Collaborations And Appearances Of Carmine Appice

After the dissolution of 'Beck, Bogert & Appice' in 1973, Carmine Appice cooperates with 'Jan Akkerman' to recording the album 'Tabernakel'.

 Jan Akkerman ‎– Tabernakel
 Release date:1973
 Genre: Jazz Rock
 Tabernakel' was the second solo album of Jan Akkerman.  The album was recorded over a period of two weeks in the midst of a sweat-drenched New York summer.  George Flynn, a young music professor at the prestigious Columbia University, and a  specialist in 15th Century music, collaborated with Jan on some authentic arrangements.  Songs like "Britannia by John Dowland" and "Javeh" are mixtures of Baroque charm and modern appeal.  "Lammy" moves through the moods that are Jan's life - and death.  And "House Of'The King" rocks with an Arabian flavor.  Tim Bogert, Carmine Appice, and veteran R&B drummer Ray Lucas assisted to the album.

1. Britannia
2. Coranto For Mrs. Murcott
3. The Earl Of Derby, His Galliard
4. House Of  The King
5. A Galliard (by Anthony Holborne)
6. A Galliard (by John Dowland)
7. A Pavan
8. Javeh
9. A Fantasy
10. Lammy
a)   I Am
b)   Asleep, Half Asleep, Awake
c)   She Is
d)   Lammy, We Are
e)   The Last Will And Testament
f)   Amen

• Jan Akkerman - Lute and Bass Guitar on "Britannia"
                Electric Guitars and Percussion on "House Of The King"
                Acoustic Guitar on "Javeh"
                Electric & Acoustic Guitar, Organ, Lute and Percussion on "Lammy"
                Lute on "Coranto For Mrs. Murcott", "The Earl Of Derby, His Galliard",
                A Galliard", "A Pavan" and "A Fantasy"
• Ray Lucas - Drums on "Britannia" and "Lammy"
• Tim Bogert - Bass Guitar on "House Of  The King" and "Lammy"
• Carmine Appice - Drums on "House Of The King" and "Lammy"
• George Flynn - Harpsichord, Piano and Glockenspiel on "Javeh"
               Harpsichord on "Lammy"
• Daniel Waitzman - Flutes on "Lammy"

In 1976 Carmine Appice playing drums on the song of Tommy Bolin 'Someday We'll Bring Our Love Home' from the album 'Private Eyes'. In 1978 be guest to the albums of Paul Stanley, Les Dudek and Stanley Clarke.

Les Dudek ‎– Ghost Town Parade
Release date:1978
Genre: Southern Rock

'Ghost Town Parade' is the third studio  album by American guitarist 'Les Dudek'.

1. Central Park
2. Bound To Be A Change
3. Gonna Move
4. Friend Of Mine
5. Does Anybody Care
6. Down To Nothin'
7. Tears Turn Into Diamonds
8. Falling Out
9. Ghost Town Parade

• Les Dudek - Guitars, Vocals
• Mike Finnigan - Keyboards, Backing Vocals
• Jim Kreuger - Guitar On #2,#4
• Max Gronenthal - Keyboards On #1,#3,#5,#6,#7,#8,#9, Backing Vocals On #3,#7,#8,#9
• Robert Powell - Bass On #1,#3,#5,#6,#7,#8,#9
• Gerald Johnson - Bass On #2,#4
• Jim Keltner - Drums On #2,#4
• Jeffrey Porcaro - Drums On #2,#4
• Gary Mallaber - Drums On #1,#3,#5,#6,#8,#9
• Carmine Appice - Drums On #1,#3,#5,#6,#7,#8,#9
• Patrick Murphy - Percussion On #1,#2,#4,#5,#6
• Jack Bruce - Backing Vocals On #1,#5,#6

House Of The Rising Sun ('70s)

