried Schwab, also joined Embryo. He came from 

Wolfgang Dauner's Et Cetera , and brought important ethnic influences Into the band. 

The Rocksession album started with a short "rock" song ("A Place To Go"), but the other three 

tracks were extended jazz instrumentals of a high quality. Also a fourth jazz instrumental, 

"Dreaming Girls", was recorded during these sessions. This appeared on Embryo's other Brain 

album Steig Aus (1973), along with the already recorded "Call". 

Again reduced to a quartet Embryo at last managed to please United Artists with Father, Son & 

Holy Ghost (1972), recorded in March 1972 at Studio 70, Munich. The absence of keyboards 

made this album sound remarkably different from Rocksession. Schwab's stringed instruments 

were the highlight this time. Also the album had a more accessible style, at times almost relaxing. 

As usual the group disintegrated some months after the recordings. When Embryo appeared live 

in Munich during the Olympic games in September 1972, Burchard had assembled Roman 

Bunka (apparently talked into rejoining) and Dieter Miekautsch (fresh from Missing Link, now 

being a member of Embryo and Missus Beastley simultaneously). Burchard, Bunka and Jimi 

Jackson recorded the last track for Steig Aus: "Radio Marrakesh/Orient Express", a brilliant 10 

minute two-part piece starting with some exotic, ethnic bouzouki and vibraphone interplay, and 

ending in an energetic jazz-rock fusion, driven by organ, electric piano and guitar. Burchard's 

steady rhythm was the engine of the Orient Express while Jackson's mellotron blew the whistle. 

Jackson still played with Embryo live from time to time, but most importantly he now introduced 

Burchard to another black American jazz musician: Charlie Mariano. In December 1972 they 

recorded We Keep On (1974), which was a good album though it couldn't match any of their 

previous ones. The tracks were extracts from long jam sessions in the studio. The album found 

some recognition in the USA, partly due to the Mariano involvement and partly due to 

international distribution. Miekautsch quit the group in July 1973 to join Missus Beastley. 

Surfin' (1975) was a very mixed affair - one of their weakest albums ever. They were now 

heading into a lighter, funky jazz-rock direction, partially forced on them by their record 

company. The album was recorded in the Summer of 1974, partly with the new bassist Uwe 

Mullrich, previously a guitarist with Lokomotive Kreuzberg and an old friend of Roman Bunka. 

The ethnic styled sections were best, particularly the only extended track called "Dance Of Some 

Broken Glasses", a gentle and atmospheric track with Mariano on flute, Bunka on saz (a stringed 

instrument from Turkey) and Burchard on violin appearing one by one. 

Missus Beastley's music had also suffered from artistic compromises on their 1974 album. As a 

consequence, along with Embryo, Ton Steine Scherben, Sparifankal and Checkpoint Charlie they 

founded April, a company dedicated to independent music and offering artistic freedom. At the 

beginning of 1975, Dieter Miekautsch returned to Embryo. Later the band also got a female 

vocalist in Maria Archer. 

Embryo's first two April albums didn't seem to benefit much from this freedom, as 

Bad Heads 

And Bad Cats (1976) featured very standard and unimaginative funky jazz-rock. Live (1976),

ecorded during a tour of Austria, February 1976) was only marginally better. 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", 1976 with "The Bad Times Are 

Gone". Some members were exchanged with Missus Beastley in the last half of 1976. 

EMERGENCY 


• 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, b E,F 

• (JIRO MATOUSEK kb) A-C 

• (VEIT MARVOS kb) D,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 

ALBUMS: 

(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 201.104) 1975 

Hanus Berka from Prague came to Germany for the first time in the mid-sixties. After an 

extended stay in Las Vegas, he settled in Munich and formed Emergency at the end of 1970, 

comprising four Czechoslovakians, one German and an Englishman! Their debut album proved 

them to be more related to the European jazz scene than the German one. For Entrance (1972), 

most of the band was changed, 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. At the 

end of 1972, Emergency was re-organized again, and signed with Brain. Get Out Of The Country 

(1973) was recorded by (D). Bischof had a soul-ish voice, resulting in a merging of jazz, soul and 

funk rock, quite song oriented and mainstream. The best track was the 12 minute title track. No 

Compromise (1974) was recorded by (E). Arguably, this was their best album, due to larger doses 

of inspired instrumental work. After Emergency disbanded. Frank Diez and Peter Bischof 

recorded a similarly-styled album together for Atlantic in 1975.

EMTIDI 

Personnel: 

• MAIK HIRSCHFELDT g, b, synth, flt, vibes 

• DOLLY HOLMES v, kb, mellotron 

ALBUMS: 

same (Thorofon ATH 109) 1971 

"Saat" (Pilz 20 29077-8) 1972 

NB: Re-released on CD by Galaxis in 1988. 

Emtidi were a duo comprising the German Maik Hirschfeldt and the Canadian Dolly Holmes. 

Their first album was a low budget production, released in a very limited quantity on the minor 

Thorofon label. The music presented here was a somewhat ordinary kind of acoustic folk. Far 

more interesting and completely different was Emtidi's classic second album Saat, made with a 

solid involvement from Dieter Dierks (engineer, bass, mellotron, percussion) in the Dierks 

Studio, Stommeln in February 1972. Here is a complete run-down of this absolutely essential 

album: "Walkin' The Park" started side one - the first half of it was a quiet, lush folk song with 

treated acoustic guitars and electric piano, this running into a furious acid guitar solo. "Traume" 

was a nonsensical interlude with wordless vocals, floating keyboards, vibes and jew harp, while 

the long track "Touch The Sun" finished side one. 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, which Holmes sang in her most angelic voice. "Love 

Time Rain", opening side two, was a short folk-rock song recalling British groups like Fairport 

Convention or Steeleye Span. Tile title piece "Saat" was another acoustic showcase, but far more 

cosmic sounding than the previous track. The concluding track "Die Reise" was the only one 

with German lyrics, sung by Hirschfeldt. It could be argued that the energetic sections of this 

track ruined the relaxed atmosphere elsewhere on the album, but otherwise it was a great track. 

Luckily, this album is now available on CD on the Galaxis label. An original Pilz copy in decent 

condition will set you back at least 100 DEM. 

EPITAPH 

Personnel: 

• CLIFF JACKSON v, g 

• BERND KOLBE b, mellotron, v 

• KLAUS WALZ g, v 

• (JIM MCGILLIVRAY d) A 

• (ACHIM WIELERT d) B 

• NORBERT LEHMANN d C 


(A)same (Polydor 2371 225) 1971 

(A)"Stop, Look & Listen" (Polydor 2371 274) 1972 

(B)"Outside The Law" (Billingsgate BG 1009) 1974 

NB: The sampler Handicap (Babylon 80.002) (2 LP) (1979)included 4 of the 5 tracks from their first album, the whole second album, the 

single A side "London Girl" and two previously unreleased tracks "I'm Trying" and "Changing World", presumablya lost single. 

THere are many editions of 3: A promo edition of 1,000 copies on Billingsgate with a white cover, Billingsgate inner sleeve and label 

logo in typed letters. 

The 1974 re-issue on Membran 22-131-1 used the white cover. A second re-issue on Babylon 80.001 in 1979 again used the black and 

white cover, but had no fold-out! 

British progressive heavy rock bands like Deep Purple, Black Sabbath, Uriah Keep and Led

Zeppelin inspired many young bands in Germany. The Germans usually preferred to use English 

lyrics, and several bands, like Blackwater Park, 2066 & Then and Epitaph, had British vocalists! 

Epitaph were founded in Dortmund in 1969. The first sessions for their debut album, released 

1971 on Polydor, were recorded in an Essex studio in England. For reasons unknown to me, it 

was however finished in Windrose Studios, Hamburg, where a fourth member was added to the 

group: Klaus Walz. The five resulting tracks sounded similar to the groups mentioned above, and 

particularly the earliest incarnation of Uriah Heep. Epitaph's Cliff Jackson didn't attempt to copy 

Byron's operatic vocal style, though. There were both fast rock'n'roll numbers and slow ballads 

with mellotron textures, usually in the 'heavy progressive standard song length' - from 5 to 7 

minutes. In 1972, Epitaph recorded their second album Stop, Look And Listen in Audio 

Tonstudio, Berlin. This album also contained five tracks, stylistically similar to their first 

offering. Both albums are recommended for fans of the heavy progressive genre. In early 1973, 

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). After this promising start, it seems as if the band was promised a bright future by the 

newly founded American record company Billingsgate, that they eventually signed to. The band 

invested much time and money into their third album Outside The Law (1974), and aimed at an 

international break-through. On this album, McGillivray was replaced with Achim Wielert. The 

music sounded more polished this time, as the band abandoned progressive elements for a more 

straight forward heavy rock style. Sadly all their dreams of success were brutally shattered, as 

Billingsgate soon went bankrupt and all their money was lost. Epitaph had laid out on an 

extensive (and expensive) USA promotional tour (with ex-Karthago member Norbert Lehmann 

on drums) in October 1974 - on their return they had to sell their gear to survive! Their new 

album was part of the bankrupt estate of Billingsgate, and Epitaph were forced to disband in 

1975. The band secretly reformed later the same year, but didn't record any further albums until 

1979. 

EPSILON 

Personnel: 

• MICHAEL WINZKOWSKI g, v 

• (WALTER ORTEL kb, v) A 

• JOHAN DAANSEN g, kb, v B 

• (MICHAEL ERTL b) A 

• HEINRICH MOHN b B 

• HARTMUT PFANNMULLER d 

• PETER KOCH perc B 

ALBUMS: 

(A)same (Bacillus 6494 001) 1971 

(A)"Move On" (Bacillus 19078) 1971 

(B)"Off" (Phillips 6305 216) 1974 

NB: Originals of 1 had the black and white Bacillus label and the 6494 001 catalogue number. 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, 

using the catalogue number BLPS 19070. Possibly some of these still had the 6491 001 sleeves. A second re-issue from the mid-70s 

(ca. 1977) had the catalogue number BAC 2002 and a third one (early 80's) 260-09017. 

2 followed the same pattern: 1st re-issue on Bacillus BAC 2004, 2nd Re-issue on Bacillus 260-09-012. 

Epsilon is a group well-known to most collectors of German progressive rock. They started up in 

1969 as a Nice-influenced trio. Ortel had previously played in an early incarnation of Jeronimo. 

They adopted the name Epsilon in October 1970, when Michael Winzkowski joined.

They were able to record their first album in January 1971, for the freshly established Bacillus 

label. This was an early Peter Hauke production in co-operation with engineer Dieter Clerks in 

the Dierks Studio, Stommeln. The Epsilon sound was dominated by Ortel's prominent organ 

work, often adapting themes from classical music, very much in the heavier Emerson Lake & 

Palmer tradition. Ortel and Winzkowski wrote all the tracks, except for a cover version of "Paint 

It Black". Indeed, Epsilon were the second German progressive band to record this Rolling 

Stones composition, 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", the strangely entitled opening piece, 

and "Every Day's Pain". Other parts of the album were a bit easy-going and too close to 

conventional pop rock at that time. Winzkowski's vocals were sometimes dangerously close to 

soul, but not as bad as on the Dull Knife album. In general, a good album, but Murphy Blend 

would be a better choice for those keen to listen to classical influenced, organ dominated rock. 

Epsilon's music improved considerably on their second offering Move On (1972). It was another 

Hauke & Clerks production, adding the guests Curt Cress (drums), Rainer Marz (backing vocals, 

guitar, ex-Jeronimo), Pete Bender (backing vocals, aka Wyoming) and Christian Felke (flute, ex- 

Nosferatu). Instrumentally, this album had more guitars. The nine compositions were an 

improvement on their debut, resulting in Epsilon's best album. At this stage, they could be seen 

as a German parallel to Traffic, with their soulish vocals, instrumentation of organ, guitars and 

flute and their slightly jazzy mood - just listen to the tracks "Feelings" and "Move On". 

At the time of Move On's release in December 1971, both Ortel and Ertl had already quit. Epsilon 

virtually moved on! This revamped group warmed up for the British band If, during their German 

tour of 1972. Peter Koch (ex-Jeronimo) was temporarily added as a fifth member during this 

year. Epsilon's third and last album was recorded at Europa Sound Studios in Offenbach-Bieber 

(engineered by Manfred Screier). Off, released on Phillips in 1974, proved to be their most 

straight forward album, sometimes bordering on ordinary pop rock. 1975 brought another change 

of record company, resulting in two commercially unsuccessful singles for Ariola. Epsilon 

disbanded shortly thereafter. Winzkowski adopted his artist name Michael Wynn, and formed 

Michael Wynn Band that also Daansen eventually joined. 

ERLKONIG 

ALBUM: 

same (TST 77679) 1972 

Erlkonig's album was one of the better private pressings of the early seventies. The group used 

German lyrics, but their album was mainly instrumental. It was characteristic early seventies 

'progressive' rock in every respect, featuring lots of guitars and organ. 

EROC 


same (Brain 1069) 1975 

"II" (Brain 60.007) 1976 

Grobschnitt's enigmatic drummer Joachim Ehrig shares his jokes and music with the rest of the 

world on his five solo albums. The music on his first two albums was originally part of the stage 

music for Grobschnitt's live shows in 1974 and 1975. Musically, they stand out as his best 

recordings, featuring a blendtag of spacey electronic excursions, weird sound collages and jokes.

All of it was recorded at his home studio. Eroc 3 (1979) was more a documentary of Eroc's (and 

Grobschnitt's) career, containing rare, unused tapes recorded between 1969 and 1978. The oldest 

recording was from January 1969 with the beat group Crew Blues Session: Eroc (drums), Edd 

Huber (bass), Lupo (guitar) and Wildschwein (guitar, vocals). Other old recordings, dating from 

1969 and 1970, were with the free music group succeeding Crew Blues Section, named 

Wutpickel: Eroc (drums), "Kasi" Klassen (vocals, harmonica, guitar), Edd Huber (bass), Lupo 

(guitar), Wildschwein (guitar). Otherwise, the album contained rare Grobschnitt tracks: live 

September 1971; studio out-takes from 1974 and 1976; live Autumn 1978 and some of ace's 

stage music from this tour. A very diverse album, mostly of historical interest. It's indispensable 

for Grobschnitt fans and actually featured some great music, for example the jolly 

"Wolkenreise", later the title track of an Eroc sampler. 

EULENSPYGEL 

Personnel: 

• DETLEV "KEUCHER" NOTTRODT g, v 

• MATTHIAS "TILL" THUROW g, vln 

• CORNELIUS HAUPTMANN flt 

• KARLHEINZ GROSSHANS kb, v 

• RONNIE LIBAL b 

• MULO MAULBETSCH v, harm 

• GUNTER KLINGER d 


"2" (Spiegelei 28760-7U) 1971 

"Ausschuss" (Spiegelei 28780-5U) 1972 

NB: A second issue of 1 with the offensive chicken removed came in 1972 on Spiegelei 28770-6U. No future re-releases are known. 

When it comes to outrageous German sleeve designs, it's impossible not to mention the first 

Eulenspygel album. It presents a half-burned chicken lying in a frying pan. This really disgusting 

design (by Wolfgang M. Schmidt) upset so many people that the cover was withdrawn. 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, Hamburg, July 1971, and produced by Wolfgang Schmidt and Peter Springer. It 

offered a typical German progressive blend, drawing equally from heavy rock, folk, jazz and 

classical. The six tracks were cleverly arranged, with rich instrumentation and sudden shifts of 

tempo. All lyrics, containing anti-war messages and other critical political views on different 

aspects of society, were in German. Inside the fold-out cover there was a Black Sabbath like shot 

of the band at a graveyard, burying a chicken! Since the burnt chicken sleeve had caused 

controversy, Ausschuss (1972) was issued in a plain corrugated paper sleeve! It was recorded at 

the Apple Studios, London, in April 1972 with the same production team. Musically this was 

quite similar in style to their first album, but in my ears not as good as this. Mellotron and moog 

were used as well as organ and piano. The magnum opus was the 22 minute "Abfall", which 

went through innumerable changes in mood and melody. For some reason, the band then 

disappeared from the scene.

EXCALIBUR 

Personnel: 

• WERNER ODENKIRCHEN g, v 

• HARTMUT SCHLOGENS kb, v 

• MANFRED TERSTAPPEN b 

ALBUM: 

"First" (Reprise 44163) 1971 

According to the cover of First Album, this trio was discovered by Dicky Tarrach, drummer in 

The Rattles, Propeller, Wonderland and Brave New World. 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, later member of La Dusseldorf and Neu). The 

resulting product was in many ways similar to Propeller or British band Family in their heaviest 

mood. As a whole, it is somewhat easy-going. The hard rock material (nine tracks in all) was 

lacking in both originality and catchy tunes. A single ("Get Me, If You Want" coupled with 

"Hollywood Dreams") was lifted from the album, another one ("Why Do People Cry" coupled 

with "Run Through The Past") featured original songs, possibly scheduled for a second Reprise 

album (which never appeared). Three more Excalibur songs were. included on the obscure Hells 

Angels In Rock sampler, released on Jaguar 1974: "Danger Zone", "Join The Club" and "Love 

Circle" These were the last traces of Excalibur. 

EXMAGMA 

Personnel: 

• THOMAS BALLUFF kb , tpt, voice, perc, flt 

• ANDY GOLDNER b, g, sax, perc, voice 

• FRED BRACEFUL d, perc, tpt, voice 



"Gold Ball" (Urus Disjuncta 9) (F) 1974 

A jazz-rock trio whose music was comparable to mid-seventies Soft Machine and Kraan. 

Braceful was formerly a member of the Wolfgang Dauner Band from 1970 to 1973. 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). Exmagma are only 

recommended for enthusiastic admirers of jazz-rock! 

FAITHFUL BREATH 

Personnel: 

• MANFRED VON BUTTLAR kb, Moog, g 

• HEINZ MIKUS g, v 

• HORST STABENOW b, g, v 

• JURGEN WERITZ d, perc, v 


"Fading Beauty" (Kopec AA 6963 233) 1974 

NB: 1 was re-released on CD by the American label Laser's Edge (LE-1011). 

'This is the story of each of us, the story of Autumn, of life's last faithful breath, which contains 

both the sadest and the most terrified sensation a living individuum will ever be able to feel,

efore the everlasting Winter gently turns himself to nothing.' So ran the liner notes of Fading 

Beauty (1974), melancholia very much like the track "Gravedigger" by the British group Janus. 

However, musically this was something else - an "Autumn fantasia" in two long movements. 

FANTASTIC PIKES 

ALBUM: 

"Synthesizer Sond Machine II" (Sonic 9044) ca.1972 

Fantastic Pikes were yet another of those low budget album projects with Lucifer's Friend 

musicians involved. This time they were attempting to be synthesizer wizards. This record 

proved that they flunked their apprentice examination. 

FAUST 

Personnel: 

• (RUDOLF SOSSNA g, kb) A,B 

• PETER BLEGVAD g C 

• HANS-JOACHIM IRMLER kb) A,B 

• GUNTER WUSTHOFF sax, synth) A,B 

• JEAN-HERVE PERON b) A,B 

• ULI TREPTE b C 

• (ARNULF MEIFERT d) A 

• RICHARD DIERMAYER d B,C 

ALBUMS: 

(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 

NB: 1, 2 & 4 were re-released in 1979 and 1980 by Recommended (UK) in their original sleeve designs. 

3, 4 & 5 are also available on CD. Recommended have also compiled the CD-only release 71 Minutes Of Faust. 

Many people consider Faust the most important and innovative of all early seventies German 

rock groups. 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, the group Faust saw 

the light of day in the beginning of 1971. Meifert quit in September 1971, before the recordings 

of the studio part of the first album. His replacement was Richard Diermayer. An old school hall 

near Wumme (outside Hamburg) was converted to a studio (the house engineer here was Kurt 

Graupner). For several months, the band rehearsed their innovative repertoire, which they 

performed live for the first time at Musik Halle, Hamburg, in September 1971. Parts of a 

subsequent live performance in Wumme 21 Sept, were included on Faust's debut album, edited 

down to a 20 minute track named "Miss Fortune". This was one of the first German albums 

(along with Can's Tago Mago) to use studio wizardry, like editing tapes in cut and paste 

techniques, as a form of musical expression in itself. Indeed, Holger Czukay compiled many of 

Can's album tracks in this way. The good old Beatles used a similar, but more primitive, 

technique when they made Sgt. Pepper and Frank Zappa frequently used massive studio 

manipulation on his recordings from the late sixties onwards. The revolutionary music of The

Mothers Of Invention was also a main source of inspiration for Faust. The album's first piece 

"Why Don't You Eat Carrots" opened with a weird, eerie sound collage with edits from "All You 

Need Is Love" and "Satisfaction". A spooky, manipulated organ tone then gradually increased in 

strength. A somewhat permanent rhythm is at last established (although torn apart several times). 

Truly a perverse and insane piece of music, sounding much like a speeded up soundtrack to a 

charade of Syd Barrett's favourite nightmares! "Meadow Meal" was equally strange, 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, side two contained the live recorded "Miss Fortune", almost a direct cross 

between Velvet Underground and early Pink Floyd. However, to use the term "live" is to mislead 

- the tapes were manipulated with just as much studio wizardry as the other recordings. Overall, 

the album was a true musical manifestation of post-modernism: it was undeniably a peculiar 

album, but it is also evident that all this weirdness was carefully constructed! For every strange 

effect and strange happening, Nettelbeck certainly thought: 'I'm sure everyone will find this one 

here really outrageous! Needless to say, 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, an xray 

image of a fist, printed on transparent plastic, was a full-blown use of the original idea for 

Second Hand's first album Reality. Indeed, their Death May Be Your Santa Claus displayed some 

ideas quite similar to the content of the first Faust album! In addition the insert, with liner notes 

and general information by producer and director Nettelbeck, and the vinyl itself, was clear. Even 

so, the album was hardly noticed in Germany at the time of its release, in fact it actually sold 

better in the UK! The packaging of the second album So Far (recorded March 1972) was even 

more outrageous. Enclosed were TEN inserts - one lithography each for the nine "songs" plus a 

general info sheet. The sleeve itself was plain black, as were both of the record labels! Musically, 

the album was more "together", i.e. not being much dominated by as many rapid edit changes as 

its predecessor. Still, the material was unconventional to say the, least, combining many different 

styles. Among the great triumphs were: "It's A Rainy Day, Sunshine Girl" (so go the lyrics all the 

way through, over a silly, rapid drum beat), "No, Harm" (this time featuring another repeating 

hook line) "Daddy, take the banana, tomorrow is Sunday", (a more angst ridden amphetamine 

blow out with deranged treated guitars), "So Far" (an ever repeating pseudo western beat with 

early Floyd-like, sound effects added) and "Mamie Is Blue" (dense, rhythmic nightmare noises 

recalling the atmosphere of their first album). The five shorter tracks were humorous pastiches on 

jazz, pop, etc. An improvement on their first album in my opinion. In fact, this album wasn't too 

distant from what Can did at the same time either. 

In October 1972, Faust recorded a collaboration with the American minimalist music composer

Tony Conrad. He had also been member of an early Velvet Underground formation and the group 

La Monte Young. 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, 

performed by Conrad, Diermaier, Peron and Sossna. If 60 minutes of extremely minimalistic 

music made up of repetitive sounds seem tempting, this is the album for you! However, it's hard 

to get hold of nowadays, as it never has been re-released. Expect to pay 50 DEM for a original 

copy. Faust Tapes (1973) was indeed a collection of Faust tapes from 1971 to 1973, and a return 

to the common cut and pastel techniques. The music of Faust Tapes ran continuously, a bizarre, 

but highly rewarding experience. Issued at the same price as a single, it sold so well in Britain 

that it entered the charts! However, 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. The 

group performed live in London on the day of release on 19 May 1973. 

Their last album, Faust IV, was recorded at the Manor, Oxfordshire, England in June 1973 (but 

Kurt Graupner was as usual present as engineer). Then Faust returned to Germany. The album 

marked a downward turn, but the profound "Jennifer" and "Krautrock" (12 minutes of just that!) 

again captured an inventive group in action. Disagreements about their future musical direction 

led Faust to disintegration in August 1973, but various re-incarnations, among others involving 

Uli Trepte (ex-Guru Guru) and Peter Blegvad of Slapp Happy fame, centring around Diermaier, 

performed live until Spring 1974. Then Uwe Nettelbeck found it impossible to keep the involved 

musicians together as a productive unit, and consequently withdrew from the project. This was 

the end for Faust. 

The British record company Recommended recognised Faust as true pioneers of the Rock-In- 

Opposition movement and re-released their 1st, 2nd and 4th albums (numbered as below!) in 

1979 and 1980. Some years later, some previously unreleased material cropped up on two 7 inch 

EPs. These, in addition to three alternative takes, were all collected on Last Album in 1988, 

released in 1988 numbered copies! Munich And Elsewhere (1986) was a second collection of 

great Faust tapes, both studio out-takes and live. A fine, posthumous sequel to the 1973 album. 

Ever since 1974, there have been some obscure Faust reformations from time to time, but no 

further recordings are known. 

FIEDEL MICHEL 

Personnel: 

• MARTIN HANNEMANN v, g, banjo 

• MICHAEL THAUT v, fdl, mand 

• THOMAS KAGERMANN v, fdl, 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. 

FIN-INT

Personnel: 

• EVA MARIA WESSELS v 

• MATTI KONTIO g 

• HOLGER MULLER g 

• ANDREAS SCHEER b 

ALBUM: 

same (EMI Colorit 1C062-41009) 1973 

A nice, but very little known folk group. They recorded their album in the Electrola studio, 

Cologne in October 1972. It's a collection of 14 acoustic songs. The sleeve pictured a trio, but 

four musicians were listed. Their approach was very traditional, offering mellow and relaxing 

tunes, mainly with German lyrics. Most of them were self-written. 

FLOH DE COLOGNE 

Personnel: 

• GERD WOLLSCHON kb, lyrics 

• (BRITTA BALTRUSCHAT voice) A 

• HANS-JORG "HANSI" FRANK d, kb 

• (MARKUS SCHMIDT b, v) A,B 

• VRIDOLIN ENXING kb, g, b C 

• DICK STADTLER g B,C 

• DIETER KLEMM d, b B,C 


(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 

NB: 1 is now a very rare record, to my knowledge it has never been re-pressed. The first original pressings of 2 had the infamous 

balloon attached to a cover cut-in. Further copies of the first edition had the 56.000 figure, but no cover cut-in. Later 1971-1973 

pressings gained the 556.000 figure. First proper re-issue came in 1982, also with the original Ohr label, but the 'Pop Import' address 

imprinted on sleeve. The first pressings (56.010) of 3 had dark red vinyl like cherries. The first of the later pressings with the 556.010 

figure also had dark red vynil, butthe rest of this edition had a lighter signal red colour, tending towards orange. 

This group was the most well known of the German political rock scene. Few countries had so 

many politically active bands as Germany. Floh De Cologne was originally a radical theatre 

performance group of students that performed cabarets at the universities of Cologne from 1966 

onwards. A natural target for political agitation at that time was the Vietnam War, and Vietnam 

(1968) became the title of Floh De Cologne's first album, the result of a collaboration with Dieter 

Suverkrup (recorded several political rock albums for Plane). All royalties gained were 

transferred to a foundation for helping the Vietnamese. They appeared at the Essen song festival 

in Autumn 1968. With their blend of political lyrics, (German) humour and lunacy they became 

known as the German answer to The Fugs and Mothers Of Invention. Not surprisingly they were 

signed to the number one underground label then: Ohr records. Fliessbandbabys Beat Show was 

released in the Summer 1970. It was the first of the legendary Ohr LPs. This was a somewhat 

unique rock cabaret where the group, parodied different rock styles. A highly entertaining effort 

containing much silliness and a sort of Bonzo Dog-like nostalgia, only that Floh De Cologne

were as German as the Bonzos were English! It was all produced by Julius Schittenhelm in 

Cologne during April 1970. The sleeve showed a 19 point step by step guide on how to become 

politically active. I wonder if anyone converted to Marxism on the strength of this record? 

Their next project was Profitgeier (1971), 'profit vultures', that dealt with all of the disadvantages 

of the capitalist system. The record itself was pressed on glowing red vinyl, as if the group's 

political standing point wasn't evident from the agitated texts. Also the sleeve had a special 

gimmick - guts to pull out from the wounded profit vulture' Musically this was a highly 

imaginative rock opera, including even more parodies and silliness, perhaps the closest the band 

came to The Fugs and Mothers Of Invention. The group members acted as different characters or 

proclaimed political views on the class divided society, speaking with funny or strained voices. 

This was executed at a furious tempo, making the plot difficult to understand for non-Germans. 

Anyway, this was the essence of Floh De Cologne, captured on a peerless album. If judged by 

Lucky Streik (1973), the group continued to make cabaret like live performances. It was recorded 

on 25 November, 72 in Gummersbach by Dieter Dierks. A rich repertoire was featured, but as a 

whole, the double album didn't live up to the standard of the two previous albums. Still there 

were plenty of humorous tracks to enjoy. A large poster was also included. Geier Symphonie 

(1973) again caught the band in great shape, this time merging all their previously known styles 

into an outrageous rock symphony that has to be heard to be believed! But beware, this is hardly 

easy listening! 

The folding of Ohr brought Floh De Cologne back to Plane. Their next album Mumien (1974) 

was a concept album about the then recent coup d'etat in Chile, lavishly packaged with a large 

booklet full of background information. Regrettably, the musical footage of this 'Kantate fur 

Rockband' was below par this time. However, as an audible, leftist newspaper it was excellent. 

This was their first album with Vridolin Enxing. He replaced the departing Markus Schmidt. 

Tilt! (1975) dealt with more local national problems like youth unemployment. After this album, 

the group's main lyric writer Gerd Wollschon left, and their subsequent releases were only pale 

imitations of their previous political concept triumphs. 

FLORIAN GEYER 

Personnel: 

• MANFRED WOLFF g,v 

• DIETER STIEG b 

• JURGEN GLUGE d 

ALBUM: 

"Beggar's Pride" (same) 1976 

NB: Re-issue of 1 on CD by Penner in 1993 (CD 006) with 8 bonus tracks. 

Just like Jethro Tull, Florian Geyer was an obscure historical person 'lending' his name to a 

progressive rock group centuries later. Florian Coyer were a power trio. The band was formed in 

late 1971 and played countless gigs during the seventies, mainly around their native Rheinland. 

In 1974 they released the single "Candle Of My Burial" coupled with "Monday Afternoon" in an 

edition of 500 copies. Two years later, the album Beggar's Pride followed. This was also a 

private release, pressed by Teldec in a limited edition of 1,550 copies. Unlike some other items 

of this kind, the sound quality is good. However, in my opinion Wolff's vocals are not very good, 

and this detracts from an otherwise fine album with lots of powerful guitar work. The six tracks 

have a simple, heavy rock sound comparable to Reaction and Chicken Bones.

FLUTE & VOICE 

Personnel: 

• HANS 'FLUTE' REFFERT g, flt 

• HANS 'VOICE' BRANDEIS sitar, g, v 

The music of Flute and Voice was of a tranquil and meditative character. On their only album 

Imaginations Of Light they merged the most quiet atmospheres of Incredible String Band, King 

Crimson's In The Court Of The Crimson King and traditional Indian music. The result was quite 

interesting and certainly different to the other folk artists on the Pilz label. Flute & Voice also 

appeared on the concept album Heavy Christmas (1971) with the track "Ecce Navicula". 

FRAME 

Personnel: 

• ANDY KIRNBERGER g, v, pno 

• CHERRY HOCHDARFER kb 

• PETER LUTZ b, v, perc 

• DIETER BECKER v, perc 

• WOLFGANG CLAUS d 

ALBUM: 

"Of Mind" (Bacillus BLPS 19701) 1972 

NB: An early re-issue with catalogue number BAC 2011 exists! 

Also re-issued on CD by Bacillus in 1994. 

A very talented group. Like Dschinn, My Solid Ground and Haze they were among those early 

Bacillus signings that disappeared after one promising album. Frame of Mind was recorded with 

Peter Hauke in the Dierks Studio, Stommeln (have you ever wondered how they managed to 

produce such a great bunch of albums?). Frame's sound was quite refined and lyrical - melodic 

heavy progressive rock influenced by folk and classical music. Instrumentally, it was centred 

around a confident and forceful hammond organ. In some ways their music was similar to 

Murphy Blend, but slower and more polished. 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". This very appealing album had a great psychedelic artwork and of 

course a fold-out cover. Originals are now very rare, selling for about 150 DEM in mint 

condition. Some years after the disappearance of Frame, both Cherry Hochdorfer and Wolfgang 

Claus resurfaced in the group Pell Mell, in time for their great symphonic rock album Only A 

Star (1978). 

FRANKIE DYMON Jr 

Personnel: 

• FRANK DOSTAL v 

• ACHIM REICHEL g, b 

ALBUMS: 

"Let It Out" (BASF 20 21241-6) 1971 

Subtitled "Poems In Words And Music", this may seem to be a singer-songwriter album, but I 

can assure you that it is far stranger than that. This was a kind of 'project' album led by Frank

Dostal and Achim Reichel, previously members of The Rattles, one of the most well-known 

German beat groups, and Wonderland. Reichel wrote most of the songs and produced the album 

(engineering was by a certain Konrad Plank). Most of Reichel's then backing band also took part 

in the recordings: Rolf Kohler (bass), Norbert Jacobsen (clarinet), Lemmie Lembrecht 

(percussion) and Helmut Franke (percussion). Additional musicians were Wolfgang "Zabba" 

Lindner (drums, ex-Wind), Peter Hecht (piano, from Lucifer's Friend), Elga Blask (vocals) and 

Olaf Casalich (congas). Also strings were dubbed on at certain places. Let It Out (1971) 

comprised a great variety of styles, perhaps ending up a little over-involved. Those of you who 

know the early Achim Reichel albums will know what to expect here! There were certainly many 

tracks to enjoy here, like "Aftermyth", an 11 minute track with manipulated electric guitar and 

awkward anti-war and anti-racism lyrics. Many of the tracks had very unusual arrangements. It's 

the sort of album that sounds better after several spins. The psychedelic cover art, recalling the 

Ikarus album on Plus, was also notable. In the same year, Dostal and Reichel also made another 

complex, but vastly different project album together, this time as "Wonderland Band". Dostal and 

Reichel have produced countless albums over the years. 

FRANZ K. 

Personnel: 

• MICK HANNES g 

• PETER JOSEFUS b, 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. As you might have 

guessed, their name was a shortening of Franz Kafka. The trio came together at the end of 1969. 

At first they played a kind of blues-jazz fusion, but soon moved towards rock. Their first album 

Sensemann (1972) was produced by Phillips' house producer Rainer Goltermann at Windrose 

Studios, Hamburg, from December 1971 to January 1972. The Phillips release was limited to 

2,000 copies. For some reason there was also reputedly a later private pressing of this on Ruhr 

007 of only 500 copies. 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. There were long inspired and 

loud guitar passages, sudden shifts in tempo and quite a bit of twisted musical anarchy. Rock In 

Deutsch (1973) was recorded one and a half years later and was quite a different effort. Gone was 

the garage rawness and also their political awareness had mellowed a bit. Instead there was a 

varied collection of rock songs. 

FRIEDHOF 

Personnel: 

• ERNST-ULRICH FREITAG g 

• NORBERT SCHULZ b, perc 

• RAINER BARTL d 

NB: The quantity of copipies pressed is unknown - probably 300 to 500 copies. 

Re-issued in 1993 on CD by Lost Pipe Dreams (LP 012).

Friedhof were a basic heavy progressive trio. In 1973, they recorded an album of instrumental 

jams, recalling the live improvisations of Cream. Other German bands such as Arktis, Da Capo 

and Grave had a similar garage sound, rooted in blues-rock. The sound quality of the Friedhof 

album isn't perfect, but who cares... 43 minutes of jamming with the same three instruments is a 

bit too much, so I doubt all collectors will enjoy the album, nowadays selling for 500 DEM. Go 

for it only if you dig the groups mentioned above! 

EDGAR FROESE 


"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), 

Edgar Froese has also felt the desire to record his personal music, resulting in seven solo albums 

released by Brain and Virgin between 1974 and 1983. For a run-through of his earlier career, 

please look at the Tangerine Dream entry. 

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!). The opening title track had a fascinating, gloomy underwater feel with gurgling 

water sounds merging in with the electronics. "Panorphelia" was a more abstract number, 

rhythmically driven by a moog tape loop and revealing Froese's passion at the time for the 

mellotron. "NGC 891" was, as the title implies, the most spacious work here, also the one closest 

to the contemporary Tangerine Dream style, partly due to Chris Franke's excellent moog work. 

"Upland" rounded up the album with organ and more strange sounds such as backward tapes. 

Overall, an early classic of electronic music, benefiting from the artificial head recording stereo 

system. Beware that the mixing on the German Virgin release is different to the German one on 

Brain. Epsilon In Malaysian Pale (1975) had just two long tracks. The title track was Froese's 

ultimate mellotron excursion. On the other side, "Maroubra Bay" was a moog excursion (well, 

some mellotrons appeared here as well!) with spacey improvisation over a long running 

sequencer pattern. Tangerine Dream fans usually love this album (and so do I!), but have a more 

dubious view of Macula Transfer (1976) which consisted of pieces written by Froese during 

flights. He named them after the plane he was sitting on. Virgin didn't release the album in the 

UK at all. 

FRUMPY 

Personnel: 

• CARSTEN BOHN d 

• JEAN-JAQUES KRAVETZ kb 

• KARL-HEINZ SCHOTT b 


• ERWIN KAMA kb C 

• RAINER BAUMANN g B, C 

• THOMAS KRETSCHMER g D 


(A)"All Will Be Changed" (Phillips 6305 067) 1970

(B)"2" (Phillips 6305 098) 1971 

(C)"By The Way" (Vertigo 6360 604) 1972 

(D)"Live" (2 LP) (Phillips 6623 022) 1974 

NB: 1 was re-released on CD by Repertoire (RR 4146-WZ) in 1991 including 2 bonus tracks. 

2 was re-released on CD by Repertoire (REP 4339-WP) in 1993. 

Frumpy were one of the few progressive bands to receive considerable commercial success in 

their own lifetime. The band was formed on the initiative of Carsten Bohn in November 1969. 

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. Frumpy 

performed their first concerts in France in March 1970. In August they recorded their first album 

in Hamburg (though some parts were recorded in Holland with the producer Rainer Goltermann. 

All Will Be Changed (1970) was a fine example of vintage German progressive rock. Kravetz' 

very long solo passages of spacey organ excursions and Bohn's inventive percussion work-outs 

was both impressive and innovative. 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. These songs were comparable to Traffic or Spooky Tooth. There were five tracks 

in all, if one discounts the solo sections of "Rosalie" and "Floating". Two of the short tracks were 

also issued as a single: "Life Without Pain" coupled with "Morning". 

The album had a very uncommon gimmick fold-out cover: a semi-transparent printed plastic 

exterior picturing a chameleon on the front and back. Inside, line patterns form a picture of the 

group if the plastic exterior is drawn out in the right way. Indeed the packaging of their 

wonderful second album, simply entitled 2, was spectacular: a round, six part fold-out cover 

(with portraits of all members) put in a plastic bag. The record was even pressed on multicoloured 

vinyl! Guitarist Rainer Baumann had joined in time for the recordings in 1971. The four 

tracks revealed a heavier and more mature progressive rock with classical overtones in Kravetz' 

organ (occasionally mellotron) work. Rainer 

Baumann also got his share of the limelight with his stunning blues-based guitar solos. Frumpy's 

best ever track was the closing number "Duty" (12:09) - with organ and guitar solos galore! The 

album is highly recommended. Due to musical differences Jean-Jaques Kravetz left Frumpy in 

the Spring of 1972 (and made a good solo album), but rejoined halfway through the recording of 

By The Way (1972). The other keyboard player on the album was Erwin Kama, the leader of the 

recently defunct Murphy Blend. By The Way was a more straight forward rock album, released on 

the legendary "swirl" Vertigo label and including a poster. In the Summer of 1972 Frumpy gave 

their last concerts, now with Thomas Kretschmer on guitar. A double live set was released 

posthumously in January 1973, containing a good selection of their live repertoire, but the 

technical quality was disappointing. For those of you who are keen to hear more Frumpy, there 

are two contributions ("Duty" & "Floating") on the live sampler Pop & Blues Festival '70. 

Rumpf, Kravetz and Schott formed Atlantis in 1972, a group that released several albums in a 

more mainstream style. Carsten Bohn recorded an album with Wolfgang "Zabba" Lindner (the 

drummer from Tomorrow's Gift ) and the group Dennis. 

PAUL AND LIMPE FUCHS (Anima Sound) 

Personnel: 

• PAUL FUCHS horns 

• LIMPE FUCHS perc


"Sturmischer Himmel" (Ohr OMM 56 011) 1971 

"Rock In Deutsch" (Melocord ST-LP-NB 0.027) 1972 

The 'Anima' sound was extreme for sure: a very spontaneous music, close to extreme free jazz, 

but lacking the academic approach of this genre. Paul And Limpe Fuchs' (aka Anima Sound) 

music was more primitive in a way, full of screams, goons, weird sounds and much percussion. 

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. Their very rare second album contained two 

further improvised cuts. The duo was later joined by Friedrich Gulda and J.A. Rettenbacher for 

the group Anima, to record an album for Pilz in 1972. 

GAA 

Personnel: 

• WERNER JUNGMANN v, perc 

• WERNER FREY g, v 

• GUNTER LACKES kb, v 

• PETER BELL b, flt, v 

• STEFAN DORR d, v 

ALBUM: 

"Auf Dem Bahn Zum Uranus" (Kerston 65014) 1974 

NB: Re-released on CD by Ohrwaschl in 1992. 

I've seen originals of Auf Dem Bahn Zum Uranus sell for 1,000 DEM or more nowadays, making 

it one of the most hunted and expensive "monsters" of German progressive rock (along with 

Necronomicon, Grave, Mammut and Kaputter Hamster). If you find that asking price ridiculous, 

be aware that a limited edition CD (dubbed from disc) is available which most of you could 

afford. Gaa (an ancient Greek name for the earth) were a group from Soarland in the Southwestern 

part of Germany. On their album they play a nice heavy symphonic space rock was 

presented, like a cross between Wallenstein and Necronomicon. Like the latter, Gaa were brave 

enough to use the German language - to great success! There were six tracks in all, giving tune 

for the progressive developments we all love (don't we?). Best of all was the opening track 

"Uranus", which twice builds up from silence to a furious, acid-ridden guitar crescendo with 

cosmic sound effects. Also the closing track "Gaa" was very favourable. Regrettably this released 

was largely ignored in 1974, causing the band to split. Only about 300 copies were sold and the 

remaining copies were trashed! Since then the demand for their album has increased. 

Recommended. 

GASH 

Personnel: 

• JOCHEN PETERS kb, v 

• FRANK FELDHUSEN g 

• MANFRED THIERS b 

• REINHARD SCIEMANN d 

ALBUM: 

"A Young Man's" (Brain 1014) 1972 

Gash were a short-lived group, responsible for a sole album that tends to be hyped up these days. 

They were a quartet from Bremen, helped by Peter Hecht (orchestral arrangements), Bernd E.

Schulz and Dicky Tarrach (all other arrangements). The latter two were previously members of 

the beat group The Rattles and produced the album in Windrose Studio, Hamburg, between April 

and June 1972, engineered by Konrad Plank. The nice fold-out cover with a drawing of a dove 

promised much, but musically the tendency was in the style of slow and laid back rock, lacking 

enthusiasm, not really progressive at all! Peters' vocals were hoarse and soar, recalling Joe 

Cocker. The album had four tracks in all, the title track, covering the whole of side two, was the 

highlight. 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. Jochen Peters 

joined a late incarnation of the straight rock band Rattles and then adapted the name Ludi 

LaFayette and formed Wolfsmond. 

GERMAN OAK 

Personnel: 

• FRANZ 

• HARRY 

• ULLI 

• MANNI 

• NOBBY 

ALBUM: 

same (Bunker 1-72) 1972 

The purpose of the album was to recreate the feelings experienced by the German soldiers, 

during the invasion of Germany in 1944. Logically the recordings were done deep down in a 

bunker. "As we played down there in the old bunker, suddenly a strange atmosphere began to 

mork. The ghost of the past whispered. There had been fear, desparation but also hope. Maybe 

you will feel such impressions to, by listening carefully." (from the cover text, in their spelling!). 

The acoustic conditions made the music sound distant and filled with echo. Musically it 

consisted of rambling long spacious guitar jams. Apparently this was a guitar, bass and drums 

trio joined by extra percussion and guitar for two of the four tracks. The sleeve only stated then 

forenames. I don't find this album specially interesting, as the sound lacks clarity and the musical 

material isn't particularly inventive. Apparently this limited edition album wasn't released until 

the early eighties, though it's still hard to find and expensive. 

GIFT 

Personnel: 

• UWE PATZKE b, v 

• (HELMUT TREICHEL v) B 

• DIETER ATTERER g, v C 

• RAINER BAUR g 

• (NICK WOODLAND g) A 

• HERMANN LANZE d 

ALBUMS: 

(B)same (Telefunken SLE 14680) 1972 

(C)"Blue Apple" (Nova SDL 8002) 1974 

NB: Re-issue of 1 on Second Battle in 1990. 

Re-issue of 2 on Germanophon in 1994. 

Gift were one of those "no compromise" heavy progressive bands, who've now achieved a

considerable cult status. They started up in 1969 as the school band Phallus Dei. Three years later 

they recorded the first Gift album at Union Studios in Munich, produced by Otto B. Hartmann. 

Nick Woodland was listed on the sleeve of their first album, but he had quit Gift before the 

recording session began to join Subject Esq., later Sahara. The album comprised eight songs with 

no flutes, no woodwinds and no keyboards, just plain hard guitar riffs, to be compared to Hairy 

Chapter. Some of the lyrics had clear anti-drugs messages. Recently (1990) Second Battle reissued 

this album in its original cover. 

Helmut Treichel left in 1973 and was replaced with Dieter Atterer. Blue Apple (1974) was also 

basically a heavy guitar album, but also featured keyboards courtesy of Dieter Frei (organ, piano, 

moog, mellotron, vocals). The album was recorded in Hamburg at Teldec Studios with Hartmann 

and Thomas Kukuck engineering. Both Gift albums are fine examples of German heavy 

progressive rock. Originals of their first album sell for more than 200 DEM, Blue Apple sells for 

about 150 DEM. 

GILA 

Personnel: 

• CONNY VEIT g 

• (FRITZ SCHEILING kb) A 

• FLORIAN FRICKE kb, pno B 

• (WALTER WIEDERKEHR b) A 

• (DANIEL ALLUNO d, perc) A 

• DANIEL FICHELSCHER d, b B 

• SABINE MERBACH v B 

ALBUMS: 

(A)same (BASF 20 21110-9) 1971 

(B)"Bury My Heart At Wounded Knee" (Warner K46234) 1973 

1 included a poster! A New Zealand release on BASF is also known! Re-released on CD by Second Battle. 

2 has been re-released ca. 1981 (featuring the Warner logo on a cream coloured background). All issues include a lyric insert. 

'Unnachgiebiges aggressiv bekampfen, 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, and was busy 

working with different media using film, slide show, poems and music. Their highly ambitious 

first album appeared August 1971, recorded by Dieter Dierks during a week's intensive work that 

Summer. The concept of the album was to reflect the group's (self-declared) progression from 

aggression to communication during their two-year lifetime. The continuous music was mainly 

instrumental, dominated by the leader Conny Veit's excellent and imaginative guitar play. They 

created a Floyd-like space rock bursting into heavy climaxes. In addition the album had a most 

beautiful psychedelic painting on its fold-out cover. This is one of the best German albums of all 

time! Some months later, the group regrettably disbanded and Veit became a member of Popol 

Vuh. A new aspect of his guitar abilities was heard on Hosianna Mantra, adopting an almost 

meditative style. Popol Vuh was (almost) exclusively a studio project, so Conny Veit felt the 

desire for a live outfit. For this reason Conny Veit put new life into Gila. The Bury My Heart At 

Wounded Knee album (recorded at Dierks Studio, Stommeln 1973) was almost a Popol Vuh 

album, except that Conny Veit's compositions replaced Florian Fricke's. This was a concept 

album, dealing with one of the last and worst massacres of native Americans. The acid touches of 

the first album were now replaced by a pleasant folky and more acoustic mood, characterised by 

12 string guitars, grand piano and Fichelscher's special drum style. "This Morning" and "In A

Sacred Manner" were songs of celestial beauty with dreamy vocal harmonies and lush 

arrangements. The album's conclusion "The Buffalo Are Coming" was a more dramatic piece 

with its thundering percussion. This is another essential album! When Gila's activities came to a 

halt in 1974, Conny Veit joined Guru Guru for a short while. 

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. The sessions 

for this concept album in late 1972 were arguably the start of all the Cosmic Jokers-related 

sessions between 1973 and 1974. It brought Wallenstein together with Klaus Schulze and 

Witthuser & Westrupp. 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), electronic spacious effects (Klaus Schulze) and traces of cosmic folk (Witthuser & 

Westrupp). Add that to the talents of a certain Jorg Mierke and the mostly spoken, mysterious 

lyrics of Golowin, you've got the album in a nutshell. Not as trippy as Seven Up, but certainly out 

on a limb, featuring three continuously running tracks likely to shuttle you into far distant realms 

of space...! Of course this record is a necessity for Ash Ra Tempel, Cosmic Jokers, Schulze and 

Wallenstein fans (and I figure there ain't a few!). Fans are also in need of his album's logical 

successor: Walter Wegmuller's large scale opus Tarot, featuring most of the musicians above and 

more. The next logical step was to be the Cosmic Joker sessions. 

GOMMORAH 

Personnel: 

• AD OCHEL g, v 

• ALI CLAUDI g 

• EBERHARD KRIETSCH b, pno, kb, vibes, v 

• HELMUT POHL d, flt, vibes, v 

• PETER OTTEN v B 

ALBUMS: 

(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 

NB: The fold-out covers of 1 & 2 are almost identical. 2 had the word 'Trauma' pasted on a vacant space on the front. Also the picture 

of new member Peter Otten was pasted in-between the four others. Apart from this, the text lay put is identical. 

2 was also re-ssued on CD by Second Battle in 1993 featuring 1 bonus track. 

A group that gradually have acquired legendary status over the last twenty years, at least among 

the dedicated progressive connoisseurs. The group formed as a quartet in the late sixties. They 

were brave enough to write German lyrics for their early material, as found on their debut on the 

Cornet label in 1970. 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). Even if produced by Konrad 

Plank (present on all three albums), the sound is a bit thin and weary. Nevertheless, it is a 

charming historical document of the development in German rock, containing eight short tracks 

and the 8 minute "Trauma", all characterised by heavy psych guitar work and layered with sound 

effects. Trauma (1971) was actually a re-recording of the same material, now with English lyrics 

and more progressive arrangements. A fifth member had been added: Peter Otten. The title track

had grown to 13 minutes long and been completely changed into a heavy psychedelic space rock 

experience! Buy both and compare, you'll hear the tremendous development. The album is 

recommendable on the musical strength of the title track alone. The rest of the material was still 

quite average. If Trauma at least in part was a great album, I Turned To See Whose Voice It Was 

(1972), drew from its best moments, resulting in a full blown heavy guitar freak out verging on 

space rock. It contained six tracks of a distinctly German character. Sadly it is one of the rarest 

Brain albums, never re-issued after the initial release in 1972, resulting in a purchase price of 150 

to 200 DEM in mint condition nowadays. The two first albums fetch equally large amounts. 

GRAVE 

Personnel: 

• WOLFGANG KIESLER g 

• LUTZ WOWERAT g, v 

• GUNTER WENDEHAKE b 

• KLAUS MORITZ d 

ALBUM: 

"1" (private) 1975 

NB: Also Re-issued on CD by Penner in 1993. 

Another one of those sacred "heavy progressive" legends! Grave were a band of teenagers that 

formed in a Brinkum (near Bremen) basement in 1975. With a primitive tape recorder, six tracks 

were recorded live in the studio (Summer 1975) and released as Grave I in a limited edition of 

100 copies. This was plain, straight forward and simple garage rock, like the fast competent 

rehearsals from your neighbourhood teenage combo. I cannot understand why this has become 

such a hunted collector's item, and that people are prepared to pay 1,000 DEM for it! But of 

course, other people have different opinions. 

GROBSCHNITT 

Personnel: 

• STEFAN "WILDSCHWEIN" DANELIAK v, g 

• JOACHIM "EROC" EHRIG d, v 

• GERD OTTO "LUPO" KUHN g, v 

• VOLKER "MIST" KAHR kb B 

• HERMANN "QUICKSILVER" QUETTING kb A 

• BERNHARD "BAR" UHLEMANN b, flt, perc A,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, 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. Their history can be traced back as far as 1966 to a band named 

Crew, of which Stefan "Wildschwein" Daneliak, Joachim "Eroc" Ehrig and Gerd Otto "Lupo" 

Kuhn were members. Some recordings from this time are featured on Eroc's third solo album. 

With additional members Axel "Felix" Harlos, Bernhard "Bar" Uhlemann and Hermann

"Quicksilver" Quetting they christened themselves Grobschnitt in early 1970. Their self-titled 

first album was recorded at Windrose studios, Hamburg, with Frank Mille (producer) and Konrad 

Plank (engineer) and released on Metronome's Brain label in the middle of 1972. The four tracks 

were typical progressive rock with complex arrangements, drawing some influences from 

classical music. Eroc's ethereal electronic effects and the crazy humour revealed in places gave 

them some distinction. The long instrumental sections were dominated by Lupo's varied guitar 

play. Neither critics nor buyers found this album very tempting at the time. Nevertheless, it's now 

a highly regarded album with memorable tracks such as "Wonderful Music" (3:03) and 

"Symphony" (13:44). Looking back, it is perhaps overshadowed by their later albums. 

Harlos and Quetting quit the group in the Summer of 1972 (Uhlemann also quit for a while). 

Quetting re-surfaced as the keyboard player of Blonker in 1979. After some months of 

contemplating their future, Grobschnitt decided to continue. Their new strategies were planned 

during 1972 and 1973: a totally unbelievable blend of rock show, theatre and pantomime with 

tasteless costumes, gags, wit, weird make up and general lunacy with even their roadies 

appearing as actors on the scene. Grobschnitt created a flying circus, and its' orchestra was 

expanded by the inclusion of Volker "Mist" Kahr. Early in 1974 the stage music of the show 

made it to vinyl, on the double album Ballermann. The album starts with the extremely silly 

"Sahara" sung by Eroc. Much better were "Drummer's Dream" and "Morning Song", which 

indicated their future direction. Half the album was taken up by the 33 1/2 minute composition 

"Solar-Music". This consisted of spaced out instrumental passages dominated by synthesizers 

and guitars. After Ballermann, Uhlemann left again. Their new bassist was Wolfgang "Popo" 

Jager. The next album Jumbo (1975) showed a clear debt to Genesis. The best track was the 

opening cut "The Exercussion of Mr. Smith". Due to their busy live schedule, a version of 

Jumbo with German lyrics appeared in 1976 to shorten the waiting time for the next album. 

GURU GURU 

Personnel: 

• MANI NEUMEIER d,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, g, 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, We'll Call You" (Atlantic 50022) 1973

(F)"Dance Of The Flames" (Atlantic K50044) 1974 

(-)"Mani Und Seine Freunde" (Atlantic K50157) 1975 

(H)"Tango Fango" (Brain 1089) 1976 

NB: There is a LP Hot On Spot/Inbetween credited to Guru Guru/U. Trepte (TTE 002) (CD only, 1988). The 1st part was recorded live 

in 1972, the 2nd part was sessions with R. Bunka, Ch. Burchard, C. Bohn, W. Pape & Rosi Rosi (?) recorded July 1974. 

One of the earliest and most legendary of German groups was Guru Guru, led by the outstanding, 

colourful Mani Neumeier, who was born on 31 December 1940 in Munich. Up to 1967 Neumeier 

and Uli Trepte were members of the free jazz combo Irene Schweitzer Trio. The Guru Guru 

Groove came to life in 1968 with Neumeier, Trepte and Hans Sachs, debuting at the 'Holy Hill 

Festival', Heidelberg, in August. On 29 September they performed at the Internationale Song 

Tage in Essen. This must have been something completely outrageous: Neumeier and Trepte 

performing improvised free jazz against which Sachs read texts. In the Spring of 1969 Sachs left 

and the name was shortened to Guru Guru. Several guitarists joined and quit (the longest lasting 

was Jim Kennedy) before Ax Genrich became a permanent member in April 1970. He had 

previously played with the Berlin group Agitation Free. In June this trio recorded UFO with 

Julius Schittenhelm. This utterly tripped out album featured notorious titles such as "Stone In" 

and "Der LSD Marsch", hinting at some possible sources of their inspiration. The music was 

thunderous, heavy psychedelic space rock, often bordering on pure mayhem. As in the case of 

early Ash Ra Tempel, this was a power trio dedicated to endless, improvised space excursions, 

like a continuation of Pink Floyd's "Interstellar Overdrive" or Hendrix' "ESP" As you'll guess, 

this was pretty powerful stuff that could had been a soundtrack celebrating the arrival of UFOs! 

Their next work, Hinten (recorded in July 1971 at Star Studios with Konrad Plank), was basically 

more of the same kind, though calmer and with some signs of structure evident. This time 

Neumeier also sang some nonsensical lyrics for our general pleasure. The opening track "Electric 

Junk" is a typical example of Guru Guru's early music: it started as a loud Hendrix rocker, 

continued with spoken lyrics to a backing of percussion and noises, then a Cream-styled 

instrumental part, followed by a floating space rock passage with strange mumbling and ending 

in a Hendrix-esque frenzy. Kan Guru (1972) was a further development on their freaky jamming 

style, with the shortest back "Oxymoron" clocking in at almost 11 minutes. For many people, this 

album was Guru Guru's finest achievement. 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), Guru Guru 

was a fascinating, if somewhat undisciplined, live act. After this, Uli Trepte left the group for 

solo sessions, Tomorrow's Gift , Faust, Kickbit Information and at last his own group Spacebox. 

He was replaced with Bruno Schaab, previously of the hard rock group Night Sun. Guru Guru's 

fourth album (1973) proved to be their most patchy to date. After three albums of brilliant space 

rock the time was ripe for something new, but apparently the group didn't know exactly what!. 

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", a silly number 

soon to be their favourite live number, where Neumeier, jumped around in a frenzied war dance 

dressed as a red Indian, and "The Story Of Life", a spacey and dreamy track sung by Bruno 

Schaab and including a great instrumental fusion sequence! 

In July 1973, Bruno Schaab was replaced with Hans Hartmann. The next month the trio of 

Neumeier, Genrich and Hartmann recorded their first album for Atlantic. Regrettably , none of 

the Atlantic albums were up to the previous standard. Although Don't Call Us, We'll Call You 

(1973) was a more consistent album than Guru Guru, it contained fewer highlights. It was a more 

accessible attempt at jazz-rock. At the end of the year Ax Genrich quit and was replaced by

Houschang Nejadepour, previously the guitarist of Eiliff. Dance Of The Flames (1974) proved 

that this particular combination wasn't very good, and Najadepour left again in July. For the rest 

of the year Conny Veit played guitar, before Guru Guru split. From November 1974 to June 

1975, Neumeier played various studio sessions in Conny's studio together with Helmut Hattler 

(bass, from Kraan), Jan Fride (drums, percussion, from Kraan), Dieter Moebius (synthesizer), 

Hans-Joachim Roedelius (organ, both from Cluster & Harmonia), Ingo Bischof (keyboards), 

Tommy Goldschmitt (percussion, both from Karthago), Sepp Jandrisits (guitar), Jargen 'Jogi' 

Karpenkiel (bass, ex-Kollektiv), Ax Genrich (guitar) and Gerd Dudeck (sax, flute). These 

sessions resulted in several albums: the Highdelberg album, Harmonia's De Luxe (recorded in 

Forst) and the new Guru Guru album: Mani Und Seine Freunde. This brought further examples 

of Neumeier's peculiar humour in "Chicken Rock" and "Woodpecker's Dream". As this album 

was a collaboration between musicians from Karthago, Kraan and Guru Guru, the music became 

a conglomerate of those jazz-rock styles. 

Mani Neumeier collaborated with his new friends frequently in the future and managed to 

assemble a new, (reasonably) stable Guru Guru live crew with Jandrisits, Karpenkiel and Roland 

Schaeffer (ex-Brainstorm). This incarnation's first album Tango Fango (1976) was full of bossa 

nova, tango, verbal silliness and instrumental jazz-rock - actually the most consistent Guru Guru 

album for quite a while. 

HABOOB 

Personnel: 

• JIMI JACKSON kb 

• WILLIAM D. POWELL g, v 

• GEORGE GREEN d, v 

ALBUM: 

same (Reprise REP 34002) 1971 

Behind this mysterious name (which means 'desert winds') was none other than the black 

American organist Jimi Jackson, best known for his distinctive choir organ on albums by Amon 

Duul II, Embryo and Doldinger's Passport . After a project with Lothar Meid in 1970 named 

Tambarin lead to nothing, Jackson formed Haboob in 1971. Their album was recorded at Bavaria 

Studios, Munich, with Olaf Kubler (producer) and Peter Kramper (engineer). It looked like a lost 

Amon Duul album with its psychedelic sleeve, designed by Folk-U. Rogner. Tracks like "Israfil" 

sounded like them too, with a dense atmosphere of gurgling, manipulated vocals and keyboards. 

There were also a couple of blues , soul and jazz-rock numbers. 

HAIRY CHAPTER 

Personnel: 

• HARRY TITLBACH g 

• HARRY UNTO v 

• RUDOLF OLDENBURG b 

• (RUDI HAUBOLD d) A 

• WERNER FAUS d B 

ALBUMS: 

(A)"Eyes" (OPP 5) 1970 

(B)"Can't Get Through" (Bacillus 6494 002) 1971

NB: Reissues of 3 in 1972 on Bacillus BLPS 19074 

This was a "no compromise hard rockin' quartet" from Bonn. Under the name 'Electric Sounds 

For Dancing' they released an obscure album (Maritim, 1969) rumoured to include early versions 

of songs later appearing on the first Hairy Chapter album. Eyes was released in 1970 on the little 

OPP label. It contained nine short, raw hard rock numbers, comparable to the early Hendrix, but 

even heavier! The production was very rough, 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, but had improved both musically and technically, aided by the magic fingers of Dieter 

Dierks. The new drum player on this album was Werner Faus. The instrumental passages (that 

means uninhibited guitar debauchery) were longer, as typified by the 11 minutes long title track. 

This was one of the first releases on Bacillus, and is quite valuable (DEM 300) these days, ...but 

this was the last that was heard from the Hairy Chapter! 

HAMARTA 

ALBUM: 

"Rockatorium" (Young 2000) ca.1972 

Just as the British group Out Of Darkness this was a Christian progressive rock project. 

Rockatorium featured silly lyrics in German, but also some great guitar parts. Not recommended, 

however! 

PETER-MICHAEL HAMEL 


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, organ, electronics) was born in Munich in 1947. From 1965-1970 

he studied composition under Fritz Buchtger and Gunther Bialas in his home city. During this 

period he played free jazz, South American folk music and experimental electronics. In 1970 he 

founded Between with the Argentinean Roberto Detree and the American Robert Eliscu. In 1972 

he guested on Agitation Free's first album, adding his peculiar hammond organ style. His interest 

in Eastern music and meditation resulted in several travels to Asia. His first four albums are also 

very influenced by such elements. Hamel (1972) was a double album, setting standards for all the 

albums to come: long, meditative and floating tracks in a minimalist tradition. Some tracks were 

performed live without overdubs. It had fantastic, colourful, sleeve artwork. Both this and Voice 

Of Silence were released on the legendary swirl Vertigo label. Hamel performed vocals in a 

special Indian vocal technique (named khyal) on Voice Of Silence and Buddhist Meditation East- 

West (1975) 

HANUMAN 

Personnel: 

• PETER EARTH v, sax, flt 

• RALF SCHULTZE g, v

• JORG HAHNFELD b 

• THOMAS HOLM d 

ALBUM: 

same (Kuckuck 2375 012) 1972 

They made one album under this name before renaming themselves Lied Des Teufels. Look at 

this entry for more information. 

HARDCAKE SPECIAL 

Personnel: 

• JOCHEN LEUSCHNER g 

• REINHARD BOPP g, v 

• ANDY KIRNBERGER g, kb 

• RON SCHEEPMAKER kb 

• GUNTER BOPP b 

• HANS HARBRECHT d 

ALBUM: 

same (Brain 1060) 1974 

A little known group. They made a completely uninteresting pop-rock album in a pseudo- 

American style for Brain in 1974, probably the worst album of all on the Brain 1,000 series. The 

Bopp brothers and Harbrecht had previously played along with Ulli Gunther (vocals) in The New 

Lords, a successor to the sixties beat band The Lords. 

HARLIS 

Personnel: 

• CHARLY MAUCHER v, b 

• WOLFGANG KRANTZ g 

• ARNDT SCHULZ g 

• WERNER LOHR d 


same (Sky 001) 1976 

Charly Maucher was a co-founder of Jane, one of the most successful German heavy rock bands 

in the seventies. In spite of their increasing popularity, he decided to leave Jane in 1974 with 

Wolfgang Krantz to form the group Harlis. Their first album also became the first release on Sky. 

It was produced by Konrad Plank and Sky manager Gunter Korber at Conny's studio, 

Neunkirchen. The music was similar to Jane, but more mainstream heavy rock'n'roll and straight 

rock styled, with less instrumental work. 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. It is a quiet, soft and 

classically-influenced album recorded live. The material was written by the group, except for the 

inclusion of two short Handel compositions. There was massive use of flute, but no heavy guitar 

passages. Some of the tracks, like "A Second Time", are quite good, if a bit light-weight. An

interesting album with an uncommon musical style for the era. 

HAZE 

Personnel: 

• DIETMAR LOW b 

• HEINZ SCHWAB g 

• HANS-JURG FREI kb, g 

• CHRISTIAN SCHERLER v 

• KURT FREI d 

ALBUM: 

"Hazecolor-Dia" (Bacillus 6494 007) 1971 

NB: Re-issued in 1972 on Bacillus BLPS 19075, some still with the 6494 series number on the sleeve 

The single album released by Haze had another of those extraordinary artwork sleeves designed 

by Walter Seyffer of Nine Days' Wonderfame. 

It was made to look exactly like a slide picture, 

complete with frame and a transparent picture of the group Haze. Hazecolor-Dia was a Hauke & 

Dierks production, recorded during April 1971 at the Clerks Studio. All five tracks were written 

by Dietmar Low. Slow, cleverly-arranged heavy progressive numbers with a faint blues tinge, 

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), adding much to their gutsy freak rock style. Several tracks also featured flute (the flute 

player is not identified on the cover). Haze were probably inspired by The Edgar Broughton 

Band, Arthur Brown and Captain Beefheart. Their album is recommended for all freak rock fans! 

SONNY HENNIG 

ALBUM: 

"Tranengas" (Kuckuck 2375 008) 1971 

Sonny Hennig (vocals, keyboards) was the leader of Ihre Kinder between 1968 and 1971. In the 

summer of 1971 he left this group to realize his solo ambitions. Tranengas was recorded the 

same year. Musically this wasn't dissimilar to Ihre Kinder, but a bit more acoustic and folky. 

Kenning pretended to be a protest singer and wrote political lyrics. A poster was enclosed with a 

bizarre collage by Ernst Schultz. In January 1972 Hennig assembled a new Ihre Kinder line-up 

for Anfang Ohne Ende. 

HOLDERLIN/HOELDERLIN (2 LP-) 

Personnel: 

• CHRISTIAN GRUMBKOW g 

• JOCHEN GRUMBKOW cello, flt, g, kb 

• (NANNY DE RUIG v) A 

• CHRISTOPH "NOPS" NOPPENEY vln, vla, pno, flt 

• (PETER "KASSIM" KASEBERG b, v) A,B 

• (JOACHIM KASEBERG g) B 

• HANS BAAR b, g C 

• MICHAEL BRUCHMANN d 


(A)"Holderlin's Traum" (Pilz 20 21314-5) 1972

(B)same (Spiegelei 26511-5 U) 1975 

(C)"Clowns & Clouds" (Spiegelei 26511-5 U) 1976 

1 was re-released in 1981 in original fold-out cover on the 'Pop Import'-series. 1st re-issues of 2 & 3 had new catalogue numbers: INT 

160.601 & INT 160.607. 

Holderlin established themselves in the mid-seventies as the leading German folk-rock band, in 

close competition with Ougenweide. The group came together in December 1970. When Rolf- 

Ulrich Kaiser took over the management of the Pilz label in late 1971 he wanted to transform it 

into a progressive folk label, and Holderlin gained the opportunity to record their debut album 

Holderlin's Traum in January 1972 in the Dierks Studio. This collection of seven songs captured 

the sextet in excellent shape, resulting in an all-time classic album. Several members had a 

classical music education, which was evident in the refined and complex arrangement. Together 

they handled 15 different instruments! Even so, three guests were featured: Peter Bursch (sitar, 

from Broselmaschine), Mike Hellbach (tablas, also from Broselmaschine) and Walter Westrupp 

(recorder). As the title hinted, the music had a dreamy, sometimes psychedelic atmosphere. 

Dieter Dierks developed this particular style further on the second Emtidi album. The more folky 

driving force came from bands like Incredible String Band and more particularly Fairport 

Convention and Pentangle, who also featured beautiful female singers. Holderlin's further 

recording career was somewhat delayed by the demise of Pilz and Ohr in 1973. It seems as 

though the group weren't allowed to sign for another company before late 1974, when a contract 

with Intercord Spiegelel was secured. With Konrad Plank, they recorded their second album in 

February 1975. Nanny de Ruig had by now left the band. The vocals were now shared between 

Joachim Grumbkow and Christoph Noppeney. A second guitarist had also been added (Joachim 

Kaseberg, brother of Peter). Musically this was another great album. Their progressive folk-rock 

had gained some influences from the lyrical, vintage Genesis. Guests were Zeus B. Held (sax) of 

Birth Control and Norbert Jacobsen (clarinet) of Release Music Orchestra. The main work of the 

album was the 17 minute suite "Deathwatchbeetle". Clowns And Clouds, recorded during January 

1976, continued the development towards lyrical progressive rock. The keyboard work, handled 

by J. Grumbkow, was now more dominant with a considerable use of electric piano and string 

synthesizers. Apparently it was a strange type of concept album with a 'clown' side and a 'cloud' 

side. The latter was the best one, offering mostly instrumental work in two long songs. The 

Kaseberg's had both quit Holderlin by this time, with Joachim taking care of the live sound. Hans 

Baar became their new bassist and guitarist. 