Historians have not been able to definitively identify 'The House Of The Rising Sun', but here are the two most popular theories:
1) The song is about a brothel in New Orleans. "The House Of The Rising Sun" was named after Madame Marianne LeSoleil Levant (which means "Rising Sun" in French) and was open for business from 1862 (occupation by Union troops) until 1874, when it was closed due to complaints by neighbors. It was located at 826-830 St. Louis St.
2) It's about a women's prison in New Orleans called the Orleans Parish women's prison, which had an entrance gate adorned with rising sun artwork. This would explain the "ball and chain" lyrics in the song.
The melody is a traditional English ballad, but the song became popular as an African-American folk song.
All began in Middlesboro, Kentucky when a music historian by the name of Alan Lomax arrived at the doorstep of a poor miner’s daughter by the name of Georgia Turner.
Lomax was making recordings of popular folk songs sung by ordinary people in their natural environments for the Library of Congress and his travels brought him to little Georgia who was just 16, he hulked out his cumbersome presto reproducer recording machine and she sang her favourite sad song for him, an old bluesy folk tune about living a life of sin called 'Rising Son Blues'.
It had been about for years but never committed to tape before, indeed Lomax believed it dated back to 1600’s England while others dated it to the American Civil war, either way history had been made!
The song was recorded in 1937, from there the legendary Lomax put the song in a songbook and it spread like wildfire through the folk music scene on the east coast with versions springing up in the 1940’s from the likes of 'Pete Seeger', 'Woody Guthrie' and bluesman 'Josh White'.
Not bad for a song warning about the perils of prostitution eh? 'The House Of The Rising Sun' was traditionally a euphemism for a bordello in English circles, and the song is really little more than a tale of woe concerning a woman’s decline into the oldest profession in the world.
Amazing that no one really picked up on that and censored the whole thing from the start! With every passing year the songs fame grew until 'Bob Dylan' covered it on his debut album (calling it 'House Of The Rising Sun') and in 1964 a band of R&B reprobates from Newcastle in the north east of England called 'The Animals' came to record it and the face of modern music was changed for ever.
The song ranked #122 on Rolling Stone magazine's list of "500 Greatest Songs of All Time".
We would like to present to you 5 cover versions of the song by '70s.

Flower Travellin' Band ‎– Anywhere

Flower Travellin' Band ‎– Anywhere

Release date:October 21, 1970

Genre: Psychedelic Rock

'Anywhere' is the debut album by Japanese Rock group 'Flower Travellin' Band' released in 1970 by Polydor Records and produced by Yuya Uchida.
The only original composition that is an original band one on here is "Anywhere" which is short a soulful blues harp piece that appears both on the beginning and the end, while it's not quite clear what the lyrics are actually saying as with other parts of the album it still shows the great performance with powerful amount of lung capacity matched with chops and bold playing.
The slightly progressive psychedelic element is quite potent and gracefully astute with a band picking up on everything so well and providing lengthy psych jam tracks.
Four long cover versions make the material 'Louisiana Blues' by 'Muddy Waters', 'Black Sabbath' by 'Black Sabbath', 'House Of The Rising Sun' and '21st Century Schizoid Man' by 'King Crimson'.
The album cover (Easy Rider-style), yet again features a daring and provocative cover with full-blown bravado especially during the time they did it and in their own more conservative country Japan, setting it as an iconic memorable cover of an album that is actually pretty promising.

1. Anywhere
2. Louisiana Blues
3. Black Sabbath
4. House Of The Rising Sun
5. Twenty-First Century Schizoid Man
6. Anywhere

• Jun Kozuki - Bass
• Joji Wada - Drums
• Hideki Ishima - Guitar
• Joe (Akira Yamanaka) - Vocals, Harmonica

Frijid Pink - Frijid Pink

Frijid Pink - Frijid Pink

Release date:January 1970

Genre:Psychedelic Rock

'Frijid Pink' was one of the most successful of the many hard rock bands emanating from Detroit in the late 60’s and early 70’s. In 1970 they released their debut album 'Frijid Pink'.
They were the first rock group from the Motor City to chart a Top Ten single, 1970’s “House Of The Rising Sun”, and the first to have their self-titled debut album crack the Top Twenty on Billboard’s Top Albums chart.
'Tell Me Why', backed with 'Cryin’ Shame', was the first single to be released in advance of the album. Issued in 1969, it was a blast of grungy Motor City hard rock that fit right in with the recent releases by the 'MC5' and 'The Stooges'.
It was popular in Detroit and north along the I-75 corridor, but the single might have been a little too raw to gain much airplay outside of the state.

1. God Gave Me You
2. Crying Shame
3. I'm On My Way
4. Drivin' Blues
5. Tell Me Why
6. End Of The Line
7. House Of The Rising Sun
8. I Want To Be Your Lover
9. Boozin' Blues

• Tom Beaudry (aka Kelly Green) - Lead Vocals
• Gary Ray Thompson - Guitars
• Tom Harris - Bass
• Richard Stevers - Drums
• Larry Zelanka - Keyboards

Electric Food ‎– Electric Food

Electric Food ‎– Electric Food

Release date:1970

Genre: Hard Rock

'Electric Food' was a German Heavy Prog Rock band which included all "Lucifer's Friend" musicians except John Lawton.
Who the actual band was is a mystery, as no musician credits are given, except that the debut is from the time of 'Asterix's' first single and features George "Monroe" Mavros on vocals.
In 1970 they released their debut album 'Electric Food' and had strong influences from Led Zeppelin, Uriah Heep, and Spooky Tooth.
Their own versions of such classics as "Whole Lotta Love","House Of The Rising Sun" and "Let's Work Together" are worth to be mentioned too.

1. Whole Lotta Love
2. The Reason Why
3. Hey Down
4. Tavern
5. Going To See My Mother
6. House Of The Rising Sun
7. Let's Work Together
8. Sule Skerry
9. Nosferatu
10. Twelve Months And A Day
11. Icerose
12. I'll Try

• Peter Hesslein - Lead Guitar
• George Mavros - Lead Vocals
• Dieter Horns - Bass Guitar
• Peter Hecht - Keyboards
• Addy Rietenbach - Drums

Geordie ‎– Don't Be Fooled By The Name

Geordie ‎– Don't Be Fooled By The Name

Release date:1974

Genre: Hard Rock

'Don't Be Fooled By The Name' is the second studio album by 'Geordie'.
The album was a bit of a letdown after their debut, which merged the swagger of Hard Rock with the tuneful bombast of blue-collar Glam acts typified by 'Slade'.
In some respects, 'Don't Be Fooled By The Name' suggests 'Geordie' were aiming for something a bit more mature and adventurous than they achieved on their debut, and they didn't entirely fail -- they reveal a tough, Bluesy side on their cover of "House Of The Rising Sun," a number that suits 'Brian Johnson's' industrial-strength pipes, and the "St. James Infirmary" lift in opening cut "Goin' Down" leans toward the same direction.
'Mercenary Man' boasts an undercurrent of sociopolitical commentary that wasn't normally the band's stock in trade, and "Ten Feet Tall"'s dynamics and guitar work (the latter courtesy of group leader Vic Malcolm) suggests 'Geordie' had been studying their early Led Zeppelin albums.

1. Goin' Down
2. House Of The Rising Sun
3. So What
4. Mercenary Man
5. Ten Feet Tall
6. Got To Know
7. Little Boy
8. Look At Me

• Brian Johnson - Vocals
• Vic Malcolm - Lead Guitar
• Tom Hill - Bass Guitar
• Brian Gibson - Drums

Leslie West ‎– The Great Fatsby

Leslie West ‎– The Great Fatsby

Release date:March 1975

Genre: Hard Rock

'The Great Fatsby' is the second album by Leslie West.
It was released on Bud Prager's Phantom Records in March 1975 and distributed by RCA Records. The album features Mick Jagger on rhythm guitar.
The album  opens with a nice and bluesy Paul Kelly tune, "Don't Burn Me," and for the post-Mountain work here, that direction works best.
"The House of the Rising Sun" features a duet with Dana Valery and is an interesting read on the traditional tune made famous by the 'Animals'.
The instrumental "E.S.P." might be the strongest statement here (isn't that the name of label owner Bud Prager's management firm, E.S.P.?). With 12-string guitars and superb musicianship, it's the best of West on display.
Gary Wright makes an appearance on this album on piano, and 'The Great Fatsby' emerges as a unique look at an important rock & roll artist with some surprises tucked inside.

1. Don't Burn Me
2. House Of The Rising Sun
3. High Roller
4. I'm Gonna Love You Through The Night
5. E.S.P.
6. Honky Tonk Women
7. If I Still Had You
8. Doctor Love
9. If I Were A Carpenter
10. Little Bit Of Love

• Leslie West - Guitars, Vocals
• Gary Wright - Piano
• Corky Laing - Drums
• Mick Jagger - Guitar
• Kenny Hinckle - Bass
• Don Kretmar - Bass
• Nick Farrentella - Drums
• Marty Simon - Piano
• Joel Tepp - Guitar
• Howie Wyeth - Piano
• Dana Valery - Vocals
• Jay Traynor - Vocals

The Crack In The Cosmic Egg (Part I)

'The Crack In The Cosmic Egg' is a definitive Krautrock Encyclopedia, a guide to all the artists of the original Krautrock scene, written by Steven and Alan Freeman.
The book has a wider scope (1968/69 up to 1985) and also incorporates worthwhile releases in the late 70s early 80s experimental weird new wave/industrial genre.
The book led to an in-depth survey, with full discographies, pictures, extra bonus pages (compilations, archives, galleries, concerts, film) etc.
This is a challenge for anybody in Krautrock interested in this material to write an encyclopedia about this era.
We would like to present to you 35 artists from the book.