IBLISS 

Personnel: 

• RAINER BUECHEL sax, flt 

• WOLFGANG BUELLMEYER g, perc 

• BASIL HAMMOUDI flt, v 

• NORBERT BUELLMEYER b, perc 

• ANDREAS HOMANN d 

ALBUM: 

"Supernova" (Spiegelei 5U 28501) 1972 

Yet another one of those jazz-rock progressive acts hearing a distinct German flavour. The band 

really had a passion for percussion. "Margah", the opening track on Supernova, sounds like some 

African tribal ritual. "Drops" was a more common fusion piece (still much percussion!), 14 

minutes of instrumental work with soprano sax to the lore. "High Life" was a 13 minute 

showcase for flute (sounds more like a recorder to me). "Athir" was arguably the best track, more

floating and relaxing music with soprano sax and guitar. The album was recorded at Windrose 

studios (April- May 1972) with Konrad Plank. A general impression of the album is that the four 

tracks are a bit monotonous, not changing very much from start to finish. The same bass riff just 

goes on and on. There are plenty of better progressive fusion albums, in my humble opinion. 

Supernova was an early Spiegelei release that could be hard to acquire today. For years it was 

disregarded and/or unknown among progressive fans, but lately the demand is getting stronger. 

Perhaps it is of interest for Kraftwerk collectors as Basil Hammoudi previously played in the pre- 

Kraftwerk group Organisation (also on the Tone Float-album). 

ID COMPANY 

Personnel: 


• DAGMAR KRAUSE v 

ALBUM: 

same (Hor Zu SHZE 801) 1970 

This was a short-lived duo of Inga Rumpf and Dagmar Krause, previously members of the Irish- 

German folk group City Preachers. On their one-sided album an Eastern-influenced, jazzy folk 

music was offered. This curiosity is extremely rare nowadays. 

IHRE KINDER 

Personnel: 

• SONNY HENNIG v A-D,F,G 

• (MUCK GROH g) A-E 

• (WOLF STUMM g) F 

• ULLI GRUN g G 

• (GEORGIE MEYER flt, v) A-E 

• ERNST SCHULTZ g, flt, v C-E,G 

• (KARL MACK b) A 

• (WALTI SCHNEIDER b) B,C,F 

• (TOMMI ROEDER b, sax, v) D-F 

• (JONAS PORST d) A 

• (PETER SCHMIDT d) B-E 

• (GUNTER STORCH d) F 

• HEINZ HOFF d G 


(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 

NB: 1 was re-released in 1976 on Erlkonig ERL 2003 & in 1978 on Erlkonig INT 148.402 

2,3 & 4 were re-released in 1980 with the first four figures of the catalogue number missing. 

German & English version of 2 are both available on one CD (re-issued by Ohrwaschl in 1991).

Nuremberg's most valuable contribution to the polit rock scene was the group Ihre Kinder. In the 

mid-sixties the pop band Jonah & The Whales was assembled, consisting of Jonas Porst (drums), 

Sonny Hennig (vocals), Thommy Roder (bass), Ernst Schultz (guitar) and Georgie Meyer 

(violin). In 1966 they recorded a cover version of "It Ain't Me Babe" for a single on Vogue (DVS 

14511). This proved to be an ill-fated one-off attempt, and the group disbanded. However, in 

1968 Jonas Porst and Sonny Hennig decided to form a new group. Ihre Kinder was to be a 

politically aware band using German lyrics. Porst's dad was a quite rich man, able to support the 

forthcoming activities. Porst himself soon gave up the drumming and became Ihre Kinder's 

producer and manager. Several demo tapes were recorded but no record companies were 

interested. In July-August 1969 an album was recorded in the Clerks Studio at the band's own 

risk; and was eventually released by Phillips. Mack had now been replaced with Walti Schneider. 

A female vocalist, Judith Brigger, also took part in this project. The album admittedly sounds 

quite dated today, featuring 12 short and easy-going folk-pop songs. Still it must be honoured as 

it is one of the first records (of Deutschrock!) with German lyrics. 

Leere Hande (1970) was a great improvement, their first true folk-rock album. The arrangements 

here were more varied with more use of organ, flute and electric guitars. The band had also 

absorbed some progressive touches from groups like Traffic and Jethro Tull. The 11 songs 

themselves were more memorable than those on the previous album. Some of them were written 

by Ernst Schultz, now added as Ihre Kinder's sixth member, the rest came from Sonny Hennig. 

Leere Hande was recorded during January and February 1970 in Union Studio, Munich, with 

Thomas Klemt engineering. It was the first release on the Kuckuck label, generously enclosing a 

lyrics insert and a large poster. 

2375 004 went even a step further, as it was released in a denim jeans cover, even featuring 

washing instructions! It was recorded at the same venue as its predecessor in August 1970. 

Tommi Roeder had now replaced Walti Schneider. This album, entitled after its own catalogue 

number, was a further development towards varied progressive folk-rock and some would say 

that it is their best one musically. Some of the compositions of Ernst Schultz were even slightly 

experimental ("Toter Soldat"). In 1971 Ihre Kinder released their first single: "Die Graue Stadt" 

coupled with "Komm Zu Dir". After this, Sonny Hennig quit the group to realize his solo 

ambitions. Ernst Schultz broke with the management and took over the leadership of Ihre Kinder. 

Hennig contributed as guest on Werdohl, named after a small German town in Sauerland. The 

group now produced themselves, in Bavaria Studio (July-Sept. 1971). The technical quality had 

improved, but musically the band had passed their creative zenith. In Autumn 1971 Schultz set 

off to record his first solo album, resulting in the end for Ihre Kinder. In January 1972 Sonny 

Hennig put the band into new life. (F) line-up recorded the rather superfluous Anfang Ohne Ende. 

Another incarnation gave concerts in 1974. Hennig and Grun then founded a horrible soul poprock 

band named Powerful Tramps before regaining some musical sense for Meistersinger & Ihre 

Kinder, a quintet that recorded two albums in the late seventies. Guitarist Muck Groh founded 

Aera after his years with Ihre Kinder and recorded his solo album Muckefuck in 1979. 

IKARUS 

Personnel: 

• JOCHEN PETERSEN g, sax, flt, clarinet, v 

• WULF DICHTER STRUNTZ kb

• MANFRED SCHULZ g, v 

• WOLFGANG KRACHT b, v 

• LORENZ KOHLER v 

• BERND SCHRODER d 

ALBUM: 

same (Plus 4) 1971 

Ikarus were one of the first German progressive jazz-rock fusion bands and had a very varied 

sound. The band was led by Jochen Petersen, who later produced many a Brain album. Their 

album comprised complex arrangements and melancholic melodies inspired by early King 

Crimson. Ikarus also adapted that group's talent for building up long tracks from several 

individually subtitled themes. Their lyrics critically scrutinised the behaviour of mankind with a 

particular focus on our darker sides. Nowadays this album is very hard to get hold of, but is still 

the cheapest of the three albums on the Plus label. 

IMPROVED SOUND LIMITED 

Personnel: 

• AXEL LINSTADT v, g, kb 

• LOTHAR "JOHNNY" FICKERT v, perc 

• ULRICH RUPPERT b 

• ROLF GROSCHNER d 

ALBUM: 

"Engelchen Macht Weiter, Hoppe, 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. They 

used the name Improved Sound Limited from 1966. In the late sixties they specialised in 

delivering soundtracks for German television and movies by Michael Verhoeven. Engelchen 

Macht Weiter, Hoppe, Hoppe Reiter (1969) was the soundtrack from a Verhoeven film, released 

on the same label as the first Gomorrah album. I don't know this one (presumably a late beat rock 

effort), but their self-titled double album for Liberty was very inspired by the American folk-rock 

of Bob Dylan and The Band. Dylan was mentioned several times in the clever lyrics (from now 

on written by Axel's brother Bernd), for example In "Doctor Bob Dylan". Improved Sound 

Limited also merged in some more European elements into their folky rock style, such as some 

fine flute phrases. 

Regrettably their passion for American music led them closer to country music on Catch A 

Singin' Bird (1973). Quite good compositions and lyrics ("The Dark Lord" was about Tolkien's 

"Lord Of The Rings"!), but not exactly performed in idle way most of us like, I'm afraid. Pedal 

steel guitar was played by Frank Baum and Ralph Nowy guested on trumpet and sax. 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. His style can be compared to other Plane

acts, like Dieter Suverkrup or Lokomotive Kreuzberg. I Could Cry Vor Lauta Blues (1974) was 

recorded by Peter Jakobi (vocals, piano, percussion), Dieter Beck (bass, guitar), Walter Brandl 

(guitar, bass), Willy Michl (vocals, guitar) and Klaus Weiss (drums). Michel was a Bavarian 

blues-rock artist and Weiss is known for his Niagara albums full of percussion playing. Peter 

Jakobi and Dieter Beck performed live with Ricky Balter (vocals, guitar, bass) and Sol de Sully 

(percussion) later in 1974 using the name Zyankali. 

JANE 

Personnel: 

• KLAUS HESS g, v, b, kb 

• (BERND PULST v) A 

• (WERNER NADOLNY kb) A,B,E 

• (GOTFRIED JANKO kb, v) D 

• MANFRED WIECZORKE kb F 

• (CHARLY MAUCHER b) A,C 

• WOLFGANG KRANTZ b, g, v B,C 

• MARTIN HESSE b D-F 

• PETER PANKA d 


(A)"Together" (Brain 1002) 1972 

(B)"Here We Are" (Brain 1032) 1973 

(C)"III" (Brain 1048) 1974 

(D)"Lady" (Brain 1066) 1975 

(E)"Fire, Water, Earth & Air" (Brain 1084) 1976 

(F)"Live At Home" (2 LP) (Brain 80.001) 1976 

NB: Originals of 1, 2 & 3 had the green Brain Metronome label. Originals of 4, 5 & 6 and first reissues of 1, 2 & 3 had green Brain label 

without the Metronome typing under the Brain logo on the label. First reissues of 4, 5 & 6 and second reissuesof 1, 2 & 3 had brown 

Brain label. Third reissue of 1 had a new catalogue number 60.398. This and the subsequent reissues of the other albums had the black 

Brain label. 

Jane was among the most commercially successful groups in Germany in the seventies. The band 

was founded in 1970. After their appearance at the Little Woodstock Festival, Hannover in June 

1971, a recording contract with Brain Metronome was secured. With vocalist Bernd Pulst they 

recorded Together in Star Studio, Hamburg in late 1971 with Konrad Plank. This was an 

impressive debut with a dominant guitar and organ style. Of most interest were the extended 

tracks "Spain" (11:53), "Hangman" (9:58) and "Daytime" (8:05). It is tempting to compare Jane's 

characteristic slow, classical influenced heavy rock arrangements to the music of groups like 

Vanilla Fudge, Iron Butterfly or early Deep Purple. Jane had developed these elements into a 

polished 1971 'progressive sound'. Indeed their patented rock sound wouldn't change too much 

during their long career. Some would say their music is far too predictable, easy-going and 

pompous. Label manager Gunter Korber produced Jane's first four albums. 

For many people, the low-point of Together had been the turgid vocals of Bernd Pulst. He quit 

Jane in April 1972 and reduced the group to a quartet. Just before Here We Are, recorded at 

Windrose Studios, Hamburg, Charly Maucher fell ill and was replaced by Wolfgang Krantz. This 

was another great album, featuring both long instrumental work-outs and some good shorter 

songs. The highlight was definitely the nearly instrumental opening track "Redskin" (8:54), 

which comprised slow heavy rock with guitar and organ reminiscent of Pink Floyd. The four 

tracks on side two revealed the rawer and heavier side of Jane. Quite a few people quote this

album as their favourite by Jane. Although this music was dismissed by the reviewers, the 

commercial response was great. Jane, Eloy, Novalis and others enjoyed long lasting and/or 

increasing success with their accessible records. Merely a month after the recordings of Here We 

Are were finished, Nadolny quit to form his own band Lady. Maucher thus returned to Jane again 

and for a short while their characteristic organ sound was abandoned. 

On Jane III Hess and Krantz fought twin guitar battles instead, resulting in a more ordinary 

heavy rock sound. This album (recorded at Conny's Studio in February 1974) also opened with 

an excellent long and mainly instrumental track: "Comin' Again" (9:40). In general it was a 

highly enjoyable album. More changes in personnel followed in the Summer of 1974: Maucher 

and Krantz quit Jane to form Harlis. Their replacements were Martin Hesse and Gotfried Janko 

(previously the leader of Dull Knife). Janko brought back the organ sound for the album Lady 

(recorded at Conny's studio during November 1974 and January 1975), but also brought in some 

rather misplaced gospel-soul vocals. One felt that this album was an attempt to continue their 

increasing success with easy-going heavy pop. Luckily enough former organist Werner Nadolny 

soon replaced Janko again. 

The concept album Fire, Water, Earth & Air was a more rewarding album than its predecessor. It 

was their first self-produced one, recorded in dummy-head stereo at Plank's studio in November 

1975. Synthesizers were now introduced, resulting in a typical late seventies symphonic sound. 

For a large tour in March 1976, Nadolny had quit again. This time the replacement was a better 

choice than in the case of Janko: Manfred Wieczorke, previously of Eloy. His first recording with 

Jane was a double live album: Live At Home (1976). It was recorded in their hometown of 

Hannover in August. As with most other live albums, it was mostly of interest for fans and quite 

superfluous for others. 

JEREMY B 

Personnel: 

• JEREMY BENDER v 

• PETE BENDER kb 

• RAINER MARZ g 

• ALFRED HEUPT kb 

• HERMANN BAERSCH b, v 

• CURT CRESS d 

ALBUM: 

"This Is My Life" (Bacillus BLPS 19080) 

NB: Re-issued on Bacillus BAC 2006 

This is one of the Bacillus releases that it is difficult to find nowadays. However, This Is My Life 

(1972) contained hardly anything of interest for connoisseurs of German rock: it was a not-verysuccessful 

singer & songwriter affair, including nine straight and short tracks with a folky touch. 

It was really one of the most mediocre Hauke-Clerks productions ever and I wonder why they 

bothered! 

JERONIMO 

Personnel: 

• GUNNAR SCHAFER v, b, g

• (RAINER MARZ g) A,B 

• (WALTER ORTEL kb, v) A 

• MICHAEL KOCH g, v, kb C 

• (HAJO BORN g, kb) A,B 

• RINGO FUNK d 

ALBUMS: 

(B)"Cosmic Blues" (Bellaphon BI 1530) 1970 

(C)same (Bacillus BLPS 19044) 1971 

(C)"Time Ride" (Bacillus BLPS 19095) 1972 

NB: Re-issue of 1 on Bellaphon 220-03003. Re-issue of 3 on Bellaphon BAC 2010, second re-issue on Bellaphon 260-09-015. This album 

was also released in France. 

1 & 3 are now also available on CD. 

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", their 1969 debut single for Admiral (AD 1105), 

"Na-na-hey-hey" coupled with "The Light Life Needs" (AD 1110, 1969) and "Never Coin' Back" 

coupled with "The Key" (AD 1133, 1970). By then they had already been together since the midsixties 

(?). Among the members from 1967 to 1968 were Walter Ortel, co-founder of Epsilon in 

1970 with Michael Winzkowski and Michael Ertl. Jeronimo's first appearance on album was on 

the strange split LP with Creedence Clearwater Revival: Spiritus Orgaszmus, with an "orgasm 

cover", poster and pink vinyl (Bellaphon BI 1527). All six Jeronimo songs were featured on their 

subsequent album for Bellaphon: Cosmic Blues. This was hardly cosmic blues, but a confusing 

collection of their three first singles and six other tracks that presumably were recorded as 

potential singles in 1969, presenting soul-beat pop, rock'n'roll, pop, folk-rock and vintage hardrock. 

At the time of release, Hajo Born had quit. The trio of Marz, Schafer and Funk were 

pictured on the cover, which contained very little information. Soon after, also Rainer Marz quit, 

to be replaced by Michael Koch. The trio of Schafer, 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", in many respects their first album. They had now developed a 

common direction - heavy guitar-based boogie blues and rock'n'roll, much like a cross between 

Creedence Clearwater Revival and Groundhogs at their best! This was by far Jeronimo's best 

album, presenting much vitality and hard rock dexterity in straight-forward songs like 

"Understanding", "Shades" (A & B sides of a single lifted from the album) and "Sunday Child". 

However, the long drums solo on "Hagudila" was, as is so often the case, superfluous! For some 

unknown reason, only a small number of copies were pressed. Still stranger the album never has 

been re-released, as their two other albums have, several times! It's open to question if the album 

is worth the 500 DEM dealers are now claiming for an original copy. 

For Time Ride (1972), Jeronimo came under the guiding hands of Peter Hauke and his Bacillus 

label. This was also a good album, hut some of the enthusiasm of the previous album seemed to 

have been lost. It was a half-successful attempt to perform more "progressive" hard rock. When 

Jeronimo broke up, Ringo Funk became the drummer of Atlantis. 

JOIN INN 

ALBUM: 

"Kentaloupe Island" (Menga MEL 3302) 1974

Their album Kentaloupe Island (1974) was released on the same label as Think's Variety. The six 

tracks were engineered by Eroc of Grobschnitt fame. Join Inn were from Gelsenkirchen and 

played a largely instrumental progressive jazz-rock. 

JOY UNLIMITED 

Personnel: 

• (JOY FLEMING v) A,B 

• KLAUS NAGEL g, flt, v A,B,D 

• (KEN TRAYLOR v, g) C 

• HANS LINGENFELDER g D 

• ROLAND HECK kb, v 

• DIETER KINDL b, sax, v 

• JOSCHI DINIER v, b, perc D 

• CORD KOTHE sax, flt B-D 

• ALBIN METZ b, tpt, basson 

• HANS W. HERKENNE d 

ALBUMS: 

(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 

Also US-issue of 2 on BASF 21090 as Butterflies 

This group began their life as Joy & The Hit Kids, fronted by the talented female vocalist Joy 

Fleming, and they released four singles on Decca in 1967 and 1968. Their name was changed 

into Joy Unlimited in 1969, 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). Polydor also released their 

first album Overground (1970), a befitting title, as it contained 12 short pop-blues rock songs, 

clearly inspired by Janis Joplin. For this reason, it is a bit dated today and only completists 

should investigate. By then, the group was a sextet. Schmetterlinge ('butterflies') was a solid step 

in a progressive direction. Indeed a very versatile album, ranging from the gutsy Joplin blues of 

"Rankness" via free jazz improvisations like "Sensual Impressions" to excellent progressive rock 

songs like "Rudiment". This album saw the arrival of a seventh member: Cord Kothe. The 

arrangements were refined, benefiting from the group's strong musical muscle. This, and both of 

the subsequent albums, contained ballet music! The female vocals placed Joy Unlimited in the 

European tradition of bands like Sandrose, Circus 2,000 and Earth & Fire. However, this was to 

change when Joy Fleming departed to start a solo career in 1972. Also Klaus Nagel left, and 

Reflections (1973) was recorded by the five remaining members and new American Ken Traylor. 

Most material was now instrumental, featuring many flute and sax solos. Influences from 

classical music and folk were also more evident in the compositions. Their last album, Minne 

(1974), would have fitted in fine on the Pilz label alongside the folk albums of Holderlin and 

Broselmaschine. It represented a softening of their style - more sophisticated and homogenous. 

Traylor had left, being replaced by Joschi Dinier, Hans Lingenfelder and the returning Klaus 

Nagel. Minne was a very good orchestrated progressive folk-rock album, apart for a couple of 

short brass-jazz tracks. 

KALACAKRA

Personnel: 

• CLAUS RAUSCHENBACH g, perc, v, harm 

• HEINZ MARTIN g, flt, pno, vibes, cello, vln, synth 

ALBUM: 

"Crawling To Lhasa" (private K-ST-2000) 1974 

NB: A counterfeit from 1987 exists. 

Re-released on CD by Lost Pipe Dreams in 1993 including bonus tracks. 

If you love deranged acid folk-rock, look no further! Kalacakra certainly made one of the 

weirdest excursions into disjointed Eastern psychedelia on Crawling To Lhasa. 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. 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, this album was a private pressing... 

KALEIDOSKOP 

Personnel: 

• PETER BARKHOLD sax 

• ULRICH FRAMKE sax, clarinet 

• WOLFGANG SCHMEER sax, flt 

• WOLFGANG SCHMIDT kb, steel 

• GUNTER BLENDERMANN b 

• DIETMAR SCHMIDT d 

ALBUM: 

same (Lava TCH 74002) 1974 

It seems that every nation had a group named 'Kaleidoscope'. The German Kaleldoskop (from 

Bremen) were purveyors of a characteristic instrumental jazz-rock fusion. Their album was 

released on Lava, a small label which also licensed obscure Anglo-American jazz artists. I don't 

know if Wolfgang Schroldt is the same to the one that produced the Eulenspygel-albums (he's 

probably not). Kaleidoskop was recorded June 1974 in Tonstudio Co-operative, Hannover. It 

contains eight average quality tracks, probably only interesting for jazz purists. The bassist and 

drummer later went on to assemble the musically very different Kaleidoskop Band! 

KAPUTTER HAMSTER 

Personnel: 

• PETER N. BUCHFELD g, v 

• FRANK LINDE g, v 

• WILFRIED KRICKHAHN v 

• HOLGER HELDT b 

• ARNE LINDE d 

ALBUM: 

same (PA 10-2009) 1974 


This group with a completely ridiculous name made a legendary private pressing originally 

released in a strictly limited quantity. It was released in a black and white cover with a 

surrealistic drawing on the front. Some second hand record dealers rove about the musical quality 

of this album, claiming that it is excellent. I'm afraid I can't agree - the album is for the large part

just rubbish! The sound quality is primitive (but not really bad), as the album was recorded by 

teenagers in their home studio after school. The music itself is simple and boring garage rock that 

certainly fails to arouse my enthusiasm. Still you could try it if you like albums by Grave, Florian 

Geyer, Arktis, etc. They were from Flensburg, in the North of Germany near the Danish harder. 

KARTHAGO 

Personnel: 

• JOEY ALBRECHT g, v 

• REINHARD BOPP g,v D 

• INGO BISCHOF kb 

• GERALD LUCIANO HARTWIG b A,B,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 


(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 

NB: There should exist a later BASF-press of 1 w/out the 6-part fold-out cover with the same order number. Re-issued 1979 on Brain 

40.087 

Re-issue of 2 on Polydor 2459 068 (1975), second re-issue in 1979 on Brain 40.088 

Re-issue of 3 on Bacillus BAC 2032, second re-issue Bacillus 260-09-036. 

Re-issue of 4 on Bellaphon BAC 2040, Bellaphon 320-09-004 & Bacillus 260-09-004. 

Karthago were founded in Berlin by Joey Albrecht (originally from Hannover) and Gerald 

Luciano Hartwig. 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. Just a month before the recordings of their first 

album began, two additional members were added to their line-up: Ingo Bischof and Wolfgang 

Brock. Karthago was recorded in October 1971 at Audio Tonstudio, Berlin with Dieter 

Zimmermann producing and Stan Regal engineering. It was released in a spectacular, inventive 

and expensive six part fold-out cover with several die cuts! Certainly a lavish package, recalling 

the multicoloured and psychedelic Santana album designs - but actually outdoing them! 

Karthago's sound was graced with excellent heavy guitar work and the funky, gutsy vocals of J. 

Albrecht, recalling the Jimi Hendrix Experience and the heavy progressive funk band Funkadelic. 

The best tracks in this style were "Why Don't You Stop Buggin' Me" and "String Rambler". 

Others, like the catchy little instrumental "Nos Vamos", had a more distinct Latin character, very 

much like early Santana. In my opinion, this is a very underrated album! Few other German 

bands recorded music in this particular style. 

More Santana-esque instrumental work was present on Second Step, recorded at Windrose 

Dumont Time, Hamburg, May 1973 with C. & M. Hudalla producing. This was much more of a 

joint group effort, balanced between jazzy keyboards, heavy guitars and South American 

rhythms. Most of the material was great, but I feel Ingo Bischof's compositions were a bit out of

place - his songs were almost singer-songwriter type of ballads! Original drummer W. Brock had 

left for The Rattles in February 1973 and was replaced by Norbert "Panzer" Lehmann on this 

album. Then within months Lehmann departed to the heavy progressive band Epitaph. Into 

Karthago came Konstatin Bommarius (ex-2066 & Then, Abacus). The bass player Gerald 

Luciano Hartwig also left - in the Summer of 1974. His replacement was something of a 

sensation at the time - Glenn Cornick (ex-Jethro Tull, Wild Turkey) joined the band in October 

1974. 

A revamped five-piece Karthago signed with Bacillus and relocated to Oxford, England, in 

November 1974, where they recorded Rock'n'Roll Testament in the Chipping Norton Studios. 

The producer of this album was Peter Hauke, manager of the Bacillus label. About the same 

time, another of his German signings, Nine Days' Wonder , recorded in England, 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. It marked a change of style towards a smooth, wellproduced 

rock with some minor symphonic touches. Karthago had become another purveyor of 

the characteristic 'Bacillus rock' - a trade mark of Peter Hauke and Dieter Dierks. 

Concerts in Berlin and Hamburg in January 1976 were recorded and released as the double 

album Live At The Roxy (1976). As Glenn Cornick had quit the group, Gerald Hartwig was now 

back in action again. Albrecht, Bischof and Goldschmitt were also helped by Reinhard Bopp (ex- 

Hardcake Special) and Ringo Funk (ex-Atlantis, Jeronimo). This record literally became the 

"Karthago testament", as the group disbanded in the Spring of 1976. 

KATTONG 

Personnel: 

• FRANK GAIER v, g, harm 

• ROLF KUCKLENBRUCH v, g 

• HARALD GOLBACH perc 

ALBUM: 

"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. On the album there were ten short songs rooted in the characteristic 

German "lieder" folk tradition. Their album also featured some guests: Claus Lamdauer (guitar) 

and Thomas Altrogge (violin), Hans-Josef Stick (organ), Horst Luedtke (guitar), Detlef Krause 

(bass) and Martin Napiersky (drums). Prior to this album, the duo of Baier and Kucklenbruch 

recorded an album that also featured Harald Golbach: Gitarre vor'm Mauch (1971). 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. 

KIN PING MEH 

Personnel: 

• (JOACHIM SCHAFER g, kb, v) A 

• (WILLIE WAGNER g, harm, v) B 

• (ULI GROSS g) C 

• GAGEY MROZECK g C,D 

• (WERNER STEPHAN v) A-D

• GEFF HARRISON v E 

• (FRITZ SCHMITT kb) A-E 

• CHRIS KLOBER kb F 

• (TORSTEN HERZOG b) A,B 

• ALAN JOE WROE b C,D 

• KALLE WEBER d 


(B)same (Polydor 2371 259) 1971 

(D)"No. 2" (Zebra 2949 005) 1972 

(E)"III" (Zebra 2949 011) 1973 

(E)"Virtues & Sins" (Nova 6.22613) 1974 

(F)"Concrete" (2 LP) (Nova 6.28370) 1976 

NB: Re-issues of 1 & 2 on CD in 1990 & 1991 on Polydor arranged by Second Battle 

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, this quintet assembled in Mannheim. They played live 

extensively during their early years, performing a rough hard rock modelled on British bands like 

Deep Purple, Uriah Heep and Spooky Tooth. Soon Kin Ping Meh were discovered by Polydor's 

talent scouts. Joachim Schafer left the hand just before the recording of their first album. He was 

promptly replaced by Willie Wagner, who joined the band in the Windrose Studio. Indeed 

Wagner wrote the stand-out track of this album, the opening 11 minute track "Fairy-Tales", a 

haunting heavy rock song with long, "progressive" guitar and organ solo parts. Even if you do not 

find this style attractive, you'll sense the great enthusiasm of the band. There were also some 

mellow, folky songs on the album, like "Too Many People", recorded live and boasting an 

irresistible chorus. Kin Ping Meh was produced by the experienced rock veterans Achim Reichel 

and Frank Dostal. The engineer was none other than Konrad Plank. The album is highly 

recommended for fans of groups like Epitaph, Zarathustra, Frame, etc. It's now quite rare (selling 

for more than 300 DEM) as the first and only vinyl edition was only pressed at around 5,000 

copies. 

Torsten Herzog and Willie Wagner left Kin Ping Meh in 1972. The band had already been 

expanded with Alan Joe Wroe, Uli Gross (but he left again within Months) and Gagey Mrozeck 

(ex-2066 & Then). No. 2 (1972) followed the path of its predecessor - it was filled with great 

quality heavy progressive rock. Besides their self-written material. Kin Ping Meh were also bold 

enough to make an 11 minute version of "Come Together", culminating in a long instrumental 

jam - 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), featuring great live tracks recorded 

in Sprendlingen in January, 1973 and also some studio out-takes from 1972. When vocalist 

Werner Stephan left in May 1973, it marked the end of Kin Ping Meh's first phase. Regrettably, 

none of their following albums could match their first two. Gagey Mrozeck recommended Geff 

Harrison (his old friend from 2066 & Then) as a replacement for Werner Stephan. The quintet 

recorded Kin Ping Meh III (1973) with added choir and brass. Unfortunately, most people find 

their 'new' sound far less appealing than their previous one. Virtues And Sins (1974) was a further 

slide towards a more standard Anglo-American influenced rock. Frieder Schmilt left in 1975, and 

was replaced by Chris Klober (ex-Curly Curve). He only participated on the double live album 

Concrete (1976) before the band fell apart. Geff Harrison set out on a solo recording career, but 

only with moderate success.

KOLLEKTIV 

Personnel: 

• JURGEN HAVIX g, zither 

• KLAUS DAPPER flt, sax 

• JURGEN 'JOGI' KARPENKIEL b 

• WALDEMAR KARPENKIEL d 

ALBUM: 

same (BASF 1034) 1973 

This group made one fine jazz-rock fusion album, released on Brain in 1973. The album was 

recorded in March 1973 at the Windrose Studio in Hamburg with Konrad Plank engineering. The 

best tracks on it were "Rambo Zambo", a work-out for electric flute, and "Gageg", a large scale 

fusion composition covering the whole side two and featuring many great guitar passages. Jogi 

Karpenkiel later became a member of Guru Guru and contributed to some of their most jazzy 

albums: Mani und Seine Freunde (1975), Tango Fango (1976) and Globetrotter (1977). 

HELMUT KOLLEN 

ALBUM: 

"You Won't See Me" (Harvest 1C064-32465) 1976 

Helmut Kollen was the bassist with Triumvirat until 1976, when he decided to attempt a solo 

career. On his single album he switched to lead guitar, leaving the bass to Dieter Petereit. Jorgen 

Fritz from Triumvirat handled the keyboards and Matthias Holtmann the drums. Kollen's past as 

a Triumvirat member was evident in his music, even if it was of a simpler character and more 

widely accessible. The title of the album unhappily became ironic, as Kollen died from carbon 

monoxide poisoning in his car in a garage on 3 May 1977. 

KOMKOL 

Personnel: 

• HANS JURGEN EICH g, v 

• WALTER SLANSKY g, perc, v 

• MISCHA ZAI kb, v 

• THOMAS ROSCHER b, v 

• DIETER SALLINGER d 

ALBUM: 

"Index" (Kanal LEUB 25) 1972 

Their group name was a shortening of 'kommunikation and kollektiv'. 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). 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. For the studio sessions of Index they 

were joined by two further comrades: Fred Pfirrmann (organ, vocals, text) and Rudolf Leubner 

(text). The band lived at Mainz-Weisenau, but recorded the album in the Munich Union Studio in 

the Summer of 1972. 

KRAAN 

Personnel: 

• PETER WOLBRANDT g

• 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, concise and meant absolutely nothing. Still the band was to become 

one of the most important and stylistically characteristic German jazz-rock bands of the 

seventies. Kraan was formed in Ulm (south of Stuttgart) in 1970. All members had their 

backgrounds in free jazz bands. Johannes "Alto" Pappert on his side had a passion for soul, but 

came to Kraan directly from a rock band. Their debut album was recorded in May 1972 and later 

released on Spiegelei in a colourful fold-out sleeve. 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). A 

remarkable album, it was recorded in just three days at Studio 70, Munich. Instrumentally it was 

well-balanced between Pappert, Wolbrandt and the outstanding bass-work of Hattler, then just 20 

years old but already a master of his instrument. 

The two following albums, Wintrup (1973) and Andy Nogger (1974), were similar in style. They 

sold quite well, even gaining a release in the States. In those days, Kraan toured Germany a lot 

and were renowned for their great performances full of improvisations. The excitement of a 

Kraan concert was caught perfectly on Live (1975) - one of the best German live albums of all 

time! Improved versions of many of their old songs were included with extended solos. The 

album was recorded at Quartier Latin in Berlin in September 1974. 

In 1975 Kraan made two tours in the United Kingdom and also appeared at the Danish Roskilde 

festival in July, now adding a fifth member: Ingo Bischof. He had previously been a member of 

Karthago. Let It Out (1975) proved to be a disappointment (for the band as well) and Bischof left 

at the end of the year. After one German tour and a third UK tour Pappert also left in August 

1976 to go solo. 

KRAFTWERK 

Personnel: 

• RALF HUTTER kb, (C-) electronics 

• FLORIAN SCHNEIDER flt, vln, (C-) electronics 

• (KLAUS GINGER perc) A,B 

• (ANDREAS HOHMANN perc) A,B 

• (MICHAEL ROTHER g) B 

• (EMIL SCHULT g) D 

• (PLATO RIVIERA b) D 

• KARL BARTOS drum machine F

• WOLFGANG FLUR drum machine F 


(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 

NB: 1 & 2 released in the UK on swirl Vertigo 6641 077. 

3 also UK issue on Vertigo 6360 616. 

No other German band has been of such importance to the development of international rock 

music as Kraftwerk have. This aspect of their career is well documented elsewhere, so I will 

concentrate on their early years. For the pre-Krartwerk history, please look at the Organisation 

entry. 

In the Summer of 1970, Ralf Hutter and Florian Schneider finished their own "Kling-Klang" 

studio in Dusseldorf. The purpose was to experiment with electronics and new sounds without 

the pressure of limited studio time. For the recording of the first Kraftwerk album in the Summer 

1970 they were helped by two percussionists: Klaus Ginger and Andreas Hohmann. The record 

company Phillips were apparently quite open minded about experimental music at the time, as 

they signed groups like Cluster, Zweistein and Kraftwerk within months (late 1970 to early 

1971). Kraftwerk I was released in November 1970. It was a landmark of experimental music 

featuring Hutter's organ sounds, Schneider's flute and violin and manipulated percussion. 

"Ruckzack" was an experiment of musical scales and flute riffs over a strong and hypnotic 

rhythm backing. Indeed this was the reference point from which their characteristic "kling-klang 

musik" gradually evolved during the following years. "Megahertz" was filled with slowly 

evolving musical clusters while "Stratovarius" and "Vom Himmel Hoch" were more violent and 

atonal. It wasn't really an "electronic" album, as no synthesizers were in use. Instead Kraftwerk 

used the sounds of electronically-manipulated oscillator, organ, flute, violin, bass, guitar, drum 

and percussion. 

Considering the unconventional music included on the album, the sales in Germany were 

stunning: more than 50,000 copies were sold and it also peaked at Number 30 in the national pop 

charts. Occasionally Kraftwerk performed live in 1970 as a quintet with Michael Rother as the 

fifth member. Hutter und Schneider recorded the next album Kraftwerk 2 as a duo in 1971. This 

time the result was more mixed. The track that strongly pointed forward was the excellent 

"Klingklang". A suitable name for 17 minutes of improvisation upon an electronic rhythm 

backing, gradually changing pitch. 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, though some of them failed, such as the dissonant and noisy musical associations of 

"Atem" ('breath'), "Strom" and "Tonwelle" which included added sound effects. This album also 

charted in Germany, peaking at Number 36. 