Albatros - Garden Of Eden

Albatros - Garden Of Eden

Release date:1978

Genre: Progressive Rock

'Albatros' were formed in Hagen in February 1974. Despite reputedly winning a number of local talent contests over the years, they never managed to secure a record contract. I gather these were to be signed to Sky, but got turned down due to a glut of too many such German hard-rock progressives at the time.
Eventually the band decided to produce an album themselves recorded at a friend's studio near Frankfurt. To me it's obvious why 'Albatros' never scored a record contract, as they were not great musicians, and Sky already had far superior acts like 'Streetmark' and 'Ramses'. But, it should be said, for an amateur band with very limited resources 'Garden Of Eden' is ambitious in that features just three long complex tracks. I'm not so keen on the singer, but as a big band with a penchant for instrumental drives and solos he doesn't get given too much room.
These had the potential to do an excellent album, based on this. It's a pity they didn't.

1. A Man Like Me
2. Sundriver
3. Garden Of Eden

• Peter Breitbarth - Guitar
• Thomas Büscher - Drums
• Achim Hubricht - Bass
• Harald Hubricht - Keyboards
• Christian Köppen - Piano
• Hansi Köppen - Vocals
• Jürgen Polzin - Congas

Ashra - New Age Of Earth

Ashra - New Age Of Earth

Release date:1977

Genre: Progressive Electronic

Essentially the same project as 'Ash Ra Tempel', 'Ashra' was Manuel Göttsching continuing solo, adding synthesizers to his instrumentation. Manuel also worked in collaboration with many other musicians, including sessions with ex-Agitation Free members Lutz Ulbrich and Michael Hoenig, and in concert with ex-Wallenstein drummer Harald Grosskopf.
Some sessions from this period have only appeared as official releases recently, namely the ethereal Le Berceau De Cristal film soundtrack, the RIAS radio session Dream & Desire, and the Hoenig · Göttsching jam Early Water.
The first two albums released as Ashra at the time were entirely solo, showcasing Manuel's great talent as a multi-instrumentalist, firstly with the cosmic and sequential 'New Age Of Earth' which showed much Klaus Schulze influence along with unique new way of using sequencers.

1. Sunrain
2. Ocean Of Tenderness
3. Deep Distance
4. Nightdust

• Manuel Göttsching - Keyboards, Synthesizer, Guitar

Birth Control ‎– Birth Control

Birth Control ‎– Birth Control

Release date:1970

Genre: Krautrock

Amongst the longest running of German rock bands, 'Birth Control' were formed way back in 1968 as a Cologne student rock-band.
They chose their rather controversial name as a stab at Pope Paul's anti birth control policy. The original band consisted of Bernd Koschmidder (bass), Reinhold Sobotta (organ), Rolf Gurra (saxophone, vocals) and Egon Balder (drums).
In their early days, dogged by military service commitments, and ideological differences, the line-up was in flux for many years. In fact, only two original members remained by the time of their debut single, at which time they had moved base to Berlin for a while. By this time, the new core of the band Bernd Noske (drums, vocals) and Bruno Frenzel (guitar, vocals) had joined, both rapidly taking over the lead.
The Noske/Frenzel/Sobotta/Koschmidder line-up debuted with the (now rather dated sounding) pop single "October" which defined the early 'Birth Control' sound, as a hybrid of 'The Nice' and 'The Doors' really, a sound which they would push on with and make entirely their own.
Their debut album was released with a special mock birth control "pill case" type cover, and introduced them as an original hard-rock band with a classical edge, extensively featuring the keyboards of Reinhold Sobotta. Highly progressive (with a psychedelic edge) and with an original sound, they also paid homage to one of their influences with a highly creative version of The Doors' "Light My Fire".

1. No Drugs
2. Recollection
3. Deep Inside
4. Foolish Action
5. Sundown
6. Change Of Mind
7. Light My Fire

• Bernd Koschmidder - Bass
• Reinhold Sobotta - Organ
• Bernd Noske - Drums, Vocals
• Bruno Frenzel - Guitar, Vocals

Bullfrog ‎– Bullfrog

Bullfrog ‎– Bullfrog

Release date:1976

Genre: Blues Rock

'Bullfrog' originated from Cologne circa 1976, as the amalgam of musicians from various local bands. Gerd Hoch came from 'Sound Edge' (who also featured Zeus B. Held, later of Birth Control), Vincent Trost had played with 'The German Four', and Sebastian Leitner was with 'Lazarus Round'.
They were unusually a rather heavy-handed hard-rock and melodic progressive on their albums, notable for their unusual 'Rod Stewart' like gravel-voiced vocalist Gerd Hoch, but with little in the way of a distinctive style or originality.
Really, they sounded British, not at all Krautrock, and only really of interest to hard-rock fans and Sky label collectors!

1. Movin' On
2. Bad Game
3. I Came From The Sky
4. I'm Comin' Home
5. Get Away
6. Desert Man

• Sebastian Leitner - Guitars
• Gerd Hoch - Vocals
• Harald Kaltenecker - Keyboards
• Vincent Trost - Bass
• Bruno Perosa - Percussion
• Ute Hellermann - Choir
• Jane Palmer - Choir

Curly Curve ‎– Curly Curve

Curly Curve ‎– Curly Curve

Release date:1973

Genre: Krautrock

'Curly Curve' originated in Berlin in the late-1960's, with blues singer Heiner Pudelko and Kurt Herkenberg (briefly an early member of Tangerine Dream), as an underground psychedelic rock band. In 1969 Alex Conti joined, then fresh out of 'Psy Free'.
But, things didn't work out, with too many members coming and going, so the band folded and then reformed anew in Spring 1970, this time trying a rock fusion sound. Again the band folded with Alex Conti leaving in May 1972 going to 'Atlantis'.
By the time of their debut album, their style had mellowed somewhat as a variably heavy blues rock, obviously inspired by the late-1960's British scene (of John Mayall, Steamhammer, Groundhogs, etc.), though they did have a unique style, with some slight progressive touches, and were fronted by a particularly odd gruff blues singer.
Although considered collectable nowadays, their album is admittedly one of the less exciting of the Brain catalogue rarities.

1. Hell And Booze
2. I'm Getting Better
3. All Things Clear
4. Bitter Sweet
5. Shitkicker
6. Dream For Today
7. Patricia Reprise
8. Queen Of Spades

• Martin Knaden - Guitar
• Hanno Bruhn - Vocals, Guitar
• Kurt Herkenberg - Bass, Vocals
• Chris Axel Klöber - Keyboards
• Hans Wallbaum - Drums

Dies Irae ‎– First

Dies Irae ‎– First

Release date:1971

Genre: Krautrock

Very little is known about 'Dies Irae', except that it is rumoured that Manfred von Bohr (of 'Message' and 'Birth Control') started his career with them. They are shrouded in mystery, and were hardly at all typical of bands on the Pilz label.
'Dies Irae', despite the Gothic religious imagery of their name, played a heavy brand of Krautrock, blending in jazz, blues and psychedelic touches. Really, every track was in a different style. Mostly they used straight rock structures, with good songs (mild German accents in English), and much psychedelic spice. All creatively and imaginatively played, and inter-cut with all sorts of surprising twists and turns. They could be really heavy or trip-out on the esoteric ether.
Maybe less distinctive than most Krautrock of the era, 'Dies Irae' were nonetheless excellent! The album title seemed to imply their intent for a second album, but it never happened!