At the beginning of 1972, Kraftwerk performed live in France and Germany with Emil Schult, 

later their lyrics writer, and Plato Riviera. Schult also made a comic insert for Kraftwerk's next 

album Ralf + Florian (1975). A far more accessible album, where their klingklang music for the 

first time also became "Tanzmusik" (song title)! Other great tracks were "Kristallo" and "Ananas 

Symphonie", showing some of Kraftwerk's most romantic sides ever.

As most of you already will know, the next thing to come was Kraftwerk's big commercial 

breakthrough, in Germany, the USA and UK with the album and particularly the single 

"Autobahn". This was an edited version of the 22 minute title track occupying side one of the 

album, a major electronic opus dealing with the monotonous German motorways. The 

synthesizer harmonics in the main theme line were simply irresistible. This was the first time 

Kraftwerk used naive but effective lyrics and vocals. Two other fine tracks of the album, 

"Kometenmelodic 1 & 2", were already available in 1973 as a single. For an ambitious USA tour 

(April to June 1975) Kraftwerk were expanded to a quartet, featuring Karl Bartos and Wolfgang 

Flur (both playing electronic percussion). For months a collective group image had been carefully 

planned and constructed - one of four young men with short, clean-cut hair and identical ties and 

suits. Soon several stupid and ignorant articles in the press formulated such questions as: 

'Kraftwerk - men or machines?'. The group has retained this 'man machine' image ever since to 

keep the sensation-fixed press continually amused. Radio-Aktivitat (released December 1975) 

was their first album to appear in both a German and an English version. This was a 

schizophrenic kind of concept album, toying with the equivocal meaning of the title and thus 

dealt with both Madame Curie's dangerous inventions and the more harmless radio waves. The 

title track became a new hit single in several European countries, but it surprisingly flopped in 

UK and the USA. The album was filled with both tuneful miniatures and noisy oddities. 

In the Autumn of 1976 the quartet set out on a major European tour. For the rest of the year 

Trans Europe Express was recorded. Here they concentrated fully on making intelligent, 

rhythmic and danceable pop songs, exclusively with electronic equipment. It was a classic within 

this field, cultivated and perfected in the studio down to the smallest detail. This really pushed 

the British synthesizer-pop boom to take off around 1979. 

JEAN-JAQUES KRAVETZ 

ALBUM: 

same (Vertigo 6360 605) 1972 

The Frenchman Jean-Jaques Kravetz is best known as the organist of Frumpy and Atlantis. In 

1972 he apparently had a rift with the rest of Frumpy, and set off to record a solo album for 

Vertigo with his friends Udo Lindenberg (drums, percussion, vocals, he also wrote all lyrics and 

some of the music), Carl-G. Stephan (bass) and Thomas Kretzschmer (guitars). Inga Rumpf 

handled the vocals on one of the five tracks. Musically this was fine, keyboard-dominated 

progressive rock, offering much time for inspired instrumental work - almost like a "lost" 

Frumpy-album! It was recorded at Windrose studios, Hamburg, during April 1972. Kravetz coproduced 

it with Thomas Kukuck (also engineering). After this project Kravetz returned to 

Frumpy in time to contribute to the last part of the recordings for By The Way (1972). With Inga 

Rumpf and Karl-Heinz Schott he then founded Frumpy's logical successor, the more mainstream 

rock group Atlantis. Kravetz also helped his mate Udo Lindenberg on many of his solo albums. 

VOLKER KRIEGEL 


"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

"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. Volker Kriegel's albums featured famous jazz musicians such as Peter Trunk 

(bass, cello), John Taylor (guitar), Eberhard Weber (bass), Zbigniew Seifert (electric violin), 

Alan Skidmore (sax), Albert Mangelsdorff (bassoon), John Marshall (drums), Joe Nay (drums). 

Peter Giger (percussion), Rainer Bruninghaus (keyboards), Thomas Bettermann (keyboards), 

Hans Peter Stroer (bass) and Ralf Hubner (drums). 

LA DUSSELDORF 

Personnel: 

• NIKOLAUS VON RHEIN (KLAUS DINGER) g, v, kb, synth 

• THOMAS GINGER perc, v 

• HANS LAMPE perc, electronics 


same (Nova 622 550) 1976 

La Dusseldorf were the logical successor to the duo Neu, which disbanded when Michael Rother 

left in 1975 to pursue a successful solo career. 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. This "new Neu project" was named La Dusseldorf. 

Harald Konietzko (bass) also guested on the album, recorded with Konrad Plank in the Plank 

studio. The sleeve also mentioned another guest, Nikolaus von Rhein - this was none other than 

Klaus Ginger himself! Musically this was a return to industrial and urban electronic rock, as 

opposed to the almost rural atmosphere on Neu '75. It's very tempting to compare La Dusseldorf's 

music at this stage to Ktaftwerk's Autobahn phaze - highly electronic and monotonous as it was, 

and even featuring similar minimalistic and naive lyrics. The difference was La Dusseldorf's use 

of guitar and acoustic drums, bringing their sound slightly closer to "rock". As such, Klaus 

Dinger & Co. were undoubtedly inspiring many forthcoming bands of the Neue Deutsche Welle 

(circa 1979-1984); Rheingold, Der Plan, etc. The two tracks on side one were heralding different 

aspects of the city of Dusseldorf, mainly via the use of symbolistic keywords. 

LADY 

Personnel: 

• WERNER NADOLNY kb, v 

• (HANNO GROSSMANN g) A 

• MATTHIAS JABS g B 

• CHRISTIAN REINHARDT b, v 

• (CLAUS ZAAKE d) A 

• ROB PEROTTI d B 

ALBUM: 

(A)same (Vertigo 6360 636) 1976 

Just like Harlis, this was an offshoot from the Hannover group Jane. At the end of 1973, Werner 

Nadolny left this group to create his own music. This resulted in the formation of Lady in 1976. 

Their single album was recorded in May 1976, featuring a pompous rock not that different from 

the parent group. At the end of 1976, Grossmann and Zaake quit and were replaced by Matthias 

Jabs and Rob Perotti.

LANG'SYNE 

Personnel: 

• EGBERT FROSE g, kb, psalter, v, sitar 

• MATTHIAS NAHLE g, glockenspiel, perc, v, banjo 

• ULRICH g, flt, glockenspiel, perc, v 

ALBUM: 

same (Dusselton 2737) 1976 

NB: The album had a standard, single black & white cover. 

Re-issued in 1992 on CD by Lost Pipe Dream 

According to the sleeve of their eponymous album, "langsyne" means "for a long time". 

Lang'syne's elusive private pressing was released in 1976, and is now practically impossible to 

find. That's a shame, as it contained seven songs of excellent folk-rock! Their sound was 

different from many other German folk-rock artists - they sang in English, and overall there was 

a mystical atmosphere like that of the British (& Irish) groups Calinnan & Flynn, Isolation, 

Moonkyte, Stone Angel, Trees, etc. I wish they had recorded several more albums! 

LAVA 

Personnel: 

• THOMAS KARRENBACH kb, v 

• STEFAN OSTERTAG g, v 

• JURGEN KRAAZ g, flt, b, kb 

• CHRISTIAN OSTERTAG b, g 

• ARCHER WEAVER d, harm, jew harp, v 

• PETER MOSES perc 

ALBUM: 

"Tears Are Going Home" (Brain 1031) 1973 

A band from Berlin that made one of the best 'rock albums' on the legendary green Brain 1,000series. 

The members reputedly lived as a commune. Tears Are Going Home was recorded in 

Berlin, but mixed at Windrose Studios, Hamburg, by the hard-working Konrad Plank, assisted by 

Hans Lampe. The seven tracks on the album are extremely varied, covering the important styles 

of progressive rock of the day: the heavy space style of Hawkwind (on the title track), strange 

folk-rock ("All My Love To You", "Would Be Better You Run") and West Coast rock ("I'm Just 

A Mad Dog"). Sadly, no more was ever heard from the band. For many years their album could 

be acquired quite cheaply, but recently the band seems to have been discovered by collectors and 

the price has risen. 

LIED DES TEUFELS 

Personnel: 

• PETER GARTH v, sax, flt 

• RALF SCHULTZE g, v 

• JORG HAHNFIELD b 

• THOMAS HOLM d 

ALBUMS: 

same (Kuckuck 2375 019) 1972 

"Hollisch Heisse Rockmusik" (Plane S99301) 1975 

Hanuman changed their name to Lied Des Teufels in 1972. Lied Des Teufels (1972) was a fine,

progressive and political rock effort, not dissimilar to Ihre Kinder. The main difference was that 

Lied Des Teufels used more instrumental work (notable guitar and flute) and favoured complex 

arrangements. One could say that their music was more progressive orientated than Ihre Kinder's 

folky song style. Hollich Heisse Rockmusik (1975) veered towards a Teutonic, politically-aware 

Gentle Giant. 

LIGHT OF DARKNESS 

Personnel: 

• JOHN LATIMER v, kb, perc 

• BYRON GRANT g, fdl 

• MIKE REOCH b, flt, pno, harm 

• MANFRED BEBERT d 

ALBUM: 


I was very doubtful whether I should include this Scottish group in the German rock section or 

not, but as they had a German drummer, were based in Germany and their album only was 

released in Germany, I think it is justified! If you don't have this album, buy it at once, it's an all 

time classic! This is a heavy progressive garage rock masterpiece with such a bizarre vocalist, his 

voice makes Captain Beefheart sounds like Art Garfunkel! Their only album included a freaked 

version of "Soul Francisco" as well as self-written, thunderin' blues-rock classics such as 

"Movin' Along" and "Freedom's Fight". A stunning party record! The album came with 

impressive, absurd cover art. Original Phillips copies new sell for 400 DEM or more. The album 

was re-issued in 1981 on ZYX in a single sleeve with completely different artwork. Luckily 

Second Battle put it right again in 1990, when they released 1,000 copies of the album - featuring 

the original cover plus an insert with information. 

LIGHTSHINE 

Personnel: 

• JOE g, v 

• ULLI g, flt, v 

• OLLI synth 

• WOLFGANG b 

• EGON d 

ALBUM: 

"Feeling" (Trefiton 1049) 1973 

Re-issued by Penner on CD in 1994. 

This group released the impressive album Feeling (1973), a classic among small label releases. 

Unfortunately I'm not able to give you the full names of this crew, as the sleeve only stated their 

forenames. The band was from the Emmerich area near the Dutch border, recording their obscure 

album in an unknown studio named Trepita-Film-Ton-Studio (whose label was also responsible 

for the release). It's hard to give you an accurate impression of this album because of its great 

variety. They obviously loved to incorporate crazy elements into their music, as illustrated by the 

primal screams at the beginning of "Sword In The Sky" and the King's laughter in "King And 

Queen". There were also moments of great beauty: the cosmic, Ash Ra-like guitar style on 

"Nightmare" with soft vocal harmonics and synthesizer textures. "Lory" borrowed the bass 

pattern from Grieg's composition "In The Hall Of The Mountain King" and had gutsy, distorted

guitars. The aforementioned "King And Queen" was a 13 minute opus, merging melancholic 

melodies, lyrics and dreamy instrumental parts with the sudden appearance of the insane king! 

The album concluded with "Feeling", a kind of acid-folk composition culminating in a final 

frenzy. Overall, an extremely good album, well worth hunting for! An original copy will cost you 

more than 250 DEM! 

LILAC ANGELS 

Personnel: 

• JOE STICK v, g, kb 

• HORST "HORREX" LUTGE g, v 

• DET SILVERSTEIN b, 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 - they were not too 

keen on musical experiments, but more interested in making good time rock'n'roll music, inspired 

by Rolling Stones and rhythm & blues in general. Surprisingly enough, the band was groomed by 

Klaus Dinger (of Neu and La Dusseldorf), who produced their first album and released it on his 

own short-lived Dingerland label. The recordings were done in March and April 1973 in 

Windrose studios, Hamburg, with Konrad Plank engineering. With titles like "Rock'n'Roll 

Hand" and "Hard Lovin' Man" you know what to expect! 

LILY 

Personnel: 

• HANS-WERNER STEINBERG sax 

• MANFRED-JOSEF SCHROLDT g 

• KLAUS LEHMANN g 

• WILFRIED KIRCHMEIER b, v 

• MANFRED SCHLAGMULLER d 

ALBUM: 

"VCU" (Bacillus BLPS 19144) 1973 

A progressive jazz-rock outfit. Dieter Dierks guested on mellotron. VCU ("we see you") was 

produced by Peter Hauke in the Dierks studio 1973. This album represented one of his least 

successful productions. Lily's music was quite ordinary and bands like Ardo Dombec made, in 

my opinion, far better efforts to combine jazz and progressive rock (with the weight on rock). 

Certainly other collectors regard Lily with more enthusiasm than me, though! The album had a 

notorious sleeve with the members pictured with lots of make-up. 

LIMBUS 3/4 

Personnel (3): 

• ODYSSEUS ARTNER 

• BERND HENNINGER 

• CORD KRAUS 

Personnel (4): 

• same +

• MATTHIAS KNIEPER 

ALBUM (as Limbus 3): 

"Cosmic Music Experience" (CPM LPS1) 1969 

ALBUM (as Limbus 4): 

"Mandalas" (Ohr OMM 56 001) 1970 

This little known band from Heidelberg and Karlsruhe was among the pioneers of ethnic rock 

fusion. Unlike bands like Embryo and Between, Limbus made almost totally improvised, 

spontaneous music. The result sounded as if Kluster had gone ethnic! Cosmic Music Experience 

(1969) was issued under the name Limbus 3, with all three musicians playing piano, bass, guitar, 

cellos, violin, flute, whistle, recorder, tambourine, tablas, foray, tsikadraha, valiha and other 

exotic percussion instruments. They were university students who wanted to express 

philosophical and psychological ideas through their music. The album was a private release, and 

is now of course extremely rare. It has a fold-out cover with a simple drawing on the front, a 

picture of the group walking in a park or forest. Inside there was general information, a text about 

the Limbus 3-music and Francis Bacon's "New Atlantis" (1623) and another picture of the group. 

"New-Atlantis" was also one of the music pieces of the record, taking up side two. For Mandalas 

(1970) the group was expanded with the addition of Matthias Knieper (various instruments) and 

thus became the quartet Limbus 4. This was the second Ohr-release with a Reinhard Hippendesigned 

sleeve. It had the Ohr speciality - a cut-in on the front sleeve with a balloon attached. 

Musically this was in similar style with four new improvisations, though their first album was 

their most successful. 

UDO LINDENBERG 


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 6.22223) 1975 

"Galaxo Gang" (Telefunken 6.22460) 1976 

"Sister King Kong" (Telefunken 6.22610) 1976 

The singer Udo Lindenberg (vocals, drums, keyboards) is hardly an artist to be closely associated 

with the progressive rock movement. However, his first albums contain some inspired moments. 

Among the musicians on his seventies albums are Andy Marx (guitar), Helmut Franke (guitar, 

from Achim Reichel-band), Carl G. Stephan (bass), Thomas Kretzschmer (guitar, from Achim 

Reichel-band, Dennis), Jean-Jaques Kravetz (keyboards, ex-Frumpy, ex-Atlantis), Keith Forsey 

(drums, famous session-musician), Olaf Kubler (sax, Amon Duul II-producer, ex-Passport), Curt 

Cress (drums, ex-Passport, etc.), Inga Rumpf (vocals, ex-Frumpy, ex-Atlantis), Dave King 

(bass), Kristian Schultze (keyboards, ex-Passport) and Paul Vincent (guitar). 

LINDNER & BOHN 

Personnel: 

• CARSTEN BOHN 

• WOLFGANG "ZABBA" LINDNER 

ALBUM: 

"Vollbedienung Of Percussion" (Brain 1047) 1974

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). It 

included experimental music comparable to the first Niagara album. Apart from some sections 

with echoed voices and piano, it was exclusively performed on various percussion instruments. 

So, if you like experimental percussion, this is surely the album for you! 

LOKOMOTIVE KREUZBERG 

Personnel: 

• ANDREAS BAUER v, kb, vln 

• KARL-HEINZ SCHERFLING v 

• (VOLKER HIEMANN v, g) A 

• (UWE MULLRICH g) B 

• BERNHARD POTSCHKA g C 

• (FRANZ POWALLA (v, b) A 

• MANFRED PRAEKER v, b B 

• UWE HOLZ v, d, harm 


(A)"Kollege Klatt" (Plane S99101) 1972 

(B)"James Blond" (Plane S99103) 1973 

(B)"Fette Jahre" (Plane S99104) 1975 

Along with Ton Steine Scherben, Lokomotive Kreuzberg were the most important political rock 

band to emerge from Berlin. Five left-wing ex-students formed the band at the beginning of 

1972. Powalla was replaced by Manfred Praeker in the Spring of 1973. Uwe Mullrich replaced 

Volker Hiemann for six months, then he moved on to Munich and Embryo being replaced by 

Bernhard Potschka in Lokomotive Kreuzberg in the Summer of 1974. Like Floh De Cologne, 

Lokomotive Kreuzberg had theatrical live shows, where the music only served as a texture and 

background for their 'cabaret performances'. Kollege Klatt (1972), and all subsequent albums, 

contained a full variety of musical styles. The liner notes for the album were written by none 

other than Floh De Cologne! In addition to their four albums, two singles were issued on Plane: 

"Chile '73" coupled with "Hey Mr. America" (1974) and "Arbeitslos" coupled with "Teddy Tex" 

(1976). Fette Jahre (1975) is usually considered to he their best achievement musically. 

LOVE & TEARS 


• WOLF E. STEIN 

ALBUM: 

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. 

Love & Tears made several singles and the one album, a collection of short, light rock songs with 

occasional progressive influences. Nothing of much interest to search for here. 

LOVE GENERATION 

ALBUM: 

"Vibrations" (United Artists UAS 29458) 1972 

As with Love And Tears Love Generation were a light-weight pop-rock band, consisting of three 

girls and two boys. Vibrations (1972) had no progressive moments on it at all, as it was more

elated to the light hippie-pop of American artists like The Mamas And Papas. 

LUCIFER'S FRIEND 

Personnel: 

• PETER HECHT kb 

• DIETER HORNS b 

• PETER HESSLEIN g, 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, Horns, Hesslein and Rietenbach were all member of the sixties beat band German Bonds. 

This group disbanded at the turn to the seventies. Hecht and Horns had played in German Bonds 

since 1965, 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. Hecht, Horns and 

Hesslein studied graphics and design at the Hamburg Art School from 1970, but also found time 

to make records: first the Electric Food album for Europa, then Asterix for Decca. These 

contained short hard rock tracks. In November 1970 they recorded the instrumental backing 

tracks for another studio project named Lucifer's Friend. The British vocalist John Lawton, then 

touring in Hamburg with his band Stonewall, was engaged to complete the vocal tracks. The 

album was released on Phillips in January 1971 and was pretty well received by German record 

buyers. As a result Lucifer's Friend became a permanent group which took on live appearances. 

The music on the album differed in many ways from other German heavy progressive groups 

such as Armaggedon, Wind, Virus, Gift, etc. Lucifer's Friend sounded 100% Anglo-American 

with their archetypal vintage heavy metal, perhaps modelled on Deep Purple's In Rock. The 

album had eight guitar-based tracks with influences from blues, soul and to a lesser extent 

classical music. By the way: the bald-headed man that appeared on the front sleeve, and on most 

of their following LPs, was a certain Mr. Hans Helberg, born in 1915. 

In 1971 there were numerous project albums recorded by Lucifer's Friend musicians (sometimes 

with pseudonyms) released on budget price labels: Flash - Flash (hard rock), Children of 

Quechua - El Condor Pasa (contemporary pop-rock), Pink Mice - In Action (instrumental poprock 

adaptations of classical music) for Europa. These are mostly easy-going "B-records". I have 

also heard rumours that they were responsible for the obscure Brother T And Family album The 

Bralling of Rock on Fass 15.008 in 1970. 

In January 1972, a second proper Lucifer's Friend album was recorded at the Windrose and Star 

studios in Hamburg. It was agreed that Lucifer's Friend should continue to exist, but from now on 

just as a studio project. Where the Groupies Killed the Blues (1972) was quite similar to the first 

one in its musical style, but had strings and brass arrangements added by Hecht. It was one of the 

first LPs to be released on the German 'swirl' Vertigo 6360 600-series. The USA-licensed release 

on Passport sold increasingly well.

Meanwhile the members earned their mortgages by session work for The Les Humphries Singers 

and The James Last Band, either as musicians or arrangers. In addition, they continued to make 

project albums - it's hard to make a living out of rock music, you know! Albums released around 

1972 were Fantastic Pikes - Synthesizer Sound Machine, Pink Mice - Synthesizer Sound and 

Peters Sunday & Birds of Fire - Fly Me Up. 

The third Lucifer's Friend album was recorded between January and February 1973. I'm Just A 

Rock'n'Roll Singer was another Vertigo 'swirl' release. This was more commercial and, sadly, had 

even more orchestral arrangements than Us predecessor. Nevertheless it became the best selling 

German album in USA in 1973' But in their homeland their reviews were getting worse. 

Rietenbach left the band and was replaced by Herbert Bomholdt. The trend of gradually 

decreasing musical quality was followed on the successive albums Banquet and Mind Exploding. 

Lucifer's Friend's music tended to be rather shallow and anonymous. Banquet was their most 

orchestrated work and included more than 30 session musicians. In Autumn 1976 John Lawton 

quit Lucifer's Friend to join Uriah Heep as a replacement for David Byron. 

In spite of a ten year long lifespan, Lucifer's Friend failed to make any real classic albums. They 

are most of interest for fans of heavy metal. From a progressive rock collector's point of view, the 

two first albums could be interesting musically (you'll only enjoy them if you can tolerate John 

Lawton's creaky heavy metal vocals), and the third one since it is a "swirled" artifact. 

MADE IN GERMANY 

Personnel: 

• RITA PENKER v, perc 

• WOLFGANG SCHULZ g, v, perc 

• HANS-DIETER GRABER kb 

• JOACHIM PADE sax, flt, perc 

• STEPHAN PADE b, v, perc 

• DIETER ASLEBEN d 

ALBUM: 


Six people with fat smiles and hippie looks were pictured on the front of this group's only album. 

Musically It ranges from the awful to the great! In the first category you'll find the five 3 minute 

tracks. These were uninteresting and easy-going pop rock songs. Two singles were also taken 

from the album. Then, in the second category, there were four extended tracks with a strong 

progressive feeling. The best way to enjoy this group is to tape the good tracks on a cassette and 

put away the record. It's not hard to understand that the group fell between two stools with this 

album. Unfortunately they (or their producer) were tempted to choose the easy pop-mode. They 

disappeared after two more singles. 

MAMMUT 

Personnel: 

• KLAUS SCHNUR g, v 

• PETER SCHNUR g, v 

• RAINER HOFFMAN kb 

• THILO HERRMANN b, flt, v

• GUNTHER SEIER d 

ALBUM: 

same (Mouse Trick Track Music) 1971 

NB: Re-issued on CD by Ohrwaschl 

This group made one of the most legendary German private pressings. It is now incredibly rare 

and its value has risen above 1,000 DEM. The sound of a squeaking mouse opens the album, 

released on 'Mouse Trick Track Music' (amazing choice of label name!). The album is a 

thematically linked "Mammut opus", with the word "Mammut" included in all the track titles. 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, 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. Side two starts with a "Short 

Mammut" - sounds of gunfire and bomber planes. "Schizoid Mammut" had violent, paranoid 

lyrics with music to match. "Nagarn Mammut" is their attempt to be more lyrical. The album 

closes the same way as it started with large doses of instrumental music ("Mammut Opera"), 

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. A typical golden artiefact from one of 

the most fertile years of modern music (1971!) incorporating both classical and heavy acid blues 

influences. Good production as well, considering it was a private release, 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. His album Dreams Confused (1971) was 

arranged and produced by John O'Brien-Docker, known for his Brave New World album on 

Vertigo, released in 1972. To be honest, Marcel's talent was really just above average, and his 

album is only of interest for fans of mainstream folk rock. Marcel also had a contribution to the 

Heavy Christmas-album (1971): a heavy version of "God Rest Ye Merry Gentlemen" - better 

than the tracks on his own album. 

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. For a short time thereafter he played in the jazz-rock group Emergency, before recording 

a couple of solo albums. I have only heard his first one: Nice To See You (1973). In my opinion 

an uninteresting instrumental pop album, 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, guitars, keyboards, bass, drums, percussion) was until 1970 the lead 

guitarist of Jeronimo. He is featured on their first album Cosmic Blues. In 1971, Marz 

collaborated with the Czech multi-instrumentalist George Eperjessy (vocals, guitars, bass, el.

violin). This resulted in their album Marz & Eperjessy, on which they played all the instruments, 

apart from being helped by a couple of session drummers. The album was another Peter Hauke 

production (co-produced by Marz) in the Dierks studio, Stommeln. 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 . The album featured short songs of electric folk-rock with English lyrics - 

pleasant, but a little light-weight. In the same year, Marz also helped Pete Bender with the 

recordings of his first Wyoming album. In return, Bender (piano, organ) played on Marz' solo 

album The Dream Is Over (1972). Curt Cress (drums, percussion), Georg Rober (bass) and Veit 

Marvos (piano, organ, synthesizer) also participated on the recordings. The album was an 

improvement over Marz & Eperjessy with better compositions, covering a larger range of 

musical styles. Marz also recorded his own versions of some traditional folk songs for the album. 

Hauke produced this album as well. Both albums clearly reveal Marz' admiration for American 

folk, country and rock artists, like Nell Young, Jimi Hendrix and Jesse Colin Young. For a short 

period in 1975, Rainer Marz was a member of Atlantis. 

MASCHINE NO. 9 

ALBUM: 

"Headmovie" (Phillips 6305 221) 1973 

This was a strange kind of radio play on vinyl, written by Wolf Wondratschek, Bernd Brummbar 

and Georg Deuter. The text is in German, so us foreigners suffer a lot when attempting to get the 

plot. I figure it was an ambitious science fiction story, with a cast of more than twenty characters. 

Among those taking part here are Rolf Zacher, Vlado Kristl, Olimpa Hruska, Renate Knaup and 

Daniel Fichelscher. In addition some statements by Timothy Leary, Allan Ginsberg, Ted 

Kennedy and John Lennon are used. There's no real music on the album, so it's only of interest 

for the Deutschrock completists. 

McCHURCH SOUNDROOM 

ALBUM: 

"Delusion" (Pilz 20211142) 1971 

Another of those obscure bands about which there is little information. Delusion (1972) is one of 

the rarest albums on the legendary Pilz label, and therefore hunted by collectors all over the 

globe. It has the typical German heavy progressive underground sound, based on loud guitars, 

trembling organ and flute. 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. "Dream of a Drummer" is slightly matted by a long drum solo, 

otherwise there is much to enjoy here. "What Are You Doin'" contained an anti-drug message: 

'You know all live together, 

want freedom and space 

Young people know forever, 

and see there's no release 

Stop what you 're doing, 

you make yourself a ruin 

Stop takin ' trips, snow horse and shit 

The better world, you know, can't find it 

Drugs never find an end, 

it's you, you that bend

The price is high, believe me, I don't lie!" 

(From "What Are You Doin'") 

This track, "Time is Flying" and "Delusion" are the highlights of this recommended album, 

produced by Konrad Plank. As with so many contemporaries, McChurch Soundroom recorded 

just one album and then disappeared into obscurity (after the folding of Pilz in 1973). 

LOTHAR MEID 


"Mench Dieser Klaus" (Phillips 6305 283) 1976 

Lothar Meid (bass, vocals) was born 28 August 1942. 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, along with Christian Burchard (vibraphone, drums), Edgar Hofmann (sax, flute, 

violin) and Jimi Jackson (organ). Later Meid joined Doldinger's Passport and participated on 

their 1971 debut album. But Lothar Meid is definitively best known as the bass player on many 

highly influential Amon Duul II albums: Tanz der Lemminge (1971), Carnival In Babylon 

(1972), Wolf City (1972), Vive la Trance (1973), Live In London (1973) and HiJack (1974). Meid 

left and rejoined this group many times, in 1973 he founded the short-lived 18 Karat Gold with 

Klaus Ebert (guitar), Jorg Evers (guitar) and Keith Forsey (drums). After recording HiJack, Meid 

departed from Amon Duul II for good, and toured with Joy Fleming, worked as studio musician 

and actor and at last decided to start his solo career. On Mensch, Dieser Klaus! (1976), Meid was 

helped out by Karl Allaut (guitar), Thor Baldursson (keyboards), Jorg Evers (guitar) and Keef 

Hartley (drums). 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: 


An acoustic folk duo. They were amateurs lacking in talent, according to the famous collector W. 

Oertel! So there - you have been warned! 

MESSAGE 

Personnel: 

• ALLAN MURDOCH g 

• TOMMY MCGUIGAN v, sax 

• (BILLY TABBERT g, v) A 

• HORST STACHELHAUS b 

• (GERHARD SCHABER d, v) A 

• (GUNTHER KLINGEL d) B 

• MANFRED VON BOHR d C,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 6.22013) 1975

(D)"Synapse" (Nova 6.22523) 1976 

NB: Re-issue of 1 on Bacillus BAC 2007. Beware that this mid-70s re-issues frequently are offered as originals! 

(P)This was a German-British band led by Allan Murdoch. The story of Message is quite similar 

to that one of Nektar: in the early seventies they released some excellent, refined progressive 

rock albums, spanning from lyrical, melodic folk-rock over to heavy guitar outbursts. Their 

music was supervised by the well-known Bacillus recording team of Peter Hauke (label manager, 

producer) and Dieter Dierks (studio owner, engineer). The crew that recorded The Dawn A New 

Is Coming (1972) was (A). Only the rhythm section of this group was German! Taff Freeman 

from Nektar contributed with vocals and mellotron on one track. Overall, it was an excellent 

album with the title track and "When I'm Home" being the highlights - a very obviously British 

melodic progressive rock. The fold-out cover contained a notable psychedelic artwork by Klaus 

Holtizka. From Books And Dreams (1973) was another fine album; here some of the tracks had a 

more sinister undertone, like the pounding "Dreams And Nightmares" with its' repeating, almost 

ritualistic guitar riff. On the other side, tracks like "Sigh" followed more in the Nektar-like style 

of their first album. By now Billy Tabbert and Gerhard Schaber had quit, and their drummer for 

the recording sessions was Gunther Klingel. 

For some unknown reason, it seems that the group fell out with the Hauke & Clerks recording 

team. Their third and self-titled album was released by Nova in 1975. Message now had a much 

more conventional style, possible due to pressure from their new record company. Their music 

lacked the energy and instrumental interludes of the two previous albums. The mellotrons and 

complex arrangements were also abandoned in an ill-failed attempt to gain more commercial 

success. Some tracks were still great, such as "Thoughts" with a stunning guitar solo. Manfred 

von Bohr was their drum player for this album. For their fourth album Message changed 

direction again. They attempted jazzy heavy rock on Synapse (1976), on which the sax player 

Tony Greaves was added. 

METROPOLIS 

Personnel: 

• MICKY DUWE v, g 

• UTE KAMSENBERG v 

• MANFRED OPITZ kb, v g 

• HELMUT BINZER g 

• MICHAEL WESTPHAL b 

• THOMAS HILDEBRAND d 

ALBUM: 

same (Pan 87.439) 1974 

This short-lived band was formed in 1973 by Micky Duwe. His first vinyl-captured appearance 

was on Ash Ra Tempel's acid-induced Seven Up-album. Officially he was a member of this 

group for a mere three months. Wesphal had also done occasional live appearances with Ash Ra 

Tempel. The Metropolis-album was recorded in December 1973 in Munich. It was a conceptalbum 

based on the obligatory hippie criticism against big cities and the modern life. 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 six tracks had English 

lyrics. "Birth" coupled with "Superplasticclub" was also released as a single (not the two best 

tracks, I would say). The album is recommended.

STEPHAN MICUS 


"Archaic Concerts" (Caroline C1517) 1976 

Stephan Micus is an inventive artist, working somewhere between jazz and ethnic music. He 

only uses acoustic instruments, like flower pots, zither, flute, hammered dulcimer, etc., thus 

creating a very personal and earthly music, sometimes reminiscent of Deuter. 

MIDNIGHT CIRCUS 

Personnel: 

• CHRISTIAN BOLLMANN v, g, tpt, recorder 

• TORSTEN SCHMITT v, g 

ALBUM: 

same (Bellaphon 19108) 1972 

This was a progressive folk-rock duo. Their only album was recorded in the Clerks Studio with 

Peter Hauke producing. Also several guests were featured on the recordings: Thomas Engel 

(drums), Veit Marvos, 'Davy Crockett' (bass), Rainer Marz, Jan van Rosendaal (guitar) and Peter 

Hauke (drums, percussion!). The musical style on the album was a typical Bacillus-rock as 

Hauke's other productions. The best track was "November Church" - a beautiful, slow folk song 

with a dark atmosphere. 

MISSING LINK 

Personnel: 

• MARKUS SING g 

• GUNTHER LATUSCHIK sax 

• GABRIEK DOMINIK MUELLER v 

• DIETER MIEKAUTSCH kb 

• DAVE SCHRATZENSTALLER b 

• HOLGER BRANDT d 

ALBUM: 

"Nevergreen!" (United Artists UAS 29439) 1972 

These were one of the lesser known United Artists acts, based in Munich. Nevergreen! was 

recorded at the Dierks Studio in October 1972. On the seven tracks a complex and varied musical 

style emerged. It included jazz sax riffing ("Sorcery"), some solo piano parts ("Song For Ann"), 

loud rock outbursts ("Kids Hunting") and matching acoustic guitars ("Spoiled Love"). However, 

the overall sound is quite jazzy, so the album will appeal most to fans of Embryo, Xhol, Ardo 

Dombec, Thirsty Moon, etc. Actually, Dieter Miekautsch joined Embryo (also Missus Beastley) 

after the group's demise in 1973. Drummer Holger Brandt later joined Sahara. The Missing Link 

album is quite good, but certainly not a classic! Many other albums of the period overshadow 

Nevergreen. 65 DEM would probably secure you a copy. 

MISSUS BEASTLEY 

Personnel: 

• (ATZEN WEHMEYER g, v) A-C 

• (PAUL VINCENT g) B 

• (ROMAN BUNKA g) C

• (WOLFGANG NICKEL kb) A-C 

• (MICHAEL SCHOLZ kb) B 

• (DIETER MIEKAUTSCH kb) D 

• BURKARD SCHMIDT kb E,F 

• JURGEN BENZ sax, flt C-F 

• FRIEDMANN JOSCH sax, flt D-F 

• (PETJA HOFMANN b, v) A-C 

• NORBERT DOMLING b D-F 

• (LUTZ OLDEMEIER d) A-D 

• (JIM MCGILLIVRAY d) E 

• BUTZE FISCHER d F 


(A)same (CPM LP2) 1970 

(D)same (Nova 6.22030) 1974 

(F)"Dr. Aftershave & the Mixed-Pickles" (April 0001) 1976 

NB: Re-issue of 1 as Nara Ast Insence in 1970 on Opp 5-32, apparently a pirate pressing. Re-issues of 3 & 4 on Snowball with the same 

order numbers. 

It seems like a guy made some illegal live albums by Missus Beastley: 

• "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, being founded 

in Herford in 1968, recorded their debut album in January 1970 with Hansi Fischer (flute, from 

Xhol, later Embryo) and Dieter Serfas (pereussion, from Amon Duul II). This was a glimpse into 

early German underground jazz-rock with lots of flute, psychedelic organ and guitars. The band 

could be compared to Xhol and Embryo. Soon after the recordings finished, Missus Beastley 

expanded to become a sextet with Paul Vincent and Michael Scholz. Half a year later, Vincent 

was replaced by Roman Bunka and a seventh member, Jurgen Benz, joined. By the end of the 

year, the band were bankrupt and their activities terminated. Nothing more was heard from 

Missus Beastley until Autumn 1973, when reformed the band and went on tour in Germany. This 

quintet (D) also recorded an album for Nova in 1974, containing a slick, funky jazz-rock, totally 

different to the previous album. Lutz Oldemeier and Miekautsch left in 1975 to be replaced by 

Butze Fischer and Burkard Schmidt. In the interim, Jim McGillivray of Epitaph drummed three 

months for Missus Beastley. Along with Embryo, Ton Steine Scherben and Sparifankal, Missus 

Beastley founded the independent record company April. 

Dr. Aftershave & The Mixed-Pickles (1976) became the second release: on this label 

(Sparifankal's Bayern Rock being April 0000). This was a distinct improvement on the halfhearted 

Nova album, recorded with three talented guests from Embryo: Roman Bunka, Maria 

Archer (vocals) and Christian Burchard (vibraphone). 

MURPHY BLEND 

Personnel: 

• WOLF-RODIGER UHLIG kb, pno, v 

• WOLFGANG RUMLER g, v 

• ANDREAS SCHOLTZ b 

• ACHIM SCHMIDT d

ALBUM: 

"First Loss" (Kuckuck 2375 005) 1972 

NB: Re-issued on CD by Kuckuck arranged by Ohrwaschl. A numbered edition of 1,000 copies. 

Murphy Blend were responsible for one of the best albums released on Polydor's legendary 

Kuckuck-label. First Loss was recorded in Union Studio, Munich during October and December 

1970, produced by Jonas Porst (the manager of Ihre Kinder!) and engineered by Thomas Klemt. 

Murphy Blend revealed a fine blend in which Uhlig utilised his keyboards to incorporate 

classical themes into their heavy progressive music. He had studied classical music for three 

years in Berlin. The songs were melodic, textured by heavy guitar and organ riffs. 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. Wolf-Rudiger Uhlig guested on Frumpy's third 

album By The Way in 1972 

MY SOLID GROUND 

Personnel: 

• BERNHARD RENDEL g, v 

• INGO WERNER kb 

• KARL-HEINRICH DORFLER b 

• ANDREAS WURSCHING d 

ALBUM: 

same (Bacillus 6494 008) 1971 

NB: Counterfeit exists in single cover. 

This album is a genuine treasure! Through the years, it has become immensely rare, and is now 

considered one of the monsters of German rock, fetching DEM 500 for mint copies. My Solid 

Ground was the one-off project. The recordings were done in February and April 1971 in Dieter 

Dierks' studio with Peter Hauke producing. The marvellous opening track "Dirty Yellow Mist" 

was as close as any group has reached into the atmosphere of Pink Floyd's Meddle album. The 

thirteen-minute track was driven by a monotonous, but very effective guitar riff. 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. There were three aggressive, punky rock songs: "Flash Part IV", 

"That's You", and "Handful of Grass". "Melanchonie" again recalls Pink Floyd, this time the 

mellow, peaceful romanticism of "Allan's psychedelic Breakfast". "Devonshire Street WI" was 

another highly original song, while the instrumental "X" ended the album. Definitely one of the 

ten best German albums of all time! It's a tragedy there were no further My Solid Ground albums. 

After this recording, all members seemed to drift back into obscurity and Hauke & Dierks were 

left to work with artists like Nektar and Omega. 

MYTHOS 

Personnel: 

• STEPHAN KASKE flt, kb, v, g 

• SVEN DOHROW g C 

• (HARALD WEISSE b) A 

• (ROBBY LUIZAGA b, g, kb) B

• 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. In 1971 they appeared live at a festival and attracted Ralf-Ulrich 

Kaiser's attention. This led to a contract with Ohr records. The first Mythos album was duly 

recorded during Autumn 197l. "Mythoett" starts the album in a manner very similar to Jethro 

Tull. This was a revised version of Handel's fireworks music, on which Kaske played brilliant 

flute. He would soon be celebrated as one of Germany's best flute players. "Oriental Journey" has 

an Eastern flavour, as the name implies. "Hero's Death" was, by the Mythos' standards, unusually 

guitar-dominated. 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. 

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. 

A hundred years later the machine was supposed to wake him, at that time he hoped to find a 

better world, one that would he worth living in. 

One hundred years passed. 

The machine woke the man, but although nearly everything had changed, mankind hadn't. 

So the man returned to the machine, and kept returning to it, until the 36th time, when he woke 

to find that there was no more life on earth. There were no birds in the sky, no fish in the sea, no 

trees and no flowers. Man had killed all the plants, animals, and at last, even himself, leaving 

the earth a dead ball in the universe. 

Seeing this, the man sat down on the bleak ground and tears run down his cheek His lungs 

inhaled the deadly smoke, and darkness closened about him, as he followed all the others to a 

place of no fighting and no killing. 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, is that one that separates life and 

death." 

(From "Encyclopaedia Terrae") 

Definitively a poetic way to finish a classic album - one of the best Ohr-releases! Truly 

indispensable! Late in 1972 the original Mythos split up. Kaske attempted to assemble a new trio 

at the beginning of 1973, but this came to nothing. Then in December 1973 he teamed up with 

Robby Luizaga and Hans-Jurgen Putz for the production of a television soundtrack for "Die 

Superspinne". 

One of the tracks was later to be found on Dreamlab (1975), entitled "Eternity". This album, 

Mythos' second one, was released on Ohr's logical successor: Kosmische Musik. It was another 

great work of a more cosmic and spacey nature. However, Kaske himself thought of Dreamlab as 

a 'B-work' more than all ordinary Mythos album - pre-ordered by label manager Ralf-Ulrich

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: 

• 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 

ALBUM: 

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

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

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: 

• 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 

ALBUMS: 

(A)same (Brain 1004) 1972 

(A)"2" (Brain 1028) 1973 

(C)"'75" (Brain 1062) 1975 

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

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 


• KLAUS WEISS 

• (COTCH BLACKMON) A 

• (KEITH FORSEY) A 

• (JUAN ROMERO) A 

• UDO LINDENBERG 

• DANIEL FICHELSCHER B

• JOE KARRIS B 

ALBUMS: 

(A)same (United Artists UAS 29232) 1971 

(B)"S.U.B." (United Artists UAS 29343) 1972 

(-)"Afire" (Finger 2960 102) 1973 

The first Niagara album was the recorded experience of five percussionists. Two more 

percussionists guested: Daniel Fichelscher and George Green. The album could reasonably be 

summed up thus: 'DRUMMELUMM-MELUMMM'!!! Two side length pieces of unaccompanied 

percussion, highly influenced by South-American rhythms - take it or leave it! Anyway, it's an 

honourably un-commercial project! The second Niagara-album, named S.U.B. (1972), was a 

more conventional jazz-rock fusion work, although still highly focused on percussion and 

rhythms. Weiss, Lindenberg and Fichelscher were here joined by Paul Vincent (guitar), Gary 

Unwin (bass, later of Joy Fleming Band and Ralf Nowy group), Christian Schultze (el.-piano, 

Passport), Ack van Rooyen (fluegelhorn, trumpet), Ferdinand Povel (sax, flute), Milan Pilar (bass 

on one track) and Joe Karris (timbales, congas, percussion). The rhythmic feeling on this album, 

recorded during February 1972 at Studio 70, Munich, could in some ways be compared to 

Embryo on their album Embryo's Rache (1971). I have no idea who played on the last Niagara- 

album: Afire (1973). 

NIGHT SUN 

Personnel: 

• BRUNO SCHAAB v, b 

• WALTER KIRCHGASSNER g 

• KNUT ROSSLER kb, tpt, bassoon 

• ULRICH STAUDT d 

ALBUM: 

"Mournin'" (Zebra 2949 004) 1972 

NB: An early (mid-70s?) re-issue on Polydor 2459 094. 

A heavy rock group. Their only album Mournin' was released in 1972 on Polydor's Zebra-label. 

Schaab's vocals were creaky and recalled the screams of Ian Gillan. In addition, the group played 

a loud, Deep Purple-like rock - with a characteristic "heavy progressive" instrumentation of twin 

guitars, organ, bass and drums. With their sudden shifts of rhythm structures, guitar coupled with 

organ riffing style and some studio effects (particularly phasing) courtesy of Plank, Night Sun 

fortunately never went too close to the ordinary boogie and rock'n'roll trap. The album was 

produced by Konrad Plank at the Windrose Studio, Hamburg. After the demise of the group, 

Bruno Schaab briefly joined Guru Guru, where his contribution was notable on the track "The 

Story Of Life". 

NOSFERATU 

Personnel: 

• MICHAEL THIERFELDER v 

• (MICHAEL WIN g) 

• MICHAEL MEIXNER g B 

• CHRISTIAN FELKE sax, flt 

• REINHARD GROHE kb 

• MICHAEL KESSLER b

• BYALLY BRAUMANN d 

ALBUM: 

(B)same (Vogue 17178) 1970 

NB: Re-issued in 1992 on CD by Ohrwaschl 

Nosferatu has the dubious honour of having produced one of the most over-priced collector's 

items of the German progressive rock genre, now selling easily for 800 DEM in mint condition. 

Originally their album was released in France and Germany on Vogue (a French label as you 

know). Nosferatu formed circa 1968. An early member of the band was guitarist Michael Win, a 

future member of Epsilon. Opinions are mixed about this album. Some regard it as one of the 

best heavy progressive records to be made in Germany, others think it is quite ordinary and 

certainly over-rated on the collector circuit. I'm sure most will agree that it contains a raw, rough 

and heavy progressive style. There were still some beat and psychedelic elements evident in the 

music, characteristic of the first wave of German progressive rock in 1969/70. I would compare it 

to the first Tomorrow's Gift album, Orange Peel or Hairy Chapter. Arguably the best moments 

are Felke's highly talented flute and sax playing. When Nosferatu disbanded, he became a 

member of Epsilon. There are only six tracks in all, with plenty of organ and guitar work. The 

production by Tony Hendrik could have been better. A counterfeit of the album appeared In 1989 

at a more reasonable price than the originals. If you're keen on heavy progressive rock, go for 

Armageddon and 2066 & Then first, check out Nosferatu only if you find you need some more! 

NOVALIS 

Personnel: 

• HEINE SCHUNZEL b, v(B-) 

• (JURGEN WENZEL v) A 

• DETLEF JOB g B-D 

• (CARLO KARGES g, kb) B 

• FRED MUHLBOCK v, g, flt D 

• LUTZ RAHN kb 

• HARTWIG BIEREICHEL d 


(A)"Banished Bridge" (Brain 1029) 1973 

(B)same (Brain 1070) 1975 

(C)"Sommerabend" (Brain 1087) 1976 

NB: Originals of 1, 2 & 3 have the green Brain-label. Re-issues are known with brown & black Brain labels. 1 was also re-issued with 

the new catalogue number 60.405 in 1981. 

An important and long lasting German exponent of 'romantic rock' (in their own words) Novalis 

was formed in Autumn 1971. Hartwig Biereichel had previously played in a blues-rock outfit 

named Greenlight (releasing four tracks on the 1970 festival sampler Love & Peace). In 1972, 

Novalis gave their first concert in their hometown Hamburg as the warm-up act to Cravinkel at 

"The Fabrik". Banished Bridge (recorded in January 1973 at Windrose Studios, produced by 

Jochen Petersen) was one of the first examples of synthesised German symphonic-rock. A very 

good album with a lyrical and melancholic atmosphere. The 17 minute long title track stands out 

as something very special - a very careful and understated composition with long 'ambient' 

passages full of bird whistles. Perhaps a good comparison would he P.F.M.'s first two Italian 

albums, and the vocal work is comparable to the first Jane album. However, vocalist Wenzel left 

the band after some arguments in 1974.

Detlef Job and Carlo Karges were added, expanding the group to a quintet. Karges had 

previously been a member of Tomorrow's Gift. With completely different vocals (by Heine 

Schunzel), German lyrics and the added guitars, their self-titled second album (recorded February 

1975 in Studio Maschen) understandably sounded very different from the first. It was produced 

by Achim Reichel (who also produced all their forthcoming Brain albums) and comprised five 

songs of fine keyboard-based, folk-inspired rock, written by Rahn and Karges. Best were 

"Impressionen", based on Brucker's 5th symphony, and "Es Farbte Sich Die Wiese Grun", a 

symphonic folk song with adapted lyrics courtesy of the German romantic poet Novalis 

(Friedrich Freiherr von Hardenberg), written in 1798. Comparisons can be made with Holderlin's 

Spiegelei albums. Carlo Karges abandoned such music when he quit to join the new wave act 

Nena. 

Novalis recorded Sommerabend as a quartet in February 1976. This was an even better work, 

combining and developing elements from their previous albums to a neat perfect, personal 

symphonic rock. The title track must rank as their most outstanding achievement ever: a lush and 

romantic opus with acoustic guitars, string synthesizers, choir, thoughtful lyrics (in German) and 

nature's sounds of a summer afternoon. Just beautiful! 

In June 1976 the Austrian Fred Muhlbock was engaged as Novalis' new fifth member. 

NOWY 

Personnel: 

• RALF NOWY sax 

• PAUL VINCENT g 

• THOR BALDURSSON kb 

• GARY UNWIN b 

• KEITH FORSEY d 

ALBUMS: 

"Escalation" (Atlantic ATL 40556) 

"2" (Atlantic ATL 50205) 

Ralf Nowy is a lesser known jazz-rock saxophonist. On his first (solo) album Lucifer's Dream 

(Global 26015-8U) (1973), the Amon Duul II related musicians: Lothar Meid (bass), Keith 

Forsey (drums) and Alois Gromer (sitar) participated. Others involved were: Andy Marx (guitar), 

Paul Vincent (guitar), Don Anderson (keyboards) and Gary Unwin (bass). On the album they 

presented an interesting ethnic-flavoured jazz-rock fusion. With Vincent, Forsey, Unwin and 

Thor Baldursson, the group Nowy were formed in 1974 and released two more conventional 

jazz-rock albums on Atlantic. On Nowy 2, Nick Woodland (guitar, Englishman of Gift and 

Sahara fame) and Lothar Meid guested. Ralf Nowy later played with the rock'n'roll band 

Morgenrot. 

ORANGE PEEL 


• HELM MOHN b 

• CURT CRESS d 

ALBUM: 

same (Bellaphon BLPS 19036) 1970 

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".

This release marked the start of Curt Cress' long and impressive career. He was then only 17 

years old, and still studying the art of percussion, when the Orange Peel album was recorded late 

in 1969 at the Dierks studio (actually one of the first Dierks productions I know about!). The 

result was a vintage blend of progressive music, comparable to Tomorrow's Gift (1st album) or 

Nosferatu. The four mainly instrumental tracks sounded somewhat unfinished. Orange Peel 

disbanded in 1970. Bassist Helm Mohn replaced Michael Ertl in Epsilon in time for their second 

album Move On (1971), while Curt Cress went on to Emergency, Passport, Atlantis and several 

other bands. Gradually he built up his reputation as one of Germany's finest session drummers. 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. 

ORGANISATION 

Personnel: 

• RALF HUTTER kb 

• FLORIAN SCHNEIDER flt, vln, perc 

• BASIL HAMMOUNDI perc 

• BUTCH HAUF b, perc 

• FRED MONICS d 

ALBUM: 

"Tone Float" (RCA 8111) (UK) 1970 

NB: A counterfeit with black & white 'RCA label' exists. 

The album Tone Float is an opportunity to hear Ralf Hutter and Florian Schneider's musical 

ideas before their Kraftwerk concept. In 1969 they made some demo recordings with Konrad 

Plank, and in a strange way these tapes found their way to Great Britain and the RCA label. As 

one might guess from the instrumentation, the five tracks (the title track filling the whole of side 

one) are dominated by congas, bongos, glockenspiel, musical box, bells, triangle, etc. Hutter and 

Schneider already had a passion for repetitive percussive sounds and rhythms in those days. This 

is also evident on the first Kraftwerk album, which appeared in 1970. Organisation appeared live, 

but were rumoured to be so bad that people threw vegetables at them on stage. This partly caused 

the group's demise at the end of 1969. Their album is a rarity mainly of historical value today. A 

mint copy should sell for about 300 DEM. Basil Hammoundi later recorded with the group Ibliss. 

OS MUNDI 

Personnel: 

• UDO ARNDT g, kb, v 

• ANDREAS V. [Villain] b 

• DIETRICH MARKGRAF sax, flt 

• CHRISTOPH BUSSE d 

• BUDDY MANDLER perc, v B 

• MIKRO RILLING cello B 

ALBUMS: 

(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, Os Mundi from Berlin 

converted a Latin mass into the progressive and/or psychedelic rock format. Os Mundi was the 

brainchild of Udo Arndt. On the first album they were helped by guests Hartmut Seidel (bass)

and David Kalckreuth (organ). The album was a tour de force with heavy, powerful guitars and 

garage organs. It had a dense, raw production, sinister atmosphere and made clever use of studio 

effects. Indeed, its dark atmosphere could easily be associated with a black mass, instead of a 

Latin mass! It sounded a bit like early Uriah Heep or Vanilla Fudge with similar, opera-like 

vocals. The second album 43 Minuten (recorded at Audio Studios in June 1972 with Konrad 

Plank) was a very, very different work. It was a more "mainstream" progressive rock recording, 

drawing more from jazz, folk and contemporary West Coast rock. Highlights of this album 

included "But Reality Will Show", a Holderlin-like ballad with the use of cello, and 

"Erstickubungen", a tremendous instrumental blow-out with gutsy, heavy guitar play from Udo. 

He later became a renowned rock and new wave record producer and engineer (Ian Cussick, 

Munchener Freiheit, Morgenrot, Steinwolke). Nowadays he's employed as an engineer and 

producer at the Audion Studio in Berlin. 

OS PESCADORES 


• STEFAN KOWA b 

ALBUM: 

"The Sound Of Lonelyness" (private) 1972 

This mythical group included the bassist of Tyburn Tall. Their music has, in second hand lists, 

been compared to Lightshine, with much guitar and organ. The famous German record collector 

Willi Oertel thinks this is rubbish - 'It's religious music!', he told me. 

OUGENWEIDE 


• FRANK WULFF g, b, flt 

• STEFAN WULFF b, harmonium, bouzouki 

• WOLFGANG VON HENKO mand, g, v 

• JURGEN ISENBART marimbaphone, xylophone, glockenspiel 

• OLAF CASALICH v, perc 

• RENCE ROLLMORGEN v, 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. Their music 

was quite different from the 'progressive folk' music created by the early Broselmaschine and 

Holderlin. Ougenweide's speciality was shorter tracks in off almost medieval folk tradition with 

German lyrics. The result was a German answer to British groups like Fairport Convention, 

Gryphon and Steeleye Span. Like these groups, Ougenweide (from Hamburg) succeeded in 

achieving a distinct style of their own. Their records confirm that they were obviously great 

instrumentalists. Through the years the nucleus of the Wulff brothers, von Henko and Isenbart 

remained intact. Minne Graw was their female vocalist from the third album onwards. A large 

part of their repertoire consisted of traditional German folk songs. The early albums are their

most acoustic ones, the later works also utilised synthesisers. 

OUT OF FOCUS 

Personnel: 

• REMIGIUS DRECHSLER g 

• HENNES HERING kb 

• MORON NEUMULLER sax, flt, 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 

ALBUMS: 

(A)"Wake Up!" (Kuckuck 2375 006) 1971 

(A)same (Kuckuck 2375 010) 1971 

(B)"4 Letter Monday Afternoon" (2 LP) (Kuckuck 2640 101) 1972 

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. 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. This was limited to 1,000 copies. 

In 1991 & 1992 Ohrwaschl re-released all albums on CD (limited to 1,000 copies each). 

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. Ihre Kinder's manager Jonas 

Porst was farsighted enough to sign the band to his Kuckuck label. 

Reputedly, the band spent months in their practice room to polish up their forthcoming debut 

album Wake Up! (1970). It was engineered by Thomas Klemt in the Union Studio, Munich, 

between October and December 1970. 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, flute 

and organ riffing; technically absolutely brilliant! The solid rhythm section could produce 

repetitive but complex rhythm patterns as a backdrop for the band's soloists. There were six 

dynamic tracks with ironic, humorous lyrics (as typified by "God Save The Queen, Cried Jesus"), 

heavy riffing ("See How A White Negro Flies" and very long songs, exploring the whole 

instrumental register from silent, breezy and peaceful whispers to lull-blown outbursts of 

outrageous power ("Dark, Darker"). Neumuller had an uncommon voice, which took a little 

getting used to at first, but it added yet another special dimension to the end product. If you need 

just one album to sample the specific German way of approaching "progressive" music, this is it! 

With their roots in heavy rock, blues, folk and jazz, Out Of Focus went far beyond British bands 

like Jethro Tun, Gravy Train, Colloseum, Traffic, etc. 

Their self-titled second album was recorded at Bavaria studios in June 1971. This was another 

landmark of German rock, switching to a fusion-ridden direction. Which one of the first two 

albums you prefer, really depends on your own taste. In many ways this was a more extreme 

album, "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". Only the opening track "What Can A

Poor Boy Do" recalled the heavy guitar, flute and organ riffing of the first album. But, even such 

a fantastic album didn't seem to fulfil their ambitions. For the double album Four Letter Monday 

Afternoon (1972), Out Of Focus were expanded with brass and more. 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, for although the mammoth composition had many excellent 

parts I find it over-arranged. Imagine a group of 11 musicians playing something different all at 

once! "L.S.B" (sic!) was another very long work with the focus on brass, resulting in a musical 

fusion reminiscent of British Vertigo-bands like Nucleus, Bob Downes, Ben and also Soft 

Machine. Moran Neumuller had now taken the role of lead soloist, often multi-tracking his saxes 

and flutes. Drexler and Hering had a surprisingly low profile on this album. There was only one 

song that was comparable to their previous album: a short and folky ballad named "Where Have 

You Been". This proved to be Out Of Focus' last album. Surprisingly, little has been heard from 

these talented musicians since their demise. 

All Out Of Focus albums are now available oil CD in digitally remastered brilliance. What an 

awesome group they were! 

PANCAKE 

Personnel: 

• HAMPY NERLICH v 

• TOMMY METZGER g 

• WALTER NEGELE g 

• WERNER BAUER b 

• (RAINER ROHM d) A 

• GUNTHER KONOPIK d B 


(B)"Roxy Elephant" (private Z 33000) 1976 

NB: Re-issue of 1 on Offers OMP 7602 in 1976. second re-issue on Blubber Lips BL 804 in 1978. 

One of the finest mid to late seventies German symphonicprogressive acts (along with Sahara, 

Novalis, Pell Mell, Streetmark and some others) were Pancake, the brainchild of the talented 

guitarist Walter Negele. The first incarnation of Pancake came together in 1974. 

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). Walter Negele wrote all 

eight tracks, 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, influenced 

by such bands as Jane, Eloy, Ash Ra Tempel, Pink Floyd, Wishbone Ash, etc. The parallel to the 

early Wishbone Ash albums is easy to see, as Pancake had twin lead guitars and lacked 

keyboards - this was rather uncommon for a symphonic rock band in 1975! 

PANTHER 

Personnel: 

• GERD LANGE g, v 

• KLAUS SCHULZ g, v 

• KLAUS AHRENS g, b, v 

• GREGOR AHRENS d 

• OLAF LIETZEN d

ALBUM: 

"Wir Wollen Alles" (private 2667) 1974 

Another obscure group. Their only album came in a large, home made poster cover. This design 

itself was more interesting than the music contained within, I'm afraid. Panther played standard, 

short rock'n'roll songs with political lyrics in German. 

PARZIVAL 

Personnel: 

• LOTHAR SIEMS g, v 

• WALTER QUINTUS vln, b, kb 

• THOMAS OLIVER d, v 

• WALTER V. SEYDLITZ cello B 

ALBUMS: 

(A)"Legend" (Telefunken SLE 14635) 1971 

(B)"Ba-rock" (Telefunken SLE 14685) 1972 

NB: Sampler A German Rock Legend (Nova 6.28337) (1975) featured both their original albums, sampler Rock In Deutschland Vol. 9 

(Telefunken 6.24610 AG) (1981) was a compilation from these plus the rare 1972 single. 

Along with Ougenweide, 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. The nucleus of the group was the trio Lothar Siems, Walter Quintus and Thomas Oliver. 

Siems and Oliver had played together since 1965 in the Bremen group The Chamberlains, before 

joining the Quintus Ouartet. Their repertoire comprised increasingly folky styles. In 1971 they 

took the name Parzival and obtained a recording contract with Telefunken. Legend (1971) was a 

fine album of lyrical, electric folk-rock with much use of flute, violin and acoustic guitars. 

Featured guests were: Matthias Muller-Menckens (flute, piano), Joachim Reichhold (cello) and 

Hans Jaspers (viola). Some of the tracks had the slight melancholia I associate with Novalis at 

their best. Unlike Ougenweide and Novalis, Parzival sang in English and lacked the German 

distinction of the folk-rock bands on the Pilz label. Like Pell Mell, Parzival also incorporated 

classical music, but not in a pompous large scale manner. Technically they enjoyed the steady 

support of producer Konrad Plank. An obscure single ("One Day" coupled with "Souls Married 

To The Wind") followed in 1972. Luckily it was later included on the Rock In Deutschland 

sampler in 1981. 

Their second and sadly last album Ba-rock emerged at the beginning of 1973. The group had 

expanded with the addition of cellist Walter v. Seydlitz and helped by Muller-Menckens and 

Harald Konietzko (bass, vocals). This was similar to their first album, although in parts closer to 

rock than Legend. Parzival's legacy is to have recorded two of the best German folk-rock albums 

which avoided the trappings of over-ambition. Most of their songs were short, melodic, charming 

and beautiful. For this reason, their original albums are fast increasing in value, currently a bit 

short of 100 DEM each. 

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. 

The rest was average, rudimentary 'progressive rock'. It is now extremely rare!

PELL MELL 

Personnel: 

• THOMAS SCHMITT vln, g, v 

• (OTTO PUSCH kb) A,B 

• (DIETRICH T. NOLL kb) B 

• RALPH LIPPMANN v, kb, g C 

• CHERRY HOCHDORFER kb C 

• RUDOLF SCHON v, recorder, g 

• (JORG GOTZFRIED b) A,B 

• GOTZ DRAEGER b C 

• MITCH KNIESMEIJER d 


(A)"Marburg" (Bacillus BLPS 19090) 1972 

(B)"From The New World" (Phillips 6305 193) 1973 

(C)"Rhapsody" (Venus VB 76 1 PM) 1976 

NB: 1 has been re-released twice on Bacillus with the same sleeve: BAC 2008 (ca. 1976) & 22-009-004. There is also possibily an early 

edition of this on Bellaphon BI 15138 - matrix number of BLPS 19090. 

2 has been re-released on Ylaps 001. 

Pell Mell were formed in Marburg in 1971. Their home city also gave the name for their debut 

album, recorded during 1972 at the Dierks Studio, Stommeln, produced by Peter Hauke. This 

contained an inspired form of symphonic rock comparable to Nice and particularly Emerson, 

Lake and Palmer. Like these. Pell Mell often borrowed classical themes. Pell Mell's sound was 

characterised by colourful, swirling hammond organ, a violin (which Thomas Schmitt played 

with great virtuosity), mellotron, recorder and some guitar. Most of the material, five tracks in 

all, was instrumental. Their version of Smetana's "The Moldau" was particularly successful. On 

Pell Mell's second album From The New World (1973) the keyboard player Dietrich T. Noll 

replaced Pusch on half of the tracks. 

It seems that problems occurred when it came to recording and releasing a third album. A 

revamped Pell Mell, now featuring Schmitt, Schon, Kniesmeijer with Ralph Lippmann, Cherry 

Hochdorfer (ex-Frame) and Gotz Draeger, wasn't able to record Rhapsody until 1975 and another 

year passed before the album was released on the freshly founded record company Venus. 

Synthesizers and longer passages of classical guitar were introduced, resulting in a complex 

symphonic sound comparable to Triumvirat. For 50% of the album. Pell Mell used musical 

themes of Liszt and Rachmaninoff. 

PERCEWOOD'S ONAGRAM 

Personnel: 

• WOLFGANG MICHELS g, v 

• PETER CONANT SCHAFFER g B 

• KLAUS KAUFANN pno 

• GERALD HEINEMANN v B 

• UWE MEYER b B 

• HANS-JURGEN LUDWIG d 

• EDDY MUSCHKETAT perc, harm 

• GERALD HEINEMANN v

• GEARY PRIEST d B 


(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 

NB: 1-3 were private releases that had nothing to do with the British record company Virgin. There are probably re-issues with 

identical cover & catalogue number of these! 4 has been re-issued twice on Govi PO 1004. 

In the sixties, Wolfgang Michels was an eager rhythm and blues and Bob Dylan-fan. Encouraged 

by Alexis Korner, Michels formed Percewood's Onagram in 1969. Within weeks they recorded 

their first album, a collection of R & B and folk-blues based garage-rock. Some of the tracks 

were recorded live in the studio, and none of them had bass! The piano work was sometimes 

inspired by ragtime music of the twenties. "Chicago" was a fine 12-minutes example of live 

garage jamming. The only problem was that Michels lacked a good singing voice and the result 

thus became very rough. As the liner notes explained: 'the basic idea of this record was not to 

produce a record, but to give our friends the chance to hear our music, and thereby to increase the 

number of our friends'. Apparently this didn't work with the first album, Lessons as For Virgins 

(1971) basically contained the same type of music. Most noteworthy was the 21 minute "Are You 

Coming Mike..." with a hostile free form freak-out as the finale. Later albums sounded a bit more 

professional, but were still based on folk-blues. The group, expanded with Gerald Heinemann, 

Uwe Meyer, Geary Priest and Peter Conant Schaffer recorded Ameuropa in 1974 and for some 

this was their best album. After this, the group split and Wolfgang Michels set out on a solo 

career. 

PETARDS 

Personnel: 

• HORST EBERT g, v 

• BERND WIPPICH g, v 

• KLAUS EBERT b (?), v 

• ? d 

ALBUMS: 

"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 

ALBUM (as Zonk): 

"CCR Hits" (Sunset SLS 5012) 1969 

Petards were basically a good-natured pop-rock band, always attempting to get a German top ten 

hit, but never succeeding. They were fronted by the guitar-playing brothers Horst and Klaus 

Ebert, who occasionally managed to write some great pop-rock songs. A Deeper Blue (1968) was 

a rare example of German pop psychedelia in the 'swinging London' style, containing 12 short 

and light songs with English lyrics. Check that stupid photo of the group on the album cover! For 

their two subsequent albums, the glimpses of soft psychedelia gave way to a very plain guitar 

rock, 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 - under the pseudonym Zonk. Their most progressive effort was their final double album 

Pet-Arts (1971), which featured psychedelic cover art. The 14 songs were still quite straight rock,

only occasionally giving room for more Inspired Instrumental work. Today Petards are only a 

curiosity of German rock. 

PINGUIN 

Personnel: 

• VOLKER PLITZ kb 

• MARKUS SCHAUB g 

• JOE VOGGENTHALES g 

• ELMAR KART sax, flt 

• KLAUS GEBAUER v 

• TOM WOHLERT b 

• K.D. BLAHAK d 

ALBUM: 

"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

• DANIEL FICHELSCHER d, g C-E 


(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 

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. 

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 


• MONDO ZECH 

• KLAUS PETER SCHWEITZER 

• ROMI SCHICKLE 

• ? 

• ? 

ALBUM: 


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

engineered by Klaus Reiser. Perhaps Porst's involvement explains why the result sounded like a 

cross between Ihre Kinder and Murphy Blend - strong political lyrics in German and folky 

arrangements coupled with a very prominent hammond organ played in a semi-classical style. 

Lied Des Teufels also recorded similar music, but Prof. Wolfff for the most part lacked sax and 

flute. In all, seven songs, all of them good, some great! A recommended album that unfortunately 

is very seldom seen around nowadays. 

PROPELLER 

Personnel: 

• ACHIM REICHEL g, b, v 

• HERBERT HILDEBRANDT g, b, v 

• DICKY TARRACH d 

ALBUM: 

"Let Us Live Together" (Phillips 6305 114) 1972 

A one-off "have fun" project led by Achim Reichel. 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). Together 

they made an album of heavy boogie and glitter rock. Let Us Live Together featured ten jolly 

rockin' tracks and was quite well received by the German press. After this, Reichel soon returned 

to his much more experimental solo projects, such as A.R. & Machines. On the other hand, 

Hildebrandt and Tarrach formed Randy, Pie & Family with Bernd Schulz and Klaus-Georg 

Meyer (two other former Rattles-members). 

PROSPER 

Personnel: 

• FRITZ FREY (GUITARS, VOCALS), 

• EVERT BRETTSCHNEIDER (GUITARS), 

• ERNST MULLER (ELECTRIC PIANO, MINI-MOOG, MELLOTRON), 

• MATTHIAS GEISEN (BASS) AND 

• FRIEDHELM MISIEJUK (DRUMS, PERCUSSION) 

ALBUM: 

"Broken Door" (private BTS 7511) 1975 

An obscure quintet. Fritz Frey was also the engineer on the Chicken Bones album from 1976. 

Broken Door (1975) contained typical (also lyrical!) mid-seventies "progressivism" with plenty 

of mellotrons, moogs and heavy guitars - vaguely comparable to a cross between contemporary 

Zappa, Santana and King Crimson. A very fine album, but unfortunately very hard to find! 

RAMSES 

Personnel: 

• HERBERT NATHO v 

• WINFRIED LANGHORST kb, v 

• NORBERT LANGHORST g 

• HANS-DIETER KLINKHAMMER b 

• REINHARD SCHROTER d


"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: 

• 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 

A=Randy, Pie & Family 


(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 

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

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: 

• 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 

ALBUMS (after '70): 

(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: 

• PETER BRAUN g, v 

• LUIGI DE LUCA b 

• HOLGER TEMPEL d 

ALBUM: 

same (Polydor 2371 251) 1973 

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

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): 

• 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 (A.R. & Machines): 

(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 

ALBUMS (solo) (up to '76): 

"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

just two long pieces of more simple echo guitars and jazz-rock fusion. 

Reichel finally broke away from his machines on Autovision (1974), a more meditative album. 

Erholung (1975) contained tracks recorded live in Hamburg, on 4 August 1973 with Jochen 

Petersen (sax, flute), Peter Franken (drums) and Olaf Casalich (percussion). This was also an 

uncommon musical move from Reichel - 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. After a year of rethinking, he returned to straight rock with Dat Shanty 

Album (1976), but the choice of material was uncommon: old traditional sea shanties! He played 

most of the instruments himself. 

Later albums have gradually become increasingly pop- and rock-based (Reichel has even enjoyed 

some chart success in Germany!), and I will not go into details about these albums. With Frank 

Dostal he set up the production unit Gorilla Musik, which has been responsible for several fine 

albums by Novalis, Kin Ping Meh and Ougenweide. Even the legendary Yatha Sidhra-album 

(one of the rarest on green Brain) was produced by Reichel. He also managed the label Ahorn, a 

Telefunken subsidiary that is now defunct. 