1. Lucifer
2. Salve Oimel
3. Another Room
4. Trip
5. Harmagedon Dragonlove
6. Tired
7. Witches' Meeting
8. Red Lebanese
9. Run Off

• Rainer Wahlmann - Lead Vocals, Harmonica
• Harald H. G. Thoma - Guitar, Vocals
• Robert J. Schiff - Bass
• Andreas Cornelius - Drums

Eden ‎– Erwartung

Eden ‎– Erwartung

Release date:1978

Genre: Krautrock

A huge band with a confused history, 'Eden' drew on a wide range of musics in their complex progressive style, lots of folk references, adapted classical melodies, etc.
Aptly, in tune with their name, 'Eden' were also very much a religious group, as virtually all of their songs use texts taken from the Bible, and amount to Teutonic rock-opera's in a sense.
At their best (as on 'Erwartung') 'Eden' come across as a blend of early 'Renaissance', 'Novalis' and 'Hoelderlin', together with some neo-progressive touches and all sorts of other prog, folk and symphonic touches!
The multi-instrumental nature of their music made for a rich palette of sound, and a wide variety of instrumental elements contrasting with the esoteric German vocal elements.
'Eden' are interconnected with various other bands on the Lord and Pila labels.

1. Spätregen
2. Erwartung
3. Eden, 1. Teil
4. Eden, 2. Teil
5. Ein Anderes Land

• Marcus Egger - Vocals
• Anne Dierks - Vocals
• Annette Schmalenbach - Vocals
• Mario Schaub - Flute, Clarinet, Saxophone, Vocals
• Dirk Schmalenbach - Violin, Piano, Synthesizers, Sitar, Acoustic Guitar, Percussion, Vocals
• Hans Fritzsch - Guitars
• Michael Dierks - Organ, Piano, Clavinet, String Ensemble, Vocals
• Michael Claren - Bass, Vocals
• Hans Müller - Drums, Percussion
• Emil Wirth - Congas

El Shalom ‎– Frost

El Shalom ‎– Frost

Release date:1976

Genre: Krautrock

Originating in late-1970 from Rheinhausen (Duisburg), 'El Shalom' were one of the many obscure German bands that only ever managed to release things through a small local independent, and that was 6 years on from their inception.
The album 'Frost' was of that typically German mellow prog vein as best documented by the likes of 'Epitaph' or 'Jane', however 'El Shalom' never had such deft compositional qualities, and although competent instrumentally, the English lyrics are rather dodgy and arrangements a little amateurish.
Those that appreciate similar bands, like 'Minotaurus' or 'Troya', may however find them of interest.

1. Der Werbegnom
2. Princess June
3. Kreislaufkollaps
4. Alvin Zweistein
5. Frost
6. H., A., Und Zwirn
7. Birthday-Song
8. Leipzig

• Joachim Brands - Keyboards, Vocals
• Gunter Christ - Guitar, Vocals
• Helmut Meier - Bass, Flute, Vocals
• Wolfgang Merkens - Drums, Vocals
• Karlheinz Schmitz - Guitar, Flute, Vocals

Friedhof ‎– Friedhof

Friedhof ‎– Friedhof

Release date:1971

Genre: Krautrock

'Friedhof' were an early-1970's underground band who produced just the one obscure album, and then disappeared into obscurity.
The self-titled record, which sounds like it's recorded in a sewer, is largely a collection of totally freaked-out guitar, bass and drums instrumentals, charged to the power of brain-numbing intensity.
So, whilst a touch grungy and raw in the production department, the sheer quality of the music overrides the technical defects.
This is one for those who not only like their rock music with guitars afire, but - white hot!

1. Orgasmus
2. Nothing At All
3. Undertaker's Joy
4. Setting Sun
5. Clear Blue Sky (Part 1)
6. Clear Blue Sky (Part 2)

• Ernst-Ulrich Freitag - Guitars
• Norbert Schulz - Bass, Percussion
• Rainer Bartl - Drums

Gravestone ‎– Doomsday

Gravestone ‎– Doomsday

Release date:1979

Genre: Krautrock

Formed as a group of 15 year old school friends in 1975, and first existing under the names 'Heizkörper' and then 'Oregon'. 'Gravestone' were formed proper in late-1976. They came from the town of Illertissen (a good few miles south of Ulm) and tried to create a mixture of hard-rock and spacey styles.
For many years we'd known of 'Gravestone' as a heavy metal band of the mid-1980's, so it was a surprise to learn of their more progressive roots.
Their debut album 'Doomsday' was a largely instrumental collection, with only two songs "Doomsday" opening the album in a Harlis/Jane/Epitaph type vein, and "Stone Age" a much more typical Teutonic heavy prog ballad. The instrumentals, which are of varying recording quality, all seem to be extracts or condensed reworks of longer jams.