RELEASE MUSIC ORCHESTRA 

Personnel: 


• (NORBERT JACOBSEN sax, clarinet) A,B 

• (BERND KIEFER b) A 

• (HOLGER DUNKEL b, g) B 

• FRANK FISCHER b C 

• WOLFGANG "ZABBA" LINDNER d, vibes 

• MARGIT MAYA HABERLAND v, perc, g B,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. 

Their first album Life (1974) included recordings from their first concert as Release Music 

Orchestra in Hamburg, on 5 April 1974, and a later appearance in Amsterdam. The music 

strongly recalled Tomorrow's Gift's Goodbye Future phase, but had a more pronounced jazz 

feeling, due to the extensive use of electric piano and sax. Release Music Orchestra also had a 

funky feeling to their instrumental jazz-rock. The sleeve featured drawings recalling Gong's 

fancy artwork! 

Garuda (1975) was arguably their best album - a refined, rhythmic jazz-rock with sax duets and 

electric piano to the fore. 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. Margit Maya 

Haberland expanded the "orchestra" to a quintet. Notable guests were saxophonists Johannes 

"Alto" Pappert (from Kraan) and Jochen Petersen (Ikarus and Randy Pie). Further line-up

changes followed before the third album Get The Ball (1976): Jacobsen and Dunkel left and 

Frank Fischer became their new bassist. The overall sound on this album had changed, due to the 

lack of saxophone. In its place Carlo Karges (previously guitarist of Tomorrow's Gift ) and Mike 

Gong added guitar on a couple of tracks. Also, the rhythms were faster and the overall sound 

more stream-lined - they were attempting a more commercial approach. 

MICHAEL ROTHER 


"Flammende Herzen" (Sky 007) 1976 

NB: UK-issue of 1 on Radar RAD 8, re-issue on Polydor 2327 112 

Michael Rother was born in Hamburg in 1950. Up to 1970 he was a member of the amateur 

group Spirit Of Sound, also including Wolfgang Riechmann (later of Streetmark) and Wolfgang 

Flur (later of Kraftwerk). Rother worked with monotonous, electronic and unique "kling-klang" 

rock in Neu (with Thomas Dinger) and Harmonia (with Cluster). In 1975 he decided he'd had 

enough of this music and went solo with idyllic, melodic and tuneful instrumental music 

characterised by soft guitars and synthesizers. Jaki Liebezeit of Can played drums on most of his 

albums. Rother's music is ideal for relaxed listening. Flammende Herzen (1976) still stands out 

as his best album. Surprisingly, it sold more than 100,000 copies in Germany. The Sky albums 

were recorded at Conny's Studio with Konrad Plank. 

ROUNDHOUSE 

Personnel: 

• BERND HELL b, g, v 

• JEAN PIERRE WUTTKE sax 

• KURT WEAL tromb, vibes 

• LASZLO JUHASZ tpt, bassoon 

• GUSTAV CSIK kb, sax 

• RALPH BLOCH d 

ALBUMS: 

"'scuse Me" (Harvest 1C062-29438) 1972 

"Down To Earth" (Harvest 1C062-29483) 1972 

For me, this band's two albums of heavy blues and soul-influenced rock with a strong brass 

backing are a great disappointment. All material was rather song-oriented, not offering much 

space for instrumental excursions of longer duration. I really wonder how this group managed to 

find their outlet on the supposedly "progressive" Harvest label. Perhaps it was due to some good 

guitar passages. The recordings were done in the Electrola Studios, Cologne and directed by H. 

Hondricht. 

ROYAL SERVANTS 

Personnel: 

• DETLEF NOTTRODT v, g 

• MATTHIAS THUROW g 

• MANFRED MAIER v 

• REINHARD kb 

• RONALD LIBAL b

• GUNTER KLINGER d 

ALBUM: 

same (Polydor 2371 251) 1973 

Royal Servants are an interesting example documenting how the late sixties beat music 

developed into early seventies progressive rock. Their album We (1970) was musically 

somewhere in-between these genres, as was Xhol Caravan's Electrip (1969). There were a couple 

of ten minute vintage progressive excursions and five shorter pop-rock tracks drawing from jazz, 

folk and country (some even had a Latino-touch), all with lyrics in English. Most of the material 

sounds very dated today and Royal Servants are best remembered for being the predecessor to 

Eulenspygel. Their album is now very rare and copies are changing hands for 400 DEM or more. 

RUFUS ZUPHALL 

Personnel: 

• GUNTER KRAUSE g, v 

• THOMAS KITTEL g, kb B 

• KLAUS GULDEN flt, perc 

• (HELMUT LIEBLANG b) A 

• MANFRED SPANGENBERG b B 

• UDO DAHMEN d 

ALBUMS: 

(A)"Weiss Der Teufel" (Good Will 10001) 1971 

(B)"Phallobst" (Pilz 20 21099-5) 1971 

NB: Re-issue of 1 on Little Wing (LW 1009) in 1989 in different cover. Also re-issued on CD. 

Re-issue of 2 with the original fold-out cover, but with the "Pop Import" mark ca. 1981. 

An experienced progressive rock collectors will know about this excellent group from Aachen, 

which can arguably be dubbed the German Jethro Tull. Rufus Zuphall's first album Weiss Der 

Teufel has gradually gained legendary status. It was recorded in the Netherlands and released as a 

private pressing in 1971. The crew that recorded this stunning garage rocker with Erich Engels 

(percussion on one track). All five tracks were recorded live in the studio, resulting in a raw and 

unpolished sound. Just like Jethro Tull, Rufus Zuphall drew influences from both folk and the 

blues. The side-long title track "Weiss Der Teufel" incorporated the old Gerschwin-standard 

"Summertime". This developed into a very twisted and frenetic flute solo! Some people regard 

this track as one of the finest moments of German rock. (Note: two other interesting versions of 

"Summertime" have been recorded. The Zombies did a charming, jazzy beat version in 1966 and 

the Dutch group Brainbox, featuring Jan Akkerman on guitar, released a more progressive 

interpretation in 1969.) Other great tracks were "Knight Of Third Degree", in a peaceful, folky 

mood with massive percussion, and "Freitag", featuring one of the most raucious guitar breaks of 

German rock! Weiss Der Teufel is a great album, typifying the raw-edged, largely instrumental 

early progressive rock. 

Their next album Phallobst (recorded in the Dierks Studio from July to August 1971) featured 

new members Thomas Kittel and Manfred Spangenberg. This album was more polished and had 

a wider dynamic and instrumental range (mellotron, clavinet and acoustic guitars were added). 

Particularly strong was the album's second side with two fine instrumentals: "Prickel Prit", 

strongly flavoured by the blues, and "Makrojel" electric folk-rock with flute to the fore. "I'm On 

My Way" closed the album in a quiet way. 

In 1989 Little Wing re-issued the first Rufus Zuphall album in a magnificent new cover design.

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, comprising a complete concert from June 

1972, demos for their unreleased third album and a couple of tracks recorded prior to Weiss Der 

Teufel. The quality of the recordings were generally good and this set is indispensable for Rufus 

Zuphall fans! 

INGA RUMPF 


"Second-Hand-Madchen" (Phillips 6305 279) 1975 

She was born on 2 August 1948 in Hamburg. Between 1965 and 1969 Inga was a member of the 

Irish-German folk band City Preachers along with Dagmar Krause and O'Brian-Docker. After a 

one-off project with Krause as ID Company she co-founded Frumpy in 1970, a group that 

recorded four albums together before splitting in 1972. The nucleus of Frumpy then became 

Atlantis, and released further commercially successful albums, benefiting from Rumpf's 

distinctive, deep and powerful voice (- the German Janis Joplin?). Her first solo album was 

recorded with most of the Atlantis line-up of 1975: Frank Diez (guitar), Rainer Marz (guitar), 

Karl-Heinz Schott (bass), Ringo Funk (drums), Adrian Askew (keyboards) and Claudio Szenkar 

(percussion). The album consisted of conventional rock with soul, jazz and blues influences. 

Successive albums grew increasingly predictable, with contributions from internationally wellknown 

studio musicians. 

SAHARA 

Personnel: 

• HENNES HERING kb 

• MICHAEL HOFFMANN moog, mellotron, v 

• (NICK WOODLAND g) A 

• GUNTHER MOLL g, v B 

• (ALEX PITTWOHN harm, sax, v) A 

• STEFAN WISSNET b, v 

• (HARRY ROSENKIND d) A 

• HOLGER BRANDT d B 

ALBUMS: 

(A)"Sunrise" (Pan 87.306) 1974 

(B)"For All The Clowns" (Ariola 89.337) 1976 

NB: UK-issue of 1 on Dawn DNLS 3068, US-issue of 1 on Peters Int. PILPS 9006. US-issue of 2 on Peters Int. PILPS 9017. 

Both albums were recently re-issued on CD by Ohrwaschl. 

Sahara developed out of Subject Esq. After some line-up changes in 1973, this Munich group 

was signed to Pan (an Ariola subsidiary) and changed their name to Sahara. The album Sunrise 

(1974) was recorded in the Autumn of 1973 in the Musicland Studios, Munich. This was an 

excellent example of complex German symphonic-rock, dearly influenced by British bands like 

King Crimson, Yes, Emerson, Lake & Palmer, Curved Air, Jethro Tull and others. Sunrise was 

nonetheless of an international quality, combining haunting melody lines with complex 

arrangements. The "Sunrise" suite filled the whole of side two. Tile album was also granted a 

British release on the Dawn label.

Sahara were never a stable unit. At the time of recording For All The Clowns two years later, 

only Hering, Hoffmann and Wissnet remained from the 1974 line-lip. The new members were: 

Gunther Moll and Holger Brandt (ex-Missing Link). The resulting album was another great effort 

- more polished and melodic with long, memorable songs like "The Mountain King" and the title 

track. 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. Sahara's legacy is two really great 

albums recommended for all fans of symphonic-rock. 

SAMETI 

Personnel: 

• CHRISTIAN "SHRAT" THIELE v, congas 

• WALTER BRATENGEIER g 

• ECKART b, g 

• KLAUS GOTZNER d 

ALBUMS: 

same (Brain 1020) 1972 

"Hungry For Love" (Warner K56074) 1974 

NB: 1 was recently re-issued on CD by Germanophon. 

Sameti was created in Munich in 1971 after Christian "Shrat" Thiele had left Amon Duul II. 

Their first album consists of one side long improvisation: "Anotherwaytosee", and one side of 

four semi-structured works. The music itself has similarities with Amon Duul II, but is less 

imaginative. Their lyrics apparently dealt with their personal habits: 

"I'm used to smoke - 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 - 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). 

SAND 

Personnel: 

• LUDWIG PAPENBERG g, kb, drum machine 

• HANNES VESTER v, VCS3 

• ULRICH PAPENBERG b 

ALBUM: 

"Golem" (Delta Akustik 251281) 1974 

A studio group. Their album Golem (1974) featured a lot of electronic sound effects, almost 

amounting to a test record! This music takes you to abstract mindspheres, taking you off with the 

10 minute opening track "Helicopter"! The album was recorded with the artificial head sound 

system, so it's appropriate for headphone listening. This was all directed by none other than 

Klaus Schulze and his influence is very evident on these recordings, 'cosmic' and trippy as they 

are. Other relevant musical references could be White Noise, Cosmic Jokers or Ash Ra Tempel.

Sand were somewhat inferior to these legends, but Golem is certainly interesting, particularly for 

all fans of space rock. 

SATIN WHALE 

Personnel: 

• DIETER ROESBERG g, flt, v 

• THOMAS BRUCK b, v 

• GERALD DELLMANN kb 

• HORST SCHATTGEN d 


"Desert Places" (Brain 1049) 1974 

"Lost Mankind" (Nova 6.22248) 1975 

A rock-oriented group. Their music was AOR in direction, recalling bands like Supertramp, 

Whitesnake, Yes, Barclay James Harvest, Lake, etc. By contrast, their first album Desert Places 

(1974), released on the green Brain label, was more raw-edged and spirited. 

GUNTHER SCHICKERT 

Personnel (GAM): 

• GUNTHER SCHICKERT g 

• AXEL STRUCK g 

• MICHAEL ALESKA d 


"Samtvogel" (private) 1974 

NB: 1 re-issued on green Brain 1080. 

The musical career of this talented guitarist has been very erratic. In 1973 he founded the trio 

GAM (first letter in the forenames of the members!) with Axel Struck and Michael Aleska. This 

group never made any records, but a casette release, GAM 1976 (released 1986), contained demo 

tapes for a possible album. Schickert recorded his first solo album and released it privately in 

1974 (Brain re-released it in 1975). Here he presented his personal ideas, which were surprisingly 

similar to Manuel Gottsching's Inventions For Electric Guitar - a 'cosmic' electronic music 

created exclusively by an electric guitar. Schickert and Gottsching didn't know about each other's 

projects until years later. Schickert was also Klaus Schulze's roadie for a while and occasionally 

jammed with the master of electronics just for fun. He was actually pictured on the rear sleeve of 

Klaus Schulze's Moondawn. 

JULIUS SCHITTENHELM 


"Aristoteles" (April 0004) 1976 

NB: 1 re-issued on Schneeball 0004. 

Julius Schittenhelm (vocals, acoustic guitar) is best known as the producer of several Ohr 

albums. Since the late sixties he had also written his own folk songs. 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, marimba, organ), Uwe Mullrich (bass), 

Friedemann Josch (flute, sax), Burkard Schmidl (synthesizer, piano) and Jofrey Ramos (congas,

percussion). Schittenhelm's songs were generally accompanied only by acoustic guitar and 

congas. Aristoteles was released on the independent April label. It is an album of average quality 

of interest mostly for fans of German political folk-rock. 

CONRAD SCHNITZLER 


"Eruption: Schwarz" (Blok KS 1001) 1971 

"Meditation: Rot" (Blok KS 1002) 1971 

"Blau" (Blok KS 1003) 1972 

"Gelb" (Blok EB 110) 1983 (1974) 

NB: 1,2 & 3 were limited editions of ca. 500 copies each. 

The most outrageous character in the world of electronic music was born in Dusseldorf in 1937. 

In 1961 he started his studies at Staatliche Kunstakademie as the first pupil of the radical artist 

and sculptor Joseph Beyss. Later he also studied under Karl-Heinz Stockhausen. In 1969 he was 

involved in two of the most important experimental German bands of all time: Tangerine Dream 

and Kluster. Indeed he worked with both bands at the same time for a while. His first live 

appearances were with Tangerine Dream, most significantly their performance at the 'Essen 

Songfestival', in September 1969. Kluster was formed in November 1969 with Dieter Moebius 

and Hans-Joachim Roedelius. In May 1971, Schnitzler moved to Berlin and started his solo 

career there. 

His first release was Schwarz (1971), which featured various other musicians not listed on the 

plain black cover. Basically, the two very long pieces of music were similar to the Kluster 

albums. It also seems very likely that Moebius & Roedelius participated in these recordings. This 

record, like the next two, was released privately on the Block label in a very limited quantity 

(about 500 copies). 

His second solo album Rot (1972) also had side-long excursions: "Meditation" and "Kraut 

Rock" (rock?!). This was the first time the distinctive and characteristic electronic sounds and 

tape loops of Schnitzler appeared on record. This album really broke new musical ground, and 

should be regarded as an epoch-making work like Cyborg, Zeit and Affenstunde, but due to its 

limited circulation few paid attention to it. To use the term 'music' on this material is perhaps a 

bit misleading, it should by compared to the contemporary art of sculpture, except that 

Schnitzler's raw material was made of sound. 

On Blau (1973), there were two further pieces in a similar style, amazingly entitled: "Die 

Rebellen Haben Sich in der Bergen Versteckt" and "Jupiter". 1974 brought no further albums, 

although one was recorded: Gelb. This wasn't released until 1983. For a change, it contained 12 

untitled pieces of musical association from the year 1974. Schnitzler also made weird live 

appearances, like: "Work in progress" in Galerei Block, Berlin - a 50 hour performance over 16 

days. 100 copies or a box named Work In Progress was released circa 1974 with Schwarz, Rot, 

Blau and a cassette with live recordings. Each box is completely unique, 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. In 1976 he recorded the piece "Der Riesen Und Seine Frau". 

This was released in 1981 as one side of Grun. 

EBERHARD SCHOENER 

ALBUMS (up to '76):

"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, not due to his 

recorded output, but as an inspirational source and general advisor for up and coming musicians. 

He was born the 13 May 1938 in Stuttgart. Between 1952 and 1958 he studied violin and 

conducting in Detmold. In 1962 he founded the Munich Youth Symphony Orchestra, which he 

conducted for eight years. From 1966 he become the artistic manager and premier conductor of 

the Munich Kammeroper. He was the man who brought the first moog synthesizer to Germany in 

1968. He experimented a lot with this instrument at the Bavaria studio in Munich and encouraged 

Florian Fricke to buy one. Schoener's synthesizer experiments were documented on his first three 

solo albums, two of which were moog adaptations of classical music in the style of Walter 

Carlos. The third one comprised similar adaptations of American folk and country music (!!!). 

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. Jon Lord was and 

is a long-term friend of Schooner. Meditation (1974) was his first electronic work in its own 

right, inspired by an extended trip to Asia. It was another one of Schoener's many attempts to 

merge different musical traditions. With Tony Ashton (vocals, piano, organ), David Coverdale 

(vocals), Ray Fenwick (guitar), Glenn Hughes (bass, vocals, guitar), Jon Lord (keyboards), Pete 

York (drums) and two opera singers he led the ambitious classical and rock fusion project 

Windows. With the exception of Bali-Agung, an uncommon merging of Balinese traditional 

music and rock with Pete York and Sigi Schwab (guitar), all the Harvest albums were further 

classical and rock concept albums with contributions from famed musicians like Andy Summers 

(guitar). Steward Copeland (drums). Sting (bass) and Olaf Kubler (sax). 

ERNST SCHULTZ 


"Paranoia Picknick" (Kuckuck 2375 014) 1971 

Ihre Kinder's guitarist and vocalist made his first solo album in 1971. His Paranoia Picknick was 

closer to electric folk-rock than Ihre Kinder were, but the German lyrics deal as usual with 

political problems. This is a varied record, that in addition to the folk rock-material features 

"Synthetischer Orient nr. 1", a successful experiment with sitar and variable speed tapes, 

"Paranoia Picknick", a strange sound collage, and "10 Finger Blind", performed by two 

typewriters! Among the rest of the material the best tracks are "Nur Bin Spanier" and "Kurt 

Mittag, 55, Staatenlos". The record had an impressive painting of characters from the lyrics on 

the cover. It was released in a limited edition of only 2,600 copies. 

KLAUS SCHULZE 


"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

"Moondawn" (Brain 1076) 1976 

Klaus Schulze was born in Berlin on 4 August 1947. His musical career started in 1967 when he 

founded the amateur band Psy Free. Schulze played drums. This band also included Curly Curve 

guitarist Alex Conti. In Autumn 1969 he teamed up with Edgar Froese and Conrad Schnitzler in 

Tangerine Dream. One of their first concerts in this format was at the Essen Pop and Blues 

Festival on 11 October 1969. The same month their legendary Electronic Meditation was 

recorded. Klaus left Tangerine Dream in the Summer of 1970 to create the ultimate space rock 

trio Ash Ra Tempel, with Hartmut Enke and Manuel Gottsching. The members had met at 

"Wilmersdorfer Beat Studio", where Tangerine Dream, Agitation Free and others were 

rehearsing and studying with Thomas Kessler and others. Klaus Schulze also studied 

experimental composition with Ligeti, Winkel and Blacher at the "Technischen Universitat". 

After one year with Ash Ra Tempel, resulting in their classic debut album and 33 concerts, Klaus 

Schulze departed to start his solo career in September 1971. In April 1972 he recorded Irrlicht, a 

"Quadrophonic Symphonie fur Orchester unad E-machines" - released in stereo! This first solo 

work was heavily based on the use of organ, but mostly laden with electronic treatments such as 

oscillators, echo machines, phasing, etc. Also a symphony orchestra contributed to the recording 

(Colloquium Musica der Freien Universitat), but his own assault of manipulated organ 

completely dominated the sound. The album featured the composition "Irrlicht", which was 

divided into three movements. The musical references for Schulze's original music were avantgarde 

and systemic composers like Racy, Ligeti, Stockhausen and Cage. Like all of these, Klaus 

Schulze had developed his own interpretation of the minimalist idea, 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, though, as the third movement "Exil Sils Maria" ran backwards for more 

than twenty minutes! Anyway, the passing (and direction, logically!) of time is only an illusion 

according to several philosophers! The original release of Irrlicht on Ohr featured a cover by 

Klaus Schulze. The Brain re-release and their subsequent re-issues have a different sleeve with 

an Urs Amann painting reminiscent of Salvador Dali. 

From December 1972 onwards, Klaus Schulze took part in many successful 'cosmic' jam 

projects. The first of these was Walter Wegmuller's Tarot (1973), which also assembled the 

original Ash Ra Tempel trio together again for the recording of Join Inn (December 1972). 

Another album project was finished soon afterwards: Lord Krishna von Goloka (1973) by 

Sergius Golowin, a friend of Wegmuller. Klaus played a major role on this album both as a cocomposer 

and as a performer playing drums, organ, mellotron, guitar (!) and electronics. From 

February to May 1975, he participated in the almost endless Cosmic Jokers sessions, resulting in 

no less than five albums, all released without the permission or knowledge of the involved 

musicians. 

Meanwhile, Schulze also found time to record his second solo work (from February to July 1973) 

- the double album Cyborg (its original sleeve was different from the Urs Amann painting on 

later issues). This was a great development on the new musical concept presented by Irrlicht. 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). 

This was his first in a string of five highly influential albums. Other activities in 1973 were the 

production of music for German television, for radio plays and for mental hospital therapies. 

There were few live performances at this time. His first concert as a solo artist was on 15 

February 1973 in Paris, where he presented his ballet music "Totemfeuer". On this occasion he

also performed a set with Ash Ra Tempel. 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. In August he unexpectedly rejoined Tangerine Dream for a French tour (and at 

least one open air show in Germany), temporary replacing Peter Baumann. 

The second of Schulze's five classic albums in a row, Picture Music (recorded in Autumn 1973), 

was kept in the can for 16 months, in anticipation of a better record deal. His relationship with 

Kosmische Musik and Ohr was now getting more and more strained, particularly after Kaiser 

released the Cosmic Jokers' albums without his permission. On Picture Music, he introduced 

rhythm and drums into his music - no big surprise really, as he started his musical career as a 

drummer! Also his keyboard arsenal was extended with ARP Odyssey and ARP 2600 

synthesizers. The spacey sounds he achieved with these instruments helped to increase his (wellearned) 

reputation as a synthesiser wizard. 

At the beginning of 1974 Klaus Schulze produced two fairly obscure groups. Code III and Sand, 

with the artificial head recording technique, released on Delta Acustic (their spelling). Finally, he 

signed a new record contract with Metronome's label Brain. This proved to be a long lasting 

partnership. His first release on the legendary green labeled Brain was Blackdance (recorded May 

1974). 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". For some concerts in November and 

December 1974 he was joined by Michael Honig (keyboards, ex-Agitation Free). 

In January 1975 Picture Music was finally released. The original issue had an illustration by 

French painter Jacques Wyrs. This was replaced on all subsequent re-issues. Klaus Schulze 

toured France in the Spring of 1975. Half a year later, Timewind was released, bearing a 

dedication to Richard Wagner. This album was performed exclusively on keyboards (i.e. 

electronics and sequencers). One of the tracks was recorded on a two-track machine in his 

bedroom in March & June 1975. His music had now fully matured - displaying a refined use of 

electronics and sequencers resulting in a brilliant, swiftly flowing ethereal music which many 

artists later have attempted to copy, but which few ever have managed to surpass! The two pieces 

"Bayreuth Return" and "Wahnfried 1883" had a duration of one hour. This album was awarded 

with the prestigious 'Grand Plix International Du Disque' in France, which had previously been 

given to other ground-breaking artists such as Pink Floyd and Jimi Helldrix. 

In August 1975 he mixed Nipponjin by Far East Family Band, a Japanese progressive rock band 

that included two keyboard players that later went solo: Akiro Ito and Masanori Takahashi, the 

latter better known as Kitaro. Only months later (November to December) he was to produce 

their next album Parallell World. Both albums are well worth acquiring, particularly for fans of 

the early seventies style of Pink Floyd. 

Moondawn was recorded in January 1976. Schulze banded the re-appearing drums over to a 

long-time friend, Harald Grosskopf. This was the classic drums & sequencer driven album - a 

development on the sound attempted for the first lime on Picture Music. The music was 

gradually evolving and increasing in force on "Floating", whereas "Mindphaser" drifted around in 

a spooky atmosphere (with added cloudbursts) for 10 minutes, then exploded pompously in a 

rage - as an electronic "Careful With That Axe, Eugene"! Later that year, he also participated in

Stomu Yamashta's ambitious "Go" project, first recording a studio album in February (Go), then 

performing the material live in Paris and London in June, resulting in the double album Go Live 

From Paris. 

Along with Tangerine Dream, he has been the most important pioneer of electronic music, a 

genre that they indeed invented during the mid-seventies with their several pioneering albums. 

Maybe someday these artists will get the attention they have deserved. In the meantime, new 

generations of synthesiser players continue to be influenced by them. For an initial introduction 

to Klaus Schulze's career, try the albums: Cyborg, Blackdance, Timewind, 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. Up to 1967 her band featured 

future Guru Guru members Mani Neumeier and Uli Trepte and played a very spontaneous kind 

of free jazz. The album Jazz Meets India was recorded in October 1967 and featured Manfred 

Schoof (trumpet, cornet), Barney Wilen (sax), Uli Trepte (bass), Mani Neumeier (drums), Dewan 

Motihar (sitar, vocals), Keshav Sathe (tabla) and Kusum Thakur (tambura). 

SCORPIONS 

Personnel: 

• (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), released on the green Brain label. From the album's catalogue number, 

you will see that this was the first album on the Brain 1,000 series! Their debut was way better 

than those albums that brought Scorpions international fame - 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.F.O. (their first albums were also great!). 

He'd met this group when Scorpions supported U.F.O.'s German-tour. This left Scorpions under 

the command of Klaus Meine and Rudolf Schenker, who re-launched the band with Fly To The 

Rainbow on RCA in 1974. Their new guitarist Ulrich Roth provided some interesting moments 

on their albums up to 1978. 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. 

SECOND LIFE

Personnel: 

• HOLGER SCHMIDT g, v 

• CLAUS MEINHARDT b 

• KARL-HEINZ TRAUT d 

ALBUM: 


A heavy blues-progressive power trio. They recorded (in Windrose Studios, Hamburg) one 

interesting, self-titled album for Metronome in 1971. Best cut was the 20 minute long suite 

"Second Life". It started as a folky, acoustic song, building into a heavy guitar solo section 

similar to Jimi Hendrix or Ten Years After followed by a long drum solo. Side two had four fine 

hard rock songs. Second Life's album is now very rare, fetching prices in excess of 150 DEM. 

After more than twenty years, the cover lamination is peeling off on every copy I have ever seen, 

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. Smith and recorded two inferior albums for Vertigo and 

Bacillus. 

SECOND MOVEMENT 

Personnel: 

• HARALD KESSELHACK v 

• THOMAS MOCKL g 

• SIGMUND ZEIDLER kb 

• MANNI BIERBACH sax, 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, with roots back to the 

late sixties. Blind Man's Mirrorwas 

privately pressed. Just 700 copies were released. It featured 

typical, melodic late seventies style progressive rock with symphonic touches. 

SEEDOG 

ALBUM: 

"We Hope To See You" (Delta Akustic 251 261) 1974 

Another of those spacious Delta Akustic albums, 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. Synthetic Space was an album full of 

experimental electronics, to file along Kluster and Conrad Schnitzler. In contrast to these, 

Sesselberg's compositions were relatively short. It is a curiosity for fans of the pre-industrial, 

experimental rock.

PETER SEILER 


"Keyboards & Friends" (RBM 5004) 1974 

Heavily influenced by the classical rock of Emerson, Lake and Palmer, Peter Seiler led the 

symphonic rock trio Tritonus through their whole lifespan from 1973 to 1979. Before recording 

the first Tritonus-album. Seiler released his solo album Keyboards And Friends, helped by 

Tritonus bass player Ronald Brand and saxophonist Gerd Kothe. The album received bad press, 

as it was recognised as an ill-fated free music experiment. 

S.F.F. 

Personnel: 

• EDUARD SCHICKE d 

• GERHARD FUHRS kb 

• HEINZ FROHLING b, g, mellotron 


"Symphonic Pictures" (Brain 60.010) 1976 

NB: Originals of 1 had the green Brain label. Later pressings of this came on the brown Brain label. Re-issued with following two as 

Collected Works on Laser's Edge in 1993. 

This trio was the leading German band of the instrumental symphonic rock genre of the late 

seventies. Their music can he compared to a more easy-going King Crimson or Shylock. 

Instrumentally the mellotrons, string ensembles and moogs were given more space than the 

guitars, a quite typical trademark of such bands. Their Symphonic Pictures (1976) was recorded 

with Dieter Dierks at the Dierks Studio. It was planned that Frank Zappa was to produce the 

band, but he had to record his own album (Zoot Allures) at the same time as Symphonic Pictures 

was to be recorded. Arguably, this was SFF’s finest achievement and indispensable for lovers of 

the mellotron - Fuhrs and Frohling both played this instrument! Frohling also had a self-built 

double neck Les Paul guitar and Rickenbauer bass combination. 

SIDDHARTA 

ALBUM: 

"Weltschmertz" (private) 1975 

This group recorded a melodic and almospheric album with some nice guitar parts in 1975. 

Certainly a very rare progtessive rock album! 

SILBERBART 

Personnel: 

• HAJO TESCHNER g, v 

• WERNER KLUG b 

• PETER BEHRENS d 

ALBUM: 

"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. This album contained just four songs: "Chub Chub Cherry" (a short heavy 

rock song like a freaky Cream), "Brain Brain" (16 minutes of acid nightmares, continuously

shifting tempo in an amphetamine-driven mayhem), "God" (a much more melodic attempt with 

powerful guitar arrangement, 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). As you will have gathered, this is an extreme album in many ways: the 

raw power, the cranky vocals, the restless arrangements, not forgetting the ugly silver gnome on 

the front sleeve! All trace of Silberbart disappeared after this album, which in itself gained them 

no recognition at all. A real shame, as some of their ideas were quite remarkable. Silberbart were 

a true power-trio. Now, go out and hunt for their album - you'll need about 250 DEM! 

SILOAH 

Personnel: 

• THOM ARGAUER v, g (A), kb (B) 

• (TINY v, shinai) 

• (WOLFGANG b) 

• FLORIAN LABER b, v B 

• (MANUELA perc) 

• BLACKY ZUMSTEIN perc B 

• MARKUS KRUG d B 

ALBUMS: 

(A)"Saureadler" (Car Records 1558 015) 1970 

(B)"Sukramgurk Playin'" (Ger. Blues & Underground 1558 025) 1972 

NB: 1 also released as just 'same' (private) at about the same time. 

Both albums were re-released on CD by Lost Pipe Dreams in 1993. 

Siloah came from Munich and were the brainchild of one Thom Atgauer. They made two 

extremely rare private pressings, regarded as among the most frenzied on the German 

underground scene. Some dealers have described their first album Saureadler (1970, the title 

means 'acid eagle') as 'being even wilder than Kalacakra', and it isn't difficult to agree with this 

after listening to the six tracks. This is an acoustic ethno-psychedelic head trip. Guests play 

drums, flute and guitar on certain tracks. Apart from the short introduction and ending, the album 

had "Aluminium Wind" (18:00). There are some rumours that members of Amon Duul were 

involved in these recordings. Their second album 

Sukramgurk Playin’ (1972) was definitely an underground classic - a mostly instrumental album 

with lots of primitive, psychedelic organ sounds. "Milk Blue Mind" (16:15) covers side one with 

stunning jamming. 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 

sound balance is a bit strange, the lyrics are almost inaudible. Side two starts off with "Magic 

Carpet Ride To The Alps" (2:38), a short number in the same vein and continues with "Feast Of 

The Pickpockets" (8:39), slow meditative organ chords gradually incorporating bass and drums, 

and "Stony" (4:26), which bears up its name. "A Landlady's Dessert" (0:46) is the short 

conclusion of the album. Siloah on this record were: If you want to check out Siloah, save up 500 

DEM to purchase each record. 

SITTING BULL 

ALBUM: 

"Trip Away" (CBS 64697) 1971 

A quartet, probably originating from the Hamburg-area. In 1971 their album Trip Away,

containing 10 tracks in all, was recorded at the legendary Windrose Studio in Hamburg. Most of 

them had a laid-back, American West Coast feel, in some ways comparable to the music of 

Quicksilver Messenger Service. Their sound was dominated by electric and acoustic guitars with 

occasional keyboards. I haven't got the names of the group members, as they weren't mentioned 

on the record sleeve! An original copy should be yours for about 75 DEM. The group also 

released three singles: "Hopeless Love" coupled with "Indian Fate" (1971) was taken from their 

album, "Sleepy Tom-Tom" coupled with "Raindrops" (1972) and "Motorcycle Mama" coupled 

with "Your Lovin' Man" (1972) were two rarities released on Phillips. 

SKYLINE 

Personnel: 

• REINHARD GLOWATZKE g 

• UDO LUMMER g 

• WERNER VOGT b, v 

• MICHAEL STICKDORN d 

• RAIMUND FUHRIG perc 

ALBUM: 

"Louise For 1 Night" (private) 1976 

This was a short-lived group, formed by several ex-members of Virus. Skyline also appeared on 

the festival sampler Urnsonst & Draussen 1976. Their album comprised jazzy hard rock with 

some fine guitar parts. 

SNAKE IN THE GRASS 

ALBUM: 

"Hot & Sweet With Beat" (Opp 5) 1969 

Another of those vanished rarities. Judging by the title and year of release, this is an album of the 

late beat-age. Its musical value is open to question! The Opp-label also released the first Hairy 

Chapter album Eyes in 1970. 

SPARIFANKAL 

Personnel: 

• CARL-LUDWIG REICHERT g, v 

• TILLMANN OBERMAIER g, v 

• STEFAN LIEDKE g 

• FLORIAN LABOR b, 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. With third member Florian Labor Sparifankal gave their first concert in 1972. Three 

years later Sparifankal founded the alternative label (releasing mainly jazz-rock and polit-rock) 

April, along with musicians from Embryo, Ton Steine Scherben, Missus Beastley and 

Checkpoint Charlie. Sparifankal recorded a live show in February 1976. It was released as

Bayern Rock (1976) - the first release on April. By this time the band had expanded to a quintet 

with Gunther Sonderwald and Stefan Liedke. They played raw and unpolished music, polit-rock 

that left a lot to be desired, especially the vocals. The rather weird lyrics were sung in a Bavarian 

dialect. 