1. Doomsday
2. Life In The Coffin
3. Hope
4. On The Run
5. Stone Age
6. Corinne
7. Summer '78

• Wolfgang Ritter - Lead Guitar
• Rudi Dorner - Rhythm Guitar
• Berti Majdan - Bass, Lead Vocals
• Andy Müller - Organ, Background Vocals
• Mike Schmidt - Drums, Percussion

Harmonia ‎– Musik Von Harmonia

Harmonia ‎– Musik Von Harmonia

Release date:1974

Genre: Krautrock

Established as a project in parallel to 'Neu!' and 'Cluster', the super-group trio of Michael Rother, Dieter Moebius and Hans-Joachim Roedelius explored a wide range of synth and electronic rock styles. Initially they were formed as a live band, but also recorded two very fine albums of music that combined varying degrees of 'Cluster' and 'Neu!' styles.
'Musik Von Harmonia' is most notable for the deep-space trek "Sehr Kosmische" and strange ambient textures, helping define a whole new genre of music.

1. Watussi
2. Sehr Kosmisch
3. Sonnenschein
4. Dino
5. Ohrwurm
6. Ahoi!
7. Veterano
8. Hausmusik

• Joachim Roedelius - Organ, Piano, Guitar, Electric Percussion
• Michael Rother - Guitar, Piano, Organ, Electric Percussion
• Dieter Moebius - Synthesizer, Guitar, Electric Percussion

Häx Cel ‎– Zwai

Häx Cel ‎– Zwai

Release date:1972

Genre: Progressive Rock

In Krautrock history there were only a handful of classical-rock bands of note, and of those 'Häx Cel' were one of the most obscure. They originated from Hanover circa late-1971, and played their first gig in January 1972, developing themes of Albinoni, Bach, Beethoven, Händel and such-like (mostly Händel on the album), all in a light but complex rock setting, with the focus on flute and (harpsichord sounding) keyboards.
Their debut single recalled the classical style of early 'Jethro Tull', and a little 'Colosseum'. Their only album release 'Zwai' captured them live in concert on 29 October 1972,  at Beethovensaal, Hannover, and showed a band with potential, if a little shaky in some of the complex passages. Fans of the more arty subtle lighter end of classical rock (i.e. The Enid, Paul Brett, etc.) will no doubt love this one.
The band, however, split up shortly after its release.

1. Albinoni
2. A Second Time
3. Music
4. Julius Caesar
5. Bourrée
6. Marsch
7. Land Of Dreams
8. To Barbara
9. Andante

• Michael Moebus - Bass, Vocals
• Rainer Greffrath - Drums
• Achim Neubauer - Electric Piano
• Dieter Neumann - Flute, Vocals