SPERRMULL 

Personnel: 

• HELMUT KRIEG g, mand, v 

• PETER SCHNEIDER kb, synth 

• HARALD KAISER b, v 

• REINHOLD BREUER d 

ALBUM: 

same (Brain 1026) 1973 

Sperrmull’s only album has all the musical variety you'll ever desire from an early seventies 

German album - the jolly mandolin tune on "Me And My Girlfriend", Floydian effects on "No 

Freak Out", Deep Purple-like guitar and organ lines on "Rising Up" and powerful solo work with 

dynamic arrangements on "Right Now" (the longest track). The rest, "Land Of The Rocking 

Sun" and "Pat Casey", were more conventional rock songs, and could very well have been the A 

and B sides to a catchy single (but weren't!). The recordings were done at Dierks Studio, 

Stommeln, produced by a certain Chazadu, surely a more famous character appearing under a 

pseudonym. Their album is one of the rarest of the whole Brain 1,000-series, mint originals 

selling for more than 250 DEM. In 1989, a limited edition of 1,000 copies (on black Brain) was 

made available through the influence of Second Battle. This edition sold out quickly, so the 

album is once again hard to obtain. Probably a CD-release of this classic will appear sooner or 

later! 

DIRK STEFFENS 


"The 7th Step" (Nova 622 478) 1974 

Dirk Steffens was for a short period (from 1973 to 1974) guitarist in Birth Control. In Autumn 

1975 he began work on his first solo album The Seventh Step (1976), a powerful collection of 

hard rock songs, well performed by Steffens (guitar), Rainer Baumann (guitar on some tracks). 

Ian Cussick (bass, vocals, who'd also worked with Lucifer's Friend) and Rolf Kohler (drums, 

percussion, who previously worked with Achim Reichel). Steffens revealed himself as a 

technically competent guitarist. 

STREETMARK 

Personnel: 

• 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, one of the few female

characters of German progressive rock. Unfortunately, her group was constantly crippled by 

personnel changes. This crew recorded Nordland (1976), an astonishing debut dominated by 

keyboards with classical references. The album included a remarkable symphonic version of 

"Eleanor Rigby", 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, I'm afraid. Could it be progressive jazz-rock? 

STUDIKER 


• WERNER SEEKER kb 

ALBUM: 

"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. Organist 

Werner Seeker later became a member of Randy Pie. 

SUB 

Personnel: 

• KLAUS KATEL g 

• CHRISTIAN WILHELM v 

• JOHANNES VESTER kb 

• PETER STIMMEL b 

• LUTZ LUDWIG d 

ALBUM: 

"In Concert" (Help ZSLH 55023) (I) 1970 

NB: Re-issued on CD by Penner (009) in 1994 with 1 bonus track. 

A counterfeit vinyl re-issue also exists (limited to 300 copies). 

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, Wilhelm and 

Stimmel had previously played together in a beat band named The TBC Ltd. Sub In Concert 

(1970), released in Italy in an edition of 1,000 copies without the band's knowledge or approval, 

has fetched astronomical prices lately (1,000 DEM plus), popping up on every progressive 

collector's want-list. Side one featured the raunchy "Sub Theme I" (18:17) full of furious organ 

and guitar work. Side two included six shorter tracks; two of these, "Ma-mari-huana" and "Off", 

also appeared on a German single in 1970 (Rex Records 2027). The A-side also appeared on a 

British compilation named The Magic Rocking Horse (Bam-Caruso KIRI 106, 1988) This is pure 

acid freak-beat music with heavy guitars, dense atmosphere and echo effects, great stuff! As a 

whole, 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., alternate versions of "Off" and "Ma-marihuana" 

and a cover version of Spencer Davis Group's "I'm A Man". Lutz Ludwig later joined 

Amos Key and he played the drums on their album First Key (1972). 

SUBJECT ESQ.

Personnel: 

• MICHAEL HOFFMANN flt, sax, v 

• ALEX PITTWOHN g, v 

• PAUL VINCENT g 

• PETER STADLER kb 

• FRANZ LOFFLER vla 

• STEFAN WISSNET b, v 

• HARRY ROSENKIND d 

ALBUM: 

same (Epic EPC 64998) 1972 

NB: Re-issued on CD by Ohrwaschl in 1992. 

The band began its life in the mid-sixties as The Subjects, playing beat music. In 1969 the name 

was changed to Subject Esq. They managed to make a great album with complex arrangements, 

rich instrumental textures and multi-voice vocals - a real fusion of jazz, rock, classical and blues. 

Instrumentally their sound was dominated by organ, multi-tracked sax and guitars. Highly 

recommended! The band returned to the spotlight in 1974 with a slightly changed line-up as 

Sahara. 

SUNBIRDS 


• KLAUS WEISS d 

ALBUMS: 

same (BASF 20 21110-2) 1971 

"Zagara" (Finger 23 96101) 1972 

The band of Klaus Weiss, who was later to found the percussive jazz rock-project Niagara. In the 

early sixties, Weiss played drums in the Doldinger's Quartet. Phillip Catherine played guitar on 

both albums by Sunbirds - which I unfortunately haven't heard! Reputedly they comprised a 

typical German type of jazz- rock fusion. 

TALIX 

Personnel: 

• VOLKER PLITZ kb 

• MARKUS SCHAUB g 

• JOE VOGGENTHALES g 

• ELMAR KART sax, flt 

• KLAUS GEBAUER v 

• TOM WOHLERT b 

• K.D. BLAHAK d 

ALBUM: 

"Spuren" (Vogue LDVS 17237) 1970 

A highly-priced collector's item! Talix had the typical vintage progressive sound of guitar versus 

sax battles. Some parts of the album are good, i.e. where the guitarist turned up the distortion to 

the maximum! They are comparable to their label mates Nosferatu. Talix later became Pinguin, 

who recorded a much more keyboard-based album for Zebra in 1972. 

TANGERINE DREAM 

Personnel:

• EDGAR FGOESE g, kb, electronics (E-) 

• (VOLKER HOMBACH flt, v, vln) A 

• (STEVE JOLLIFFE g, sax, flt) B 

• (CONRAD SCHNITZLER cello, vln ,electronics) C 

• (STEVE SCHRODER kb) D 

• PETER BAUMANN kb, electronics E,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,F 

• (CHRIS FRANKE d, flt, synth, 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, a small city in East-Preussen. At the end of the 

Second World War this area was lost to Russia, and Froese's family moved west to the crumbled 

Reich's ruined capital Berlin. Froese: 'American soldiers were the first people to rush into Berlin, 

and for whatever reason, my family had a lot of contact with them. During the first years of my 

life, the time when one's mind absorbs the most, I was surrounded by American influences'. In 

the mid-sixties Froese studied painting and sculpture at the Berlin art academy for four years. 

Here he met and married Monique. At the same time he began playing music with fellow 

students. In 1965 a band named The Ones was formed, for whom Froese played guitar. They did 

some touring in Germany, France and Spain, playing cover versions of then current American 

pop, soul and blues hits. By early 1967 the psychedelic area had arrived, apparently making a 

great impression on Froese. The Ones managed to get a single pressed, in small quantity, on the 

Starclub-label. The lyrics of the A-Side "Lady Greengrass" told about peculiar flights and 

fantastic colour experiences: 

"She lifts her dress and floats to dreamland, 

Makes love to the sky 

She let's her hair hang down as the weeds grow around - Lady 

Greengrass! 

Licking lollipops, catching moon drops, 

Bright and Beautiful 

Big fat love-inns, groovy be-inns, 

For lady Greengrass! 

Puff! -The Trees turn tangerine!

Puff! -The sky is suddenly green! 

Her eyes reveal her state of mind... 

...She's beginning to fly!... " 

(From "Lady Greengrass") 

Froese played an excellent, wailing acid guitar on this track, making it one of the few German 

psychedelic classics! The B-Side "This Love Of Mine" was more common, showing the band's 

roots in soul and blues. The Ones disbanded shortly after this single was released. The single is 

now very valuable (circa DEM 300), with a picture sleeve showing a young Froese. While 

touring with The Ones in Spain, Froese met the remarkable painter Salvador Dali in Cadaques. 

Dali's imagination and revolutionary surreal concepts of art impressed and inspired Froese. He 

made some music for Dali's exhibitions then. 

When The Ones disbanded, Froese wanted to try out his new-found musical ideas. 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". Incidentally, 'Tangerine Dream' was 

also the title of a 1967 pop-psych album by the British group Kaleidoscope. The first Tangerine 

Dream line-up was established in September 1967, and featured Volker Hombach, Kurt 

Herkenberg (later a member of Curly Curve!), Lanse Hapshash and, sometimes, Charlie Prince. 

For the rest of the year this group practised intensely. From January 1968 onwards, they played 

surreal, improvised and psychedelic music at various venues in Germany, generally gaining good 

reviews. Back in Berlin, they often played at the Zodiac. This was an underground club for 

psychedelic music, in many ways being the German equivalent of London's U.F.0. club. 

At the Essen international song festival in the Autumn of 1968, Tangerine Dream played for a 

larger audience for the first time, along with other exciting new bands like Amon Duul and Guru 

Guru. The festival's motto was 'Germany awakes', and concerning the music this was true! Sadly 

there seem to he no recordings available of this great event. In Froese's opinion Tangerine Dream 

still didn't sound 'different' enough, and he re-organised the band several times, finally 

disbanding the group in the Spring of 1969. For six months, Froese played sessions and gigs with 

several musicians, among them the British multi-instrumentalist Steve Jolliffe (of 

Steamhammer), the Swedish drummer Sven-Ake Johansson and various bass players. Then in the 

Autumn of 1969 he established a new line-up with Conrad Schnitzler and Klaus Schulze. Froese, 

who played 6 & 12 string guitar, farfisa organ and piano by this time, wanted to experiment with 

uncommon instruments. An important early live performance by this trio was at the 'Pop and 

Blues Festival, Essen' on 11 October 1969. They also performed at various clubs and galleries in 

Berlin and Frankfurt. 

From now on, the group studied electronic music, guided by Thomas Kessler (a professor and 

contemporary classical music composer) in his studio. Both Conrad Schnitzler and Klaus 

Schulze had been through some academic studies previously. Conrad Schnitzler had studied 

sculpturing as the first pupil of Joseph Beyss, and music with the well-known composer Karl- 

Heinz Stockhausen. Tangerine Dream was more or less a part-time project for Conrad Schnitzler, 

because at about the same time he also founded the trio Kluster with Dieter Moebius and Hans 

Joachim Roedelius. Klaus Schulze had studied experimental composition and came from an 

amateur beat band named Psy Free.

In October 1969, Tangerine Dream recorded Electronic Meditation at the Mixed Media Studio, 

Berlin. Two important guests participated in the recordings, but were not mentioned on the 

album sleeve: Thomas von Keyserling (flute) and Jimmy Jackson (organ). The finished tapes 

were sent off to Ralf-Ulrich Kaiser, manager of the new-born Ohr label. He was obviously 

impressed, as he immediately gave them a recording contract and released the album in June 

1970. Compared with their later albums, this wasn't particularly electronic music. Conrad 

Schnitzler's peculiar use of violin and cello was important to the album's revolutionary new 

sound, while Froese only permitted Klaus Schulze to do some quite anonymous drumming. 

Froese and Klaus Schulze never got on too well together as individuals. The album's thematic 

concept was the cycle of life from birth to death ...and then back to rebirth! Seen in relation to 

this, it was logical to finish side two with the start of side one. The five tracks are very 

imaginative and sound remarkably fresh today: "Genesis" opened with tonal clusters of cello, 

before Klaus Schulze introduced percussion and a slow rhythm to which there was added flute 

and guitar improvisations. The highlight of the album came next, the 13-minute track "Journey 

Through A Burning Brain", dominated by the heavy acid guitar work of Froese. Like Ash Ra 

Tempel, Tangerine Dream revealed their passion for Pink Floyd's innovative A Saucerful Of 

Secrets album. 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. "Ashes To Ashes" was a 

kind of thumping acid blues with even more distorted acid guitar, perhaps an indication on how 

their earlier incarnations sounded live at the Zodiac. 

Electronic Meditation is undoubtedly one of the true milestones of German rock and an all-time 

classic. Sadly this exciting line-up was quite short-lived. The three individuals had too many 

ideas and too strong personalities to keep a permanent partnership. Schnitzler did some live 

appearances with Kluster, before starting his own, obscure but artistically successful solo career. 

Klaus Schulze had already been fired from the group at the time of the album release. He formed 

Ash Ra Tempel with Hartmut Enke and Manuel Gottsching in August 1970 before starting his 

fantastic solo career. Froese found a new drummer in Agitation Free's Chris Franke. They had 

become acquainted in 1968 when Tangerine Dream and Agitation Free both played live at the 

Zodiac club. Steve Schroder came in on organ. In October 1970 they gave a controversial concert 

for an audience of a thousand. 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, bass, 

organ), Franke (percussion, lotos flute, piano harp, zither, VCS 3 synthesizer) and Schroder 

(hammond and farfisa organ) in the Dierks Studio, Stommeln. The album's title is taken from the 

star system that is our nearest neighbour in space, and thus introduced the term 'cosmic music' to 

German rock. The cover had a strange painting collage made by Monique Froese, her first of 

many album designs for the group. "Sunrise In The Third System" opened the album in a quiet 

way with a piano harp (or is it zither?), then it increased in strength and gave way to Froese's 

characteristic glissando guitar. "Fly And Collision Of The Comas Sola" had three sections. It 

opened with electronic oscillating VCS 3 noises, continued with a guitar chord-based melody and 

ended with a cascade of rumbling percussion with improvised flute-play. By the way, this album 

also featured two guests: Udo Dennebourg (flute and words) and Roland Paulick (VCS 3 

synthesizer). The title track was the first of many subsequent side long compositions. This one 

sounded very improvised and was based on flute and strange electronic sounds. It finished off 

with a strange, mass-like requiem with hypnotic organ and spoken German lyrics. This record

was a more spacious and atmospheric attempt than the first, a direction the group would follow 

for most of their future. 

A rare single, "Ultima Thule Parts I & 2", also dates from early 1971. It is based on the theme 

appearing in the middle of "Fly And Collision Of The Comas Sola", but this time the treatment is 

much closer to progressive rock. On part one Froese plays really heavy fuzz guitar like you've 

never heard him do elsewhere! Part two is quieter, with heavy use of mellotron and organ. This 

single is obligatory for all people interested in German rock! Expect to pay DEM 150 for a copy 

in great shape. According to Froese, Steve Schroder 'flipped totally out', and was fired in 

February 1972. Schroder apparently 'flipped' his way into Ash Ra Tempel, in time for the fullblown 

acid freak-out Seven Up (recorded in August 1972). For some months Tangerine Dream's 

only activities were to study in Kessler's studio. Here they met Peter Baumann, who became their 

new third member. Nearly all their old equipment was sold when they made their most important 

discovery: the rich possibilities of synthesizers! 

Their next work Zeit, recorded in May 1972 at the same venue as its predecessor, was a double 

album and their most classical effort ever. The work was divided into four side-long movements. 

A cello quartet of Christian Vallbracht, Jochen von Grumbkow (of Holderlin), Hans Joachim 

Brune and Johannes Lucke introduced the first and most important movement: "Birth Of Liquid 

Pleiades". 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. Choosing as its 

subject matter 'time', the album had a most pretentious concept. The ancient philosopher 

Parmenides had thought of time as an illusion that only existed in our heads. The reality was 

motionless and unchangeable. It is this stationary universe Tangerine Dream are trying to 

describe with their Zeit. If their two previous albums had been much heralded in the German 

press, the reviewers weren't always too pleased with this album. Many people found it too 

stationary for their taste. Zeit is a gloomy, quite fascinating record where Tangerine Dream have 

their first serious stabs with synthesizers. Froese still played a yelling glissando guitar, but this 

time it was very deep in the mix. Baumann added dark vibraphone and Franke electronic effects 

and soft percussion. 

Zeit was their first album to get some of attention in England. The next one, named Atem 

(breath), was chosen as the legendary and highly influential radio-DJ ('Top Gear' programme) 

John Peel's favourite import album of the year. It was recorded between December 1972 and 

January 1973 and developed on some of the ambience of Zeit, but this time brought more motion 

and some almost ritualistic percussion into the work. The title track, covering side one, started 

with powerful and pompous percussion and mellotrons, later exploding in a violent climax and 

floating around in a quiet ambience for the last 15 minutes. "Fauni-Gena" set the direction for 

Froese's future solo album Epsilon In Malayan Pale, featuring bird song and lots of mellotrons, 

thus creating a rich, associative atmosphere. 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, strings, brass, human voice, etc.) of the mellotron. In fact this 

instrument was a precursor to the electronic synthesizer. Most surprising was the closing track 

"Wahn", possibly showing the group displaying an infrequent glimpse of humour, using their 

voices in an uncommon and ritualistic way. In general, this was an album completely lacking 

conventional melodies, instead it relied 100% on associative atmospheres.

Tangerine Dream's relationship with the record company Ohr had grown increasingly bitter 

throughout the years. Kaiser had adopted the term 'cosmic music', and now used it to promote all 

his artists, and in 1973 even renamed Ohr to Kosmische Musik. Atem was originally intended for 

release on this new label but Froese plainly refused this and the Ohr label was used again. (Some 

foreign releases still had the Kosmische Musik logo on the front!) Kaiser had also developed a 

weird kind of 'cosmic religion', possibly influenced by Timothy Leary's acid drenched message. 

Froese felt that his group was marketed as kind of 'cosmic carnival clowns', and refused to let 

Kaiser release any farther albums. That is perhaps why Green Desert was kept in the can for so 

long. It wasn't released (CD-only) until 1985 when Relativity (USA) and Jive Electro (Europe) 

acquired the rights to all the Ohr-albums. 

Green Desert was recorded in August 1973 by Froese and Franke. Baumann was apparently 

having one of his many 'holidays' from the group then, because for a French tour this month 

Klaus Schulze unexpectedly stepped into his slot. The four tracks on Green Desert are totally 

different from Atem. Overall it's more rhythmic, with plenty of drums and repeating synthesizer 

sequencer patterns. However, the album was heavily re-mixed (and instruments added) in 1985, 

so it's hard to tell how the original 1973 recordings really sounded. 

Virgin was the only British record company that took an interest in the revolutionary new 

German rock scene. Over a short period they signed both Faust and Tangerine Dream, and later 

added Can and Ashra to their impressive roster. Tangerine Dream recorded their first Worldwide 

distributed album Phaedra in the last months of 1973. Edgar Froese also recorded his first 

solo album Aqua at about this time. The exploration of electronically-treated natural sounds 

continued, this time with artificial seagulls and water sounds. The music was dramatic, spooky 

and unearthly. Sequencers kept a steady beat, on to which layers of electronic sounds were added. 

The fold-out cover displayed a cloudy Monique Froese painting. Phaedra shot up to sensationally 

peak at number 9 in the British LP charts. In Australia it did even better, and the group have 

since then had one of their largest followings down there. Tangerine Dream appeared on Peel's 

'Top Gear' and soon toured Britain for the first time. In France they performed a legendary 

concert at the Reims Cathedral on 13 December 1974: 6,000 hashish-smoking, long-haired 

students crammed the church, and filled it with their sweet-smelling odours. The pope was 

furious over the event and declared it to be a sacrilege. The band was banned from ever playing 

in a Catholic church again. 

The first two months of 1975 were spent recording Rubycon, which consisted of a large scale 

composition in two parts. The album was wrapped in a green, foggy fold-out cover with a photo 

of a drop hitting water taken by Monique. This was another dramatic and great album (maybe the 

best of the Virgin releases). The sound was more polished than that of Phaedra. By this time the 

group had established a very distinct and characteristic style. Their mid-seventies albums were 

pioneering the development of electronic music. Chris Franke played the world's then largest, 

custom built moog synthesizer. The general public impression of Tangerine Dream playing live 

was: 'three mystical men walking around and throbbing notes on large machines, wrapped in fog 

like some kind of 20th Century wizards'. They always played improvised music, in spite of all the 

music generating machines involved. The resulting material was often totally different from their 

recorded output. For this reason live tapes are indispensable for the committed fans. Peter 

Baumann took another 'holiday' after the completion of Rubycon in February 1975. His instant 

replacement was a previous colleague of Franke in Agitation Free: Michael Honig. He was with

the group for their first Australian tour and a memorable appearance at the Royal Albert Hall, 

London. Honig wanted to work with tighter compositions and didn't manage to fit in with their 

often totally improvised live shows. Froese and Franke, on their side, found it difficult to make 

the same relationship with Honig that they had had with Baumann. Consequently Honig left and 

Baumann returned. The rest of 1975 was dominated by extensive touring in Europe. 

The next album, Ricochet (1975), 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. Again the album consisted of the 

title track composition in two parts. It was probably their most sequencer-guided album ever, 

featuring hypnotic patterns ideal for spirited guitar and moog improvisations. In 1976 Tangerine 

Dream continued their frequent touring in Europe. The next studio work Stratosfear (recorded in 

August) was more accessible and acoustic than their previous albums, accommodating their 

increasing commercial success. It included four tracks: the title track opened with twelve string 

guitar before the sequencer takes over. "The Big Sleep In Search Of Hades" featured harpsichord 

and bass, making it a pretty and unusual little track. On "3 A.M. At The Border Of The Marsh 

From Okefenokee" Edgar Froese played harmonica. Apart from this, the track was characteristic 

for Tangerine Dream, being driven by an intelligent sequencer rhythm and flute-voiced 

mellotron. "Invisible Limits" was dramatic in a way that recalls sinister movie soundtrack music, 

featuring an excellent moog solo from Peter Baumann. Stratosfear was perhaps less imaginative 

than its predecessors, but is certainly recommended as a starter for newcomers. 

Late that year. Tangerine Dream started working on their first major movie soundtrack task 

(previously they had done some work for German TV), for William Friedkin's thriller "Wages Of 

Fear" (or "Sorcerer", as was known in the USA). Friedkin had discovered their music some years 

previously during the making of "The Exorcist", and had been fascinated enough to pursue a new 

movie project, using Tangerine Dream's music as his main source of inspiration. 

Along with Kraftwerk, Tangerine Dream were the best known of all German bands 

internationally. They have sold more than 10 million records altogether, and have been the most 

fertile album producers on the German scene. They are one of the few bands that started in the 

late sixties who are still recording. 

TANNED LEATHER 

Personnel: 

• RAINER PIETSCH v, (kb, b A) 

• (ALF GARDNER v) A 

• HERBERT IHLE v, (kb A) 

• (DICKY MUDDE g) A 

• (ANDY MARX g) A 

• (JIM CANNON d) A 

• WOLFGANG EMPERHOFF v B 

• TIMOTHY TOUCHTON v B 

ALBUMS: 

(A)"Child Of Never Ending Love" (Ohr OMM 56 004) 1972 

(B)"Saddle Soap" (EMI 1C062-29651) 1976

This was a music project based in Munich and led by Rainer Pietsch. 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 - as good as the artwork used on the British Harvest label! 

Tanned Leather indeed comprised three Germans and three Englishmen. The album is of average 

quality and not exactly progressive rock! Their second album Saddle Soap (1976) is even less 

exciting, I'm afraid. It contained country-flavoured rock with few interesting moments. The group 

was now reduced to a vocal quartet. The list of renowned studio musicians participating on it was 

almost endless. Here are some of them: Paul Vincent (guitar), Keith Forsey (drums), Thor 

Baldursson (keyboards), Andy Marx (guitar), Klaus Weiss (percussion), Dave King (bass), Karl 

Allaut (guitar) and Stefan Wissnet (bass). On most tracks brass, strings and a symphony orchestra 

was added too. 

TECHNICAL SPACE COMPOSER'S CREW 

Personnel: 

• HOLGER CZUKAY 

• ROLF DAMMERS 

ALBUM: 

"Canaxis 5" (Music Factory SRS 2) 1970 

NB: The album was originally released in 500 copies. A re-issue in different cover appeared in 1981 on Spoon 015. Re-released on CD 

by Mute in 1995. 

The project name for a one-off collaboration between Can's bass player Holger Czukay and the 

painter Rolf Dammers. Canaxis 5 (1969) was an early attempt at manipulating ethnic music 

(World music), in many ways predating the discreet background music of certain ambient Brian 

Eno albums. The album was made using tape loops from traditional Vietnamese music to create 

some kind of 'acoustic sound painting'. The result was a strange sound milage. It contained only 

two tracks: "Boat-Woman-Song" and "Canaxis". Few ordinary instruments were in use, only 

Holger's bass can be heard occasionally. Nowadays, this album is nothing more than a curiosity, 

documenting the ambient music in its' early childhood. Czukay's tape editing skills steadily 

improved through the years - as proved by the mid-period Can albums and even more so on his 

solo albums. 

TETRAGON 

Personnel: 

• HENDRIK SCHAPES kb, v 

• JURGEN JAEHNER g 

• ROLF RETTBERG b 

• RALF SCHMIEDLING d 

ALBUM: 

"Nature" (Soma SM1) 1971 

This group was previously known as the trio Trikolon, who released an album of tremendously 

raw organ led garage rock. For the Tetragon album they also had a guitar player added. Nature 

(1971) was released on the minor Soma label in a fold-out cover, possibly the only release on the 

label. The album was a largely instrumental showcase for Schapes' skills on the keyboards and 

with a heavier influence from classical music (Bach). The end result was quite good, but inferior 

to Trikolon's Cluster (1970).

THINK 

Personnel: 

• RODRIGO RAMOR v, perc 

• GERD POHL g 

• KAJO SANDRIK vln, kb, perc 

• FRANK VOIGT flt 

• RICKY RAMOR b 

• FRIED WORDEHOFF d 

ALBUM: 

"Variety" (Menga MEL 3301) 1973 

Hungarians Rodrigo Ramor, Ricky Ramor and Kajo Sandrik remained in Germany when the 

orchestra they were playing in returned to Hungary. They were joined by Gerd Pohl, Frank Voigt 

and Fried Wordehoff for the studio project Think. They recorded an album in 1973 named 

Variety. This comprised a variety of different styles! The Hungarians in the band brought with 

them rich influences from classical music and gypsy folk music. The Germans had a more rockoriented 

approach to their playing. This inventive mix was most successful on the long title track. 

"Draw Conclusion From..." was another great effort, a 15 minute journey through boogie blues, 

jazz-rock and classical quotations interspersed by melodic vocal parts. It is tempting to compare 

them to several Peter Hauke productions like Nektar, Omega and Epsilon. Wordehoff had a 

distinctive drum style with a strange, light touch almost lacking bass drum. 

THIRSTY MOON 

Personnel: 

• JURGEN DROOGIES g, perc 

• (HANS-WERNER RANWIG kb, perc, v) A 

• SIEGFRIED PISALLA g, v B 

• MICHAEL KOBS kb 

• WILLI PAPE sax, clarinet, flt 

• HARALD KONIETZKO b 

• NORBERT DROOGIES d 

• ERWIN NOACK perc 


(A)same (Brain 1021) 1972 

(B)"You'll Never Come Back" (Brain 1041) 1973 

(B)"Blitz" (Brain 1079) 1975 

(B)"Real Good Time" (Brain 60.009) 1976 

NB: Originals of 1 & 2 should have the Brain-Metronome-label. An early second pressing of 1 on green Brain (w/out Metronomewriting 

on label) exists. All green Brain copies of 3 & 4 are originals. 

Brain signed a considerable number of jazz and fusion influenced 'progressive' rock bands in the 

early seventies. Among these were Release Music Orchestra, Cornucopia, Kollektiv, Creative 

Rock, Emergency and Thirsty Moon, a large band from Bremen. Their debut album appeared in 

1972, produced by Jochen Petersen (of lkarus and Randy Pie fame) at Studio Maschen. Five 

tracks ranging from the 21 minute suite "Yellow Sunshine" to the short songs "Love Me" and 

"Rooms Behind Your Mind". Their music was comparable to the groups listed earlier - an 

inventive and mostly instrumental jazz-rock fusion, where the solo improvisations were given 

free reign. Among Thirsty Moon's characteristics were massive use of percussion (congas) and

electric piano in dynamic arrangements, ranging from soft, mellow atmospheres to psychedelic 

outbursts with reversed tapes and phasing effects. The album is so varied that it's hardly 

describable! 

Hans-Werner Ranwig quit before You'll Never Come Back (1973), and was replaced by Siegfried 

Pisalla. This album was just as varied as their first. One side was completely instrumental. 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), presumably they too were 

dissatisfied with the album. 

The first two Thirsty Moon albums are recommended, the next two are quite good. 

THRICE MICE 

Personnel: 

• WOLFGANG BUHRE sax 

• WERNER VON GOSEN g 

• WOLFRAM MINNEMANN kb 

• KARL-HEINZ BLUMENBERG v 

• RAINER VON GOSEN b 

• ARNO BREDEHOFT d 

ALBUM: 

same (Phillips 6305) 1971 

A sextet from Hamburg, playing the patented, distinctive German type of progressive jazz-rock 

typified by underground legends like Xhol or Out Of Focus (2nd & 3rd album). The leading 

soloist in Thrice Mice was Wolfgang Buhre. Vocalist Karl-Heinz Blumenberg had little to do 

most of the time. Their album was recorded during November and December 1970 in Hamburg 

and released on Phillips in 1971. Buhre often tried to copy the wah-wah sax style of Ian 

Underwood of Mothers Of Invention, this was most apparent on opening track "Jo Joe". On 

"Vivaldi" the three soloists were playing duets with themselves in turn! Minnemann's organ 

sound was high, thin and cranky in a late sixties' way. The distinctive German underground 

sound (rooted in jazz) marked the track "Torekov". After a couple of years, the group resurfaced 

as Altona and made two further albums for RCA in 1974 and 1975. 

TIGER B. SMITH 

Personnel: 

• HOLGER SCHMIDT g, v 

• (CLAUS MEINHARDT b) A 

• THOMAS JAUER b B 

• KARL-HEINZ TRAHT d 

ALBUMS: 

(A)same (Vertigo 6360 610) 1973 

(A)"We're the Tiger Bunch" (Bacillus BLPS 19176) 1974 

NB: UK release of 2 on Janus had cover of the 1. 

At the end of 1972 the group Second Life changed their name to Tiger B. Smith. The sleeve of 

their first album under this new name, Tiger Rock (1972) pictured the trio dressed in tiger furs

and heavily painted. This was quite an ordinary rock'n'roll album that failed to reveal any new 

ideas. It was released on the legendary 'swirl' Vertigo in a single sleeve. We're the Tiger Bunch 

(1973) was recorded with several guest musicians, namely Rainer Marz (guitar, vocals), Peter 

Trunk (bass), Veit Marvos (organ, piano). Hanus Berka (sax, flute) and Curt Cress (drums). Tiger 

B. Smith apparently attempted to create a fuller sound, 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. The group disbanded in 1975, but Schmidt and Traut continued to work together in 

the new wave band Strassenjungs. 

TOBOGAN 

ALBUM: 

same (Elephant Rec. NB 56) 1976 

NB: Re-issued on Cain CL 4791 ca. 1980. 

A heavy-symphonic album I've not encountered. 

TOMORROW'S GIFT 

Personnel: 


• (ELLEN MEYER v) A,B 

• (CARLO KARGES g, perc) A,B 

• (WOLFGANG TRESCHER flt) A,B 

• BERND KIEFER b 

• (OLAF CASALICH d) A 

• (GERD PAETZKE d) B 

• "ZABBA" LINDNER d C,D 

• ULI TREPTE g D 

ALBUMS: 

(B)same (2 LP) (Plus 1/2) 1970 

(C)"Goodbye Future" (Spiegelei 28515) 1973 

NB: 1 was re-released on CD by Second Battle in 1992. 

Tomorrow's Gift were responsible for the first release (of only three totally) on the Plus label 

(owned by Miller International). Like Frumpy and Joy Unlimited, they were a blues and soulrock 

band who "turned on, tuned in and dropped out" to the progressive music at the end of the 

sixties (but remained faithful to their roots). Both mentioned bands had female vocalists, as had 

Tomorrow's Gift: Ellen Meyer. Arguably she didn't have a voice as strong lnga as Rumpf, but 

her's was good enough to serve the music. This was really a band of future talents, three of the 

members being still teenagers. Their eponymous double album had a typical vintage progressive 

sound. There were powerful long tracks with plenty of guitar, organ, flute and drum solos. Ellen 

Meyer's vocals were comparable to Janis Joplin. The production (courtesy of Jochen Petersen 

(Ikarus), possibly his first production ever) was unpolished and some of the material a little rough 

around the edges. 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. The first one had a 20 minute version of 

Donovan's "Season Of The Witch" re-titled "Sound Of Which" (sic!), interspersed with very 

long, sometimes chaotic instrumental parts. Still it is a good example of their raw live sound. The 

latter had another 20 minute track: "At The Earth/Indian Rope Man" and the shorter "Begin Of A

New Sound". Both concerts were recorded before their debut album. 

The five-piece Tomorrow's Gift split up in 1971, but Manfred Rurup and Bernd Kiefer kept the 

band going. They recruited "Zabba" Lindner from Sphinx Tush and recorded Goodbye Future 

(1972) as a trio, an ironic title considering the name of the group! This album was technically 

better, as the engineering and production were handled by Konrad Plank. The sound of 

Tomorrow's Gift had changed completely and now leaned towards instrumental jazz-rock with 

forceful keyboard and bass interplay. 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), 

general Zappa-esque weirdness and musical jokes. The album wasn't released until a year after 

the recordings were completed. Then at last Spiegelei/Aamok released it in a funny die-cut round 

hole cover. In January 1973 they were joined by guitarist Uli Trepte, previously of Guru Guru, 

with whom they performed live. Half a year later Trepte quit and was replaced with sax and 

clarinet player Norbert Jacobsen. This new quartet changed their name Release Music Orchestra 

and recorded five albums for Brain. Original guitarist Carlo Karges later worked with groups as 

different as Novalis, Extrabreit and Nena. He also guested on the Release Music Orchestra album 

Get The Ball (1976). Manfred Rurup later recorded with Carsten Bohn's Bandstand, Elephant and 

lnga Rumpf. 

TON STEINE SCHERBEN 

Personnel: 

• RIO REISER [RALPH MOBIUS] v, g 

• R.P.S. LANRUE [RALPH STEITZ] g 

• NIKEL PALLAT v B,C 

• (JORG SCHLOTTERER flt, bassoon, 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, for obvious reasons, a city where many political rock bands developed during 

the late sixties and early seventies. The most important artists of this movement were Ton Steine 

Scherben, along with Lokomotive Kreuzberg. The guiding forces of the band were Ralph Mobius 

aka Rio Reiser and Ralph Steitz aka R.P.S. Lanrue who first played together in the quartet 

Degalaxis in 1965. In 1967 Mobius was involved in the foundation of an early beat-rock-opera 

attempt named "Robinson 2,000". That year Mobius and Steitz also formed a theatre and music 

group named Hoffmann's Comic Theater. Kai Sichtelmann and Wolfgang Seidel aka Wolf 

Sequenza also joined this group in 1969 and 1970 respectively. A single "Macht Kaputt Was 

Euch Kaputt Macht" coupled with "Wir Streiken" was released in 1970. After this, Hoffmann's 

Comic Theater changed its' name to Ton Steine Scherben. The single sold surprisingly well and 

the band appeared on German TV. This, and their constant, aggressive political agitation, quickly 

established them as leading proponents of the Berlin counter culture. Their concerts often

esulted in riots and house occupations. After a concert in Basel, the band promptly organised a 

demonstration against political injustice in Switzerland. The Swiss authorities honoured this 

action by declaring the band 'persona non grata'. The band's debut LP appeared in September 

1971 on their own David Volksmund label. With very aggressive music and lyrics, partly 

recorded live at Alto Mensa, the band earned their reputation as the first new wave/punk band in 

Germany. A member of the group's living commune once finished a television-broadcasted 

public discussion by splitting the studio's table with an axe. Wolf Sequenza left the band at the 

end of 1971. In the late seventies he resurfaced with Conrad Schnitzler, making experimental 

electronic music. The band's next work was Keine Macht For Niemand, a double album which 

covered a much larger musical span than the debut. Jorg Schlotterer and Jochen Petersen 

contributed to the album. Indeed, this was a fine collection of progressive political rock, quite 

different to Floh de Cologne's style. After an early 1972 tour, the band temporarily withdrew 

from live appearances and in 1973 the only life-sign was (the reinforced) Hoffmann's Comic 

Theater record for children, entitled Hr Fressack (Rothkehlchen 1) (1973). 

In the Spring of 1974 they attempted a live come-back with mixed results. The audiences 

expected the band to be aggressive leaders of a desired, forthcoming political revolution, but 

were met by a band outrageously dressed in satin and velvet, who poured out glitter from the 

stage. However, after rethinking their stage presentation, Ton Steine Scherben was again met by 

acclaim. The next album, Wenn den Nacht am Tiefsten (1975), was another double one, taking 12 

months to complete and including a lot of different musical styles. Their lyrics this time were 

more resigned. Along with its predecessor, this was their highest achievement. Soon they drifted 

into obscurity, but tile members took part in a variety of side projects. 

TORTILLA FLAT 

Personnel: 

• HERMANN JOSEF BOSTEN flt, g 

• MANFRED HERTEN g 

• FRANZ BRANDT kb 

• HERIBERT SCHIPPERS b 

• HANS FRIEDRICH BOSTEN d, glockenspiel 

• ALBERT SCHIPPERS perc 

ALBUM: 

"Fur ein 3/4 Stunde" (private TF 0175) 1974 

This was a 'Canterbury', Focus and Supersister-influenced fusion ensemble, who recorded a 

highly sought-after private pressing which will cost you more than 500 DEM today. Their music 

was totally instrumental jazz-rock, marked by some interesting electric piano, guitar and flute 

interplay. Certainly an interesting album for those of you who enjoy jazz-rock! 

TRIKOLON 

Personnel: 

• HENDRIK SCHAPES kb, tpt, v 

• ROLF RETTBERG b 

• RALF SCHMIEDLING d 

ALBUM:

"Cluster" (private) 1970 

A trio led by Hendrik Schapes. The sleeve of their 1970 album Cluster listed Brian Auger and 

Keith Emerson as inspiration sources. This was a very primitive live recording of four extended 

tracks: two Schaper originals, one blues number composed by Ambrose and an adaptation of a 

rondo by Mozart. These references will give you a good idea of what the music was like. 

Essentially very long keyboard improvisations interrupted only by a trumpet blow-out, as on 

"Trumpet For Example". Much the same musical concept (minus bass and trumpet) was adapted 

by the group Sixty-Nine. Trikolon meanwhile changed name to Tetragon and recorded another 

album in 1971. 

TRITONUS 

Personnel: 

• PETER K. SEILER kb, synth 

• RONALD BRAND b, v, g 

• CHARLIE JEST d 

• GEFF HARRISON v B 

ALBUMS: 

(A)same (BASF 17 22384-1) 1975 

(B)"Between the Universe" (BASF CC 229467) 1976 

NB: Re-issue of 1 on Acanta 223841, re-issue of 2 on Acanta 229467. 

Peter K. Seiler had a musical background from his university days (he studied classical music) 

which prompted him to form a "classical rock" trio, in the tradition of Emerson, Lake and 

Palmer. Their first album (1975) was quite conventional for the symphonic rock genre. However, 

Between the Universe (1976) was a definite improvement, benefiting from Geff Harrison's vocals 

(ex-2066 & Then and Kin Ping Meh), catchy tunes and great keyboard arrangements (mainly 

synthesizers). After this, Seiler seemed to lose the interest in Tritonus, and worked increasingly 

with other musicians, like Michael Bundt. Check out Bundt's solo albums if you enjoy the 

Tritonus-style. 

TRIUMVIRAT 

Personnel: 

• JURGEN FRITZ kb, v 

• BARRY PALMER v D 

• DICK FRANGENBERG b A,D 

• (HANS PAPE b) B 

• HELMUT KOLLEN b C 

• HANS BATHELT d 


(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 

NB: 1 was only issued in Germany. 

This is probably the best internationally known German symphonic rock band. Triumvirat's 

music was very keyboard-oriented, earning their reputation as the German equivalent of

Emerson, Lake and Palmer, Ekseption or P.F.M. It is tempting to think that these bands always 

attempted to outdo each other with their pompous, vast instrumental exhibitions, often based 

firmly on classical themes. In addition, Triumvirat's conceptual albums were often based around 

moments from European history. Organist and leader Jurgen Fritz assembled the original trio in 

1970. In 1971 Hans Pape become their bassist and participated in the recording of their first 

album Mediterranean Tales in the Electrola Studio, Cologne, January 1972. Hans Pape later quit 

and was replaced by Helmut Kollen. 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, 

however, the band wasn't able to sell its' records so well. In the press, their music was 

slaughtered by the overcool music journalists, then as now! Spartacus (1975) is considered by 

many to be Triumvirat's best album. Old Loves Die Hard (1976) saw the addition of the vocalist 

Barry Palmer and the re-instatement of former bassist Dick Frangenberg. This album sweetened 

their style, moving them dangerously close to supermarket-muzak. 

TROYA 

Personnel: 

• ELMAR WEGMANN g, flt, v 

• KLAUS PANNEWIG d, v 

• WILHELM WEISCHER b 

• PETER SAVELSBERG kb, synth 

ALBUM: 

"Point Of Eruption" (private T5476) 1976 

NB: The album has been re-released on Cade CSM 10004, I don't know the year of this issue. CD re-issue in 1993 on Lost Pipe Dreams 

LP 016. 

A quartet who made a fine private pressing called Point Of Eruption. This contained six 

extended tracks ranging from the guitar-ridden, triumphal instrumental overtures "Chromatik" 

and "Sinclair" to the sensitive and nostalgic "Festival", an ode to the early seventies live hippie 

festivals: 

Then the first group appears on the stage 

their sound is average 

Next, their favourite group 

plays their daily gig moreever powerful 

Thousands of friends and strangers 

are sitting feet by feet to hear the heartbeat 

Overall, Troya's sound was melancholic and lyrical - classical influenced progressive folk-rock, 

comparable to mid-seventies bands like Novalis, Jane, Epidaurus, Minotaurus, even to previous 

legends as Murphy Blend. The long instrumental parts were dominated by organ and guitar. I 

can't actually hear any flutes, mellotron or piano on Point Of Eruption! They were however able 

to produce a minor classic under relatively primitive conditions. 

PETER TRUNK 

ALBUM: 

"Sincerely P.T." (Spiegelei 28 578-3U) 1976 

The bass player Peter Trunk's album featured the well-known jazz musicians: Manfred Schoof

(trumpet). Shake Keane (fluegelhorn), Jasper van t'Hof (keyboards), Jiggs Whigham (trombone), 

Sigi Schwab (guitar, tarang), Curt Cress (drums) and Joe Nay (drums, percussion). Sincerely 

P.T., an album of average jazz compositions, was recorded at Studio 70, Munich. 

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. This was indeed the case with this obscure project, resulting in a practically unknown 

private pressing. However this record offered more space for the drums, resulting in something a 

bit closer to Niagara. 

TYBURN TALL 

Personnel: 

• WERNER GALLO g 

• RHEINHARD MAGIN kb, v 

• KLAUS FRESENLUS v 

• STEFAN KOWA b, v 

• HANNS DECHANT d 

ALBUM: 

same (Lutz Kern) 1972 

NB: Re-issued on CD by Penner in 1994 featuring 2 bonus tracks. 

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. Only 200 copies were 

originally printed and half of them were destroyed in a fire. Fortunately, the Tyburn Tall album is 

now avaiable on CD for a much cheaper price. Their music was rudimentary and raw-edged 

heavy symphonic rock - 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. 

UTOPIA 

ALBUM: 

same (United Artists UAS 29438) 1972 

Not to be confused with any of Todd Rundgren's projects, this Utopia wasn't really a group, but 

the first solo project of Lothar Meid (bass, vocals, keyboards). It couldn't be released under his 

name due to contractual difficulties. The album was made with help from several of his earlier 

band mates: Renate Knaup (vocals on one track), John Weinzierl (guitar on one track), Chris 

Karrer (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), Siegfried Schwab (guitar on one track), Kristian Schultze (electric piano on one 

track) and Edgar Hofmann (sax on one track) from Embryo and/or Passport. Meid had played 

with all these formations. He wrote all tracks in collaboration with Olaf Kubler. Another

participating musician worth mentioning is Andy Marx (guitar on three tracks) of Cherubin and 

Udo Lindenberg's first group. The resulting album had a couple of weak tracks, but the majority 

benefited from the rich, dense production and the experienced jazz-rock musicians. 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!), "Utopia No. 1" and "Nasi Goreng" The musicians were 

apparently only listed on the British version of the album. The next project of Lothar Meid was 

the less interesting Achtzehn Karat Gold with Klaus Ebert, Jorg Evers and Keith Forsey. 

VAMPIRES OF DARTMOOR 

ALBUM: 

"Dracula's Music Cabaret" (Metronome MLP 10262) 1969 

As the title reveals, this was a kind of rock cabaret - of minor musical interest! 

VAMPIRE'S SOUND CORPORATION 

Personnel: 

• SIEGFRIED SCHWAB 

• MANFRED KUBLER 

ALBUM: 

"Psychedelic Dance Party" (Mercury 134 615) 1969 

Something of a curiosity these days, the Psychedelic Dance Party album was recorded at Audio 

Tonstudio, Berlin under the leadership of Siegfried Schwab and Manfred Kubler (they wrote all 

11 tracks). Indeed the album had an appropriate title; it consisted of a weird kind of instrumental 

up-beat music, utilising sound effects, electric guitar and brass. The actual players, except for 

Schwab and Kubler, are not listed on the cover, which had a female version of Dracula on the 

front. In a way this album is musically similar to the Bokaj Retsiem's (Rainer Degner) equally 

strange album Psychedelic Underground, even down to the fact that both albums had recurring 

themes: Psychedelic Underground had the "Meister Jakob"- theme linking all tracks, whereas 

"Psycho Contact" linked all tracks on Psychedelic Dance Party. Kubler is unknown to me, but 

Schwab later became well-known as a skilled jazz guitarist, joining Wolfgang Dauner Group and 

later recording Father, Son & Holy Ghost with Embryo in 1972, as well as recording several solo 

albums. 

VINEGAR 

ALBUM: 


This obscure group made an excellent album in the "garage-underground-progressive" genre way 

back in 1971. Vinegar could be ranked along with Mammut as one of the most important 

examples of such bands. For your amusement, here's a closer look at their fascinating album: 

"Missa Solis" (12:15) starts off in a slow, lyrical and sinister way, not far removed from a Floydtype 

depression from 1969. A violin comes in and makes a short solo appearance to great effect, 

before the guitar and organ develop the main theme. "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 - "A 

Saucerful Of Secrets" reborn. "Saw Mill Part Two" (5:05) is more like Amon Duul II, driven by 

violin, organ and guitar. "Der Kaiser Auf Der Erbse" (7:04) goes in another direction, 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". In conclusion: this album

is quite fabulous, go out and get it! 

VIRGO 

Personnel: 

• BOBBY STERN sax 

• HENRYK DARLOWSKI pno 

• REINHARD GLODER double b 

• LOTHAR SCHARF d 


same (Vertigo 6360 624) 1975 

A conventional jazz-rock fusion group, more akin to all-European instrumental jazz-rock than to 

the German underground. 

VIRUS 

Personnel: 

• JORG-DIETER KRAHE kb 

• (WERNER MONKA g) A 

• BERND ROSNER g B 

• (BERND "MOLLE" HOHMANN v, flt) A 

• WERNER VOGT b, g, v B 

• (REINHOLD SPIEGELFELD b) A 

• JURGEN SCHAFER b, v B 

• WOLFGANG RIEKE d 

• AXEL NIELING d B 

ALBUMS: 

(A)"Revelation" (BASF ORC 15) 1970 

(B)"Thoughts" (Pilz 20 21102-9) 1971 

NB: 1 re-issued in 1991 on CD by Second Battle (SB 015). 2 re-issued in 1991 on CD by Ohrwaschl. 

With Revelation, the young heavy psychedelic rock group Virus produced one of best early 

progressive albums in Germany - indeed it was a revelation! Their style was strongly influenced 

by Pink Floyd (David Gilmour) and Deep Purple (Ian Lord). The album had five long tracks. The 

title track included an instrumental classical adaptation of the Rolling Stones' "Paint It Black". 

Their instrumental work was even better on the 12 minute "Endless Game". The varied album 

also had a more hard rocking track named "Burning Candle". Finally "Nur Noch Zwei 

Lichtjahre" guided the listener into deep space, much like a mellow and matured "Interstellar 

Overdrive". The album was recorded in Star Studios, Hamburg and produced by none other than 

Konrad Plank. Virus were Werner Monka, Jorg-Dieter Krahe, Bernd "Molle" Hohmann, 

Reinhold Spiegelfeld and Wolfgang Rieke. The nickname "Molle" on the sleeve of Revelation 

was mistakenly connected to Werner Monka. 

For Thoughts (1971), both Virus' sound and the band itself had changed considerably. Only 

Krahe and Rieke were left from the original group. Bernd Hohmann had left for Weed. Gone 

were the psychedelic space-rock and long instrumental workouts. Virus now played a more 

mainstream, rough and heavy blues-rock, not at all bad, but clearly inferior to their debut. They 

also contributed to the great Pilz album Heavy Christmas (1971), before vanishing from the

scene... 

WALLENSTEIN 

Personnel: 

• JURGEN DOLLASE kb 

• BILL BARONE g 

• (JOACHIM REISER vln) B 

• (JERRY BERKERS b, v) A 

• (DIETER MEIER b) B 

• (JURGEN PLUTO b) C 

• HARALD GROSSKOPF d 


(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, Songs & Symphonies" (Kosmische Musik KM 58 014) 1975 

NB: 3 & 4 are re-released by Bernhard Mikulski GmbH ca. 1981 with original label & sleeves, but with a "Pop Import" stamp. 

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. Jurgen Dollase founded the group 

Blitzkrieg as an international group with Bill Barone (from the USA), Jerry Berkers (from the 

Netherlands) and Harald Grosskopf (from Germany!). Dollase had previously studied art and 

classical music. In late Autumn 1971 Blitzkrieg had the repertoire ready for an album, but as a 

British group already was using the name "Blitzkrieg", the German group changed their name to 

Wallenstein and kept Blitzkrieg as the title of their first album. This featured four very long 

tracks in a symphonic progressive rock style (all written by Dollase) and almost completely 

instrumental. Dense, complex and powerful stuff! 

Mother Universe (1972) pictured Dollase's grandma on the sleeve acting as the grandmother of 

our universe. Musically this was a more dynamic album, introducing some quieter, folky 

passages with acoustic guitar between the more usual powerful and pompous electric guitar and 

organ outbursts. Jerry Berkers wanted to do more of these folky things, and quit Wallenstein to 

record his own solo album Unterwegs - which musically I find it to be in a rather dull singer & 

songwriter tradition. After Dollase and Grosskopf had taken part in the large scale projects Lord 

Krishna von Goloka (Sergius Golowin), Tarot (Walter Wegmuller) and the Cosmic Jokerssessions, 

they recorded Cosmic Century (1973) in September 1973. This album brought another 

change of style, clearly influenced by Dollase's recent "cosmic" experiences. It was marketed as 

the first album by the 'symphonic rock orchestra Wallenstein' (text on the sleeve). It consisted of 

five refined symphonic rock tracks and a short piano piece. Dollase's strained vocal parts lowered 

the overall standard of this album, but apart from this the music was good! Sadly this was to be

their last great album... 

Stories, Songs & Symphonies (1975) attempted to bring in more conventional rock and jazz styles 

for a kind of extended fusion, but was largely an artistic failure. Only their adaptation of Bartok's 

music on "Symphaty for Bela Bartok" was of much interest. The rest represented Dollase's failed 

attempts to be a serious singer-songwriter. Wallenstein split in 1975 and Bill Barone returned to 

the USA. Harald Grosskopf was engaged as the drummer for Klaus Schulze, Ashra and more 

recently Central Europe Performance. 

WALPURGIS 

Personnel: 

• RYSZARD KALEMBA g 

• JERZY SOKOLOWSKI g, v 

• GEORGE FRUCHTENICHT b 

• JAN SUNDERMEYER perc, flt 

• MANFRED STADELMANN d, v 

ALBUM: 

"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. It was recorded during May and June 1972 in the Dierks Studio, Stommeln, with 

Dierks engineering and Frank Oeser producing. The album started with the rather dull 

"Disappointment", living up to its name. The other four tracks on side one are much better, but 

the really outstanding material was the two lengthy tracks on side two: "What Can I Do" and "My 

Last Illusion", brilliant examples of Wallenstein and/or Floyd influenced space rock with dreamy 

instrumental passages. In general this is a very good album and indispensable for fans of the two 

mentioned groups. It was wrapped in a great fold-out cover, picturing the queen of Saba in an airbrushed 

painting. Judging by their names, Sokolowski and Kalemba were of East-European 

origins, possibly Polish. 

Walpurgis didn't break through and never gained a second opportunity, due to the demise of Ohr 

records in 1973. 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, eclectic political rock album with German lyrics and some good heavy guitar 

parts. 

WEED 


• KEN HENSLEY v, kb, slide g 

• BERND HOHMANN v, flt 

• WERNER MONKA g

ALBUM: 


NB: Re-released on CD by Second Battle in 1992. 

This "concept" album related to an infamous rock'n'roll habit! Unfortunately the album sleeve 

didn't list the line-up, but it seems likely that Ken Hensley of Uriah Heep fame had a leading role. 

He recorded the Weed album during March 1971 in between the Uriah Heep albums Salisbury 

and Look At Yourself. Some members of the 1970/71 Virus line-up were also involved, Bernd 

Hohmann and Werner Monka at least and possibly their rhythm section as well. 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. The album comprised straight-forward heavy progressive blues-rock with twin guitars 

and organ to the fore, culminating in the excellent, long instrumental title track. Weed can be 

compared to other German heavy progsters of the era, such as Zarathustra, Blackwater Park, 

Epitaph and Armaggedon, as well as Ken Hensley's similarly obscure (Head Machine) album 

Orgasm dating from 1969 or 1970. The sleeve of the Weed album is quite noteworthy - a 

somewhat disgusting, middle-aged house wife is pictured, offering some 'weed' of an unknown 

nature! A fine album, but very rare and accordingly high priced at the collector's market. 

WALTER WEGMULLER 

ALBUM: 

"Tarot" (Kosmische Kuriere KK 2/58 003) 1973 

NB: There are also Italian (PDU PLM SQ 6044/45) & French (Barclay 840.088/89) issues of the album with different covers & w/out the 

inserts. 

Re-released on CD as a limited box set in 1995. 

Although Walter Wegmuller is Swiss, it makes sense to list him here, due to his album's 

enormous cast of German musicians. Tarot is the ultimate collector's item for cosmic rock freaks, 

partly due to the lavish packaging with lots of inserts, 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, 

predated by Ash Ra Temple's Seven Up (August 1972) and Sergius Golowin's Lord Krishna von 

Goloka (Autumn 1972). The big attraction here is undoubtedly Manuel Gottsching (from Ash Ra 

Temple) with his brilliant guitar play. Klaus Schulze (electronics) was another great asset, adding 

his impressive and characterstic "cosmic" electronic sounds. Klaus Schulze even read his own 

poem on "Der Weise". 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. Bernd 

Witthuser (of Witthuser & Westrupp) played acoustic guitar. The conventional keyboards, 

mainly piano, were played by Jurgen Dollase from Wallenstein. Berkers and Harald Grosskopf 

(drums, percussion) had just left this group. 

Water Wegmuller wrote the lyrics and sang (well, he spoke!) on most of the tracks. Dieter Dierks 

and Rosi Muller were also credited - as guests. Well, those were the participating musicians, now 

let's deal with the inserts: a 12xl2 inches insert with the 22 trumps of the tarot card set, to clip out 

with scissors. There was one musical piece for each of these cards, which had been painted by 

Wegmuller himself. There were 12 smaller inserts in card format: eight with portraits of the 

musicians and four describing the concept, the line-up, the songs and a few words about tarot 

philosophy. A complete set in great condition could cost you about 400 DEM. The music is 

stunning and varied - cosmic mayhem recalling Seven Up, electronic sound paintings a la Klaus 

Schulze, heavy guitar-based acid blues numbers, folky songs with acoustic guitar, mellotron and 

organ excursions. Actually the compositions on Tarot are more "together" than on the two

preceding Kosmische Kuriere projects and easily the best! On side 1 to 3 the tracks are more or 

less clearly separated, on side 4 they formed a continuous suite. Tarot was recorded in December 

1972 in the Dierks studio, Stommeln. The next Kosmische Kuriere projects would be the three 

albums by Cosmic Jokers, compiled from jam session, recorded between Febrary and May 1973, 

and two strange samplers: Gilles Zeitschiff and Sci Fi Party. 

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. Before that he was the drummer in Klaus 

Doldinger's Quartet in the mid-sixties. His Drum Box album is unknown to me, but I would 

imagine it contains jazz-rock with lots of percussion, lust like the group Niagara. 

WIND 

Personnel: 

• STEVE LEISTNER v 

• THOMAS LEIDENBERGER g, v 

• ANDREAS BUELER b 

• LUCIAN BUELER kb 

• LUCKY SCHMIDT d, mellotron 

ALBUMS: 

"Seasons" (Plus 3) 1971 

"Morning" (CBS 65007) 1972 

NB: 1 Re-issued on CD by Second Battle (SB 016). 

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. In 1971 they recorded the legendary album Seasons - one of the 

most sought-after German albums nowadays. This was the second of three releases on the low 

price Plus label. 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. "Romance" is a charming interlude for prepared piano and "Now It's 

Over" had melancholic, folky vibes like the 1969 Pink Floyd. "Springwind" had haunting vocal 

lines and finally came the 15 minute closing track "Red Morningbird" with its floating, moody 

folk whispering, interrupted by some outrageuosly heavy outbursts. This is one of the classics of 

German progressive rock that will always be remembered for its powerful hammond organ 

versus electric guitar sound. It should appeal both to fans of progressive heavy rock and fans of 

folk-rock as performed by the artists on the Pilz label. 

The second album Morning had a different, folky and lyrical fairy-tale atmosphere. 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, partly spoken 

tale. "Dragon's Maid", "Carnival" and "Tommy's Song" could be compared to the legendary 

British group Spring, with their soft mellotron textures. This was another very good album, 

although I'm not sure it would appeal to the same audience as their first album. After one further 

1973-single ("Josephine" coupled with "Puppet Master"), Wind's relationship with CBS ended.

WITTHUSER & WESTRUPP 

Personnel: 

• BERND WITTHUSER 

• WALTER WESTRUPP 

ALBUMS: 

"Lieder von Vampiren, 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 

NB: Early 80's re-issues exist on Ohr & Pilz with the "Pop Import" stamp. 

This duo more or less invented the cosmic-folk genre. They started busking in the streets together 

in the mid-sixties. In 1967 Bernd Witthuser became the manager of the 'Podium' folk club in 

Bssen. His greatest achievement as a manager was as the financial manager of the 

'Internationalen Essener Songtagen', in Autumn 1968. Walter Westrupp was from 1965 to 1968 

the leader of Night Reveller Skiffle Group. He learnt to play bassoon and trumpet in a bassoon 

ensemble, did his first recordings with a choir and played in a baroque ensemble. Lieder von 

Vampiren, Nonnen und Toten (1970) was in fact issued as a Witthuser solo- album, although 

Westrupp participated on all the recordings. The album only hinted at the things to come later, 

being an almost "straight" collection of short, acoustic folk songs. There was nothing particularly 

exciting nor interesting on this album. It's a collector's item anyway, as it was the third release on 

Ohr, one of those that had a balloon attached to a cut-in on the front cover. Trips und Traume 

(1971) was their best album, an enormous development on the first one musically. To describe 

music of the German equivalent to the Incredible String Band one often used the phrase 'cosmicfolk'. 

The album had outstanding tracks like "Orienta" and the all-time 'weed' anthem "Nimm 

Einen Joint, Mein Freund". Der Jesuspilz (1972) was a strange concept album, tending toward a 

more progressive-folk direction, with more instrumental work. Bauer Plath (1972) featured 

guests from Wallenstein and was more varied in nature, perhaps the Witthuser & Westrupp 

album that was closest to conventional progressive rock. In the heat of the many cosmic jamsessions 

and trips (of different types) involving Sergius Golowin and Walter Wegmuller around 

1973, something seemed to break the cosmic due's relationship and they went their separate 

ways. 

A retrospective double live set, compiled from different concerts from 1968 to 1973 appeared on 

Kosmische Musik as their last offering. Westrupp later went on to record with Baier-Westrupp, 

meanwhile Witthuser attempted a solo career. 

WONDERLAND 

Personnel: 

• ACHIM REICHEL g, v 

• (HELMUT FRANKE g) A 

• KALLE TRAPP g, v 

• (LES HUMPHRIES kb) A 

• CLAUS-ROBERT KRUSE kb, g, b, v 

• FRANK DOSTAL v, b 

• DICKY TARRACH d

ALBUM: 

(A,B)"Best Of" (Karusell 2415 078) 1973 

This was a beat band formed at the beginning of 1968. Reichel and Tarrach had previously been 

members of the most famous German beat band: The Rattles. Wonderland recorded three singles 

before Humphries and Franke quit at the end of 1969, to be replaced by Kalle Trapp and Claus- 

Robert Kruse. One year and a single later the band ceased its activities, with Reichel and Dostal 

teaming up for the Wonderland Band album, to which Franke, Tarrach, Trapp and Kruse all 

contributed. All Wonderland singles and four tracks for a projected album were collected in 1973 

on a Karusell sampler. 

WONDERLAND BAND 

Personnel: 

• ACHIM REICHEL g, v 

• FRANK DOSTAL v, lyrics 

ALBUM: 

"No. 1" (Polydor 2371 125) 1971 

One of Achim Reichel's strangest projects occurred in l97l, after the demise of Wonderland. His 

long time collaborator Frank Dostal followed him from this band. Together they recorded as 

Frankie Dymon Jr. as well as the very different Wonderland Band, whose album was an 

ambitious production featuring 25 guest musicians, among them Clauk-Robert Kruse (guitar, 

organ, vocals, arrangements), Helmut Franke (guitar), Ladi Geissler (guitar), Hans-Uwe Remers 

(piano, arrangements), Benny Bendorf (bass), Hans Hartmann (bass), Kalle Trapp (bass), Joe 

Nay (drums), Barry Reeves (drums) and Dicky Tarrach (drums, chimes, trumpets and 

trombones). The results sounded close to the eclectic solo album Die Grune Reise, but Reichel's 

echo guitars were in this case replaced by solid doses of brass! Wonderland Band's No. 1 was 

equally weird with boogie rock, vintage glitter rock and folky ballads spiced with incredibly 

strange brass arrangements. It was hardly a great success (however, there are highlights!) and 

proved to be a one-off, although a 1972 single featured two unreleased tracks: "Rock'n'Roll 

People" coupled with "King Of America". 

WYOMING 

ALBUMS: 

same (Bacillus 6496 010) 1971 

"In Prison" (Bacillus BLPS 19079) 1972 

NB: 2 was also re-issued twice on Bacillus - as BAC 2005 & 260-09-013. 

Wyoming was the artist name of keyboard-player Peter Bender. He played a quite mainstream 

pop-rock with folky touches on his first album. 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. To be 

honest, it's not certain that you'll be satisfied with your value for the money, as the short songs 

sound very dated. Bender was helped by Rainer Marz (guitar, bass, vocal), Jurgen Ermisch 

(guitar, clavinet, vocal, percussion) and Bernd Billhardt (drums). It was a Peter Hauke production 

recorded in the Dierks studio, Stommeln. The gimmick window fold-out cover was designed by 

Walter Seyffer (of Nine Days' Wonder ) and Willi Holzel. The next Wyoming-album In Prison

(1972) had a very colourful painting by Klaus Holitzka. This was an improvement although there 

was little here beyond ordinary pop-rock. There was only one extended track, the 10 minute 

"Indian Wardance", which was surely the highlight. Marz helped again, in addition to Georg 

Rober (bass) and Curt Cress (drums). 

XHOL (CARAVAN)/SOUL CARAVAN 

Personnel: 

• TIM BELBE sax 

• (HANSI FISCHER flt, sax) A 

• OCKI BREUERN kb, tuba 

• KLAUS BRIEST b 

• "SKIP" d 

ALBUM (as Soul Caravan): 

• (-)"Get In High" (CBS 63268) 1967 

ALBUM (as Xhol Caravan): 

• (A)"Electrip" (Hansa 80099) 1969 

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. 

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 a mysterious 

way they became Xhol Caravan. Under this name they recorded Electrip in 1969, it was one of 

the first German progressive albums. It was released on Hansa and is now very rare, clean copies 

costing about 200 DEM. The cover artwork was very colourful and psychedelic, after all it was a 

1969-release and it has many psychedelic (and even jazz and beat) influences in the music. The 

album started with a toilet flush, which gave way to three Zappa-esque fusion instrumentals. Side 

two opened with the long "Raise Up High", an energetic mayhem of aggressive playing (a kind of 

jazz-soul blues-psychedelia) with wild and gutsy vocals. This was the album that sort of kicked 

the unique German jazz-rock fusion into life, and inspired bands as different as Out Of Focus, 

Ardo Dombec, Ikarus, Kraan, Release Music Orchestra and Thirsty Moon, just to name a few. 

The band signed up with the sacred underground label Ohr. Two long live improvisations, 

recorded in July 1970, were released as Hau-Ruk (1971). The album showcased a couple of 

changes: Hansi Fischer had quit for Embryo, and their name had been shortened into Xhol. 

Musically it was arguably a "progressive" development on Electrip, offering even more time for 

instrumental work, particularly the wah-wah manipulated sax and organ of Belbe and Breuern 

respectively. "Breit" was a lazy fusion piece, which gradually built in intensity. Actually this 

wasn't too far removed from the live tracks on Soft Machine's third album. By contrast, 

"Schaukel" turned into an obscene rocking monster. Xhol apparently disbanded around this time, 

as their final album Motherfuckers GmbH & Co KG (1972) consisted of studio recordings made 

two years earlier - in fact it's even written 'two years old' in big letters on the handmade front 

cover, picturing the sleeve of a reel tape. This was another essential album, including a stunning 

10-minute organ solo and a fine version of "Love Potion 25" (yep, the old standard, but here 

quaintly renumbered!). I don't know why this album wasn't released back in 1970, perhaps it was 

due to contractual difficulties with Hansa? It's a classic typical of the jazzy German underground.

If you are searching for more of the same, check out the first Missus Beastly album (1970). This 

album also featured the ex-Xhol member Hansi Fischer. It's a shame that Xhol failed to make the 

big masterpiece album that they really were capable of making. Their three albums hinted at 

marvellous innovation, who knows what they could have created, for example with Dieter Dierks 

producing them in 1971? 

YATHA SIDHRA 

Personnel: 

• ROLF FICHTER moog, kb, vibes, g, flt 

• PETER ELBRACHT flt 

• MATTHIAS NICOLAI g, b 

• KLAUS FICHTER d 

ALBUM: 

"A Meditation Mass" (Brain 1045) 1974 

NB: Re-issued in 1992 on CD by the American label Laser's Edge with original die cut cover & the music running unabrapted. 

This group was responsible for creating one of the longest tracks of the early seventies. Their 

continuous meditation mass clocks in at just over 40 minutes. And this makes Yatha Sidhra one 

of the few bands that only got one track released, since this was their only release! The band was 

from Freiburg and was led by Rolf Fichter, who wrote this mass, sang and played moog, electric 

piano, vibes, guitar and flute on it. They acquired a recording contract with Brain, probably due 

to their relationship with Achim Reichel, who produced the album and wrote a poem for the 

cover. Reichel had a growing interest in such meditative music then, which also is slightly 

evident on his own solo albums for Brain, Zebra and Polydor. The cover of A Meditation Mass is 

worth mentioning - it's a detailed, oriental mantra painting. The original front cover had a stencil 

cut-in for the writing, while the second issue (also on the green Brain label, circa 1975) had a 

plain single sleeve, but was still good-looking! The mainly instrumental music was relaxing and 

had some very prominent flute parts. 

ZARATHUSTRA 

Personnel: 

• ERNST HERZNER v 

• WOLFGANG REIMER g, v, perc 

• MICHAEL JUST b, v 

• KLAUS WERNER kb 

• WOLFGANG BEHRMANN d 

ALBUMS: 


NB: Re-issued in identical sleeve on Second Battle SB 002 (1989) in a limited edition of 1,000 numbered copies. 

Hey, here's another legendary band, which was rambling around the Hamburg clubs more than 

twenty years ago! Formed way back in 1969, Zarathustra chose a great name, associated with 

both Nietzsche and Strauss. Throughout 1969, two of the members also were part-time members 

of the beat group Why Five, contributing to an obscure beat-age sampler Ausgerehnet Bahanen 

(Elite Special XZ LP 5105). Hardly distinguished from other raucous heavy progressive bands of 

the time, Zarathustra were still able to get a recording contract with Metronome in 1971. It seems 

that this label was quite open-minded when it came to signing new bands, but on the other hand 

always failed to promote their artists in a proper manners: I Drive (UK), Grail (UK), Prof Wolfff,

Second Life, Made In Germany, Hallelujah (UK), Os Mundi and Franz de Byl. Zarathustra were 

put into the Windrose Studios, Hamburg, in November 1971 with an unknown production team 

of Till Landsmann (producer) and Friedrich Bischoff (engineer). The resulting album was a tourde-force 

of energetic heavy progressive rock, a kind of Teutonic Uriah Heep ("Gypsy" was one of 

their live favourites) with some added Jon Lord-like organ licks. Six great tracks with 

"Nightmare" as the melodic highlight. The music was not 'progressive' in the sense of expanded 

instrumentation and arrangements, rather it was a straight power-rock album the way it used to 

be. Zarathustra broke up in Spring 1972. 

STEFAN ZAUNER 


"Narziss" (Ariola 27 026) 1976 

On his solo albums, Stefan Zauner (vocals, guitars, keyboards) presented keyboards-dominated, 

light and soft symphonic rock comparable to Genesis or Yes. From the Autumn of 1975 to the 

Spring of 1979, Zauner was also a member of Amon Duul II and left his strong mark on 

Pyragony X (1976) & the next two. Klaus Ebert (vocals, bass, guitars), from the same Amon 

Duul II line-up, also contributed to Zauner's solo albums. 

ZEBERON 

ALBUM: 


An unknown band who recorded one album. 

ZIPPO ZITTERLINK 


• WOLFGANG ORSCHAKOWSKI 

ALBUM: 

"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, who is the one to 

blame for the five compositions included on the album. It might appeal to fans of the Creaminfluenced 

trio Friedhof . In the Poor Sun was released as a private pressing in a multi-coloured 

single cover. 

ZWEISTEIN 

ALBUM: 

"Trip, Flipout, Meditation" (3 LP) (Phillips 6630 002) 1970 

If albums like Seven Up by Ash Ra Tempel are too straight for your musical taste, why don't you 

try Zweistein. This was an utterly trippy concept triple album, dedicating an album each to the 

trip, flipout and meditation, respectively. The extremely weird sounds hardly deserve the term 

«music». It was lavishly packaged with a multi-fold out silver cover and a mirror was mounted 

on the front sleeve. Not recommended!

Cosmic Dreams at Play - Stoned Circus radio show - Free

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