Ikarus ‎– Ikarus

Ikarus ‎– Ikarus

Release date:1971

Genre: Krautrock

It was in the mid-sixties, in the musical hotbed that was Hamburg, that 'Ikarus' were formed. Ikarus were just the latest beat group that had been formed in Hamburg.
By 1966, 'Ikarus' made tentative steps onto Hamburg’s live scene. 'Ikarus’' earliest concerts took place in youth clubs, where they played cover versions of popular song. At first,'Ikarus' were called 'Beautique In Corporation'. Soon, this was soon shortened to 'BIC'. This found favour among the band’s audience.
Although a relatively new group, 'BIC' quickly won over audiences. Soon, they had large and enthusiastic audience. 'BIC' played what they wanted to hear. They weren’t above playing covers of hits by Elvis Presley and Tom Jones. This was easy on the ear of the audience. However, before long, 'BIC’s' setlist changed.
The band members began to write their own songs. Audiences expected to hear original material. They didn’t just want to hear cover versions. This suited the members of 'BIC', who were classically trained musicians. Composition came easy to them.
These new songs were added to 'BIC’s' sets. Some of these songs had a psychedelic sound. 'BIC’s' music was evolving, as music evolved. This proved popular when 'BIC' played live.
By then, 'BIC' had graduated from the youth club circuit, and were by now familiar faces on the Hamburg and North German music scene. Their music was a mixture of psychedelia and rock. However, there was an element of comedy in 'BIC’s' sets.
Soon, 'BIC' were one of the most successful Hamburg bands. They were well on their way to becoming one of the leading lights of the Hamburg scene. So when they saw an advert for the 1969 Hamburg student beat band competition, 'BIC' decided to enter.
Having won the 1969 Hamburg student beat band competition, 'BIC' were invited to in the 1970 Hamburg 'Pop and Blues festival'. It took place between the 1st and 3rd of April 1970. 'BIC' were going to rub shoulders with some of the biggest band on that early seventies. Among them, were 'Chicken Shack', 'Steampacket', 'Alexis Corner' and 'Hardin and York'. Despite such an illustrious lineup, it was the hometown band that won the hearts and minds of the audience. 'BIC' had stolen the show.
After their performance at the 1970 Hamburg 'Pop and Blues festival', things happened quickly for 'BIC'. A live album of 'BIC’s' performance at the Hamburg Pop and Blues festival was released as their debut album. It was augmented by performances from 'Frumpy' and 'Tomorrow’s Gift'. The album sold fairly well, and it looked like 'BIC’s' star was in the ascendancy.
Just a few months later, 'BIC’s' lineup changed, when two new names joined the band. Now 'BIC' was a five piece band. The new lineup of 'BIC' was then asked to open for British band 'Uriah Heep' on their forthcoming tour. This was the start of the rise and rise of 'BIC'.
Not long after this, 'BIC' acquired a manager, who was also a  concert promoter, Will Jahncke. One of his first suggestions was that 'BIC' changed their name to 'Ikarus'. While this seemed more in keeping with the psychedelic and progressive rock scene, 'BIC' were a popular and successful band. However, the five members decided to change the band’s name to 'Ikarus'.
Following the name change, 'Ikarus’' music changed. They were inspired to do so, by 'King Crimson', 'Yes', 'Colosseum' and 'Frank Zappa'. Soon, 'Ikarus' were fusing fusion with progressive rock and experimental music. There was still a slight psychedelic sound to their music. However, the new sound didn’t please everyone.
With the critics championing their music, it made sense for 'Ikarus' to record their debut album in the second half of 1971. So the five members of 'Ikarus' made their way to the Windrose Studio, Hamburg.
By then, the members of 'Ikarus' had written four songs. Each of the songs were collaborations between members of the band. That was apart from The Raven Including “Theme For James Marshall.” It was an 'Edgar Allan Poe' poem set to music written by four members of 'Ikarus'. This became a near twelve minute epic that featured on side two of 'Ikarus'. With the album written, the band began recording their debut album.
The album sold well, and soon, the band were playing sellout shows across Germany. In Hamburg, 'Ikarus’' home town, they were asked open for 'Deep Purple'. It looked like 'Ikarus' were were well on their way to becoming one of the stars of the German music scene. Those that heard Ikarus concurred.
Sadly, 'Ikarus' was the only album that the band ever released. The 'Ikarus’' story is a case of unfilled potential.

1. Eclipse Divided In Scyscrapers And Sooner Or Later
2. Mesentery
3. The Raven Including Theme For James Marshall
4. Early Bell's Voice

• Wolf Dieter Strunz - Organ, Piano
• Jochen Petersen - Guitars, Alto/Tenor Saxophones, Flute, Clarinet, Vocals
• Manfred Schulz - Guitar, Vocals
• Wolfgang Kracht - Bass, Vocals
• Lorenz Köhler - Lead Vocals
• Bernd Schröder - Drums, Percussion

Join In ‎– Kentalope Island

Join In ‎– Kentalope Island

Release date:1974

Genre: Jazz Rock

Formed by drummer Edward Friedrich, Jörg Radeck on guitar and Udo Dobrzanski on bass originating from Marl (north of Essen) in 1968, and going through numerous changes over the years, first influenced by British rock and blues acts, 'Join In' later moved ever more onto jazzy prog and fusion realms.
Associates of 'Think', whose Ricky Ramor and Frank Voigt were amongst the many that passed through their ranks, Join In recorded their album at the same studio, with Eroc as engineer.
'Kentalope Island' their sole album recorded in the spring of 1974, which was released in the same year on the small 'Menga' label.
'Kentalope Island' is a pleasant record, with some slight 'Think' references, but much more fusion, mixing jazzy musics with soft rock and prog elements typical of the era, comparable to many others, 'Guru Guru' circa Globetrotter, 'Cry Freedom', or Dutch acts like Alquin or Solution.

1. Illlusions
2. Do It Yourself
3. Dreams
4. Kentalope Island
5. Used To Play
6. Fliwatüü

• Jörg Radeck - Guitar
• Werner Bleck - Bass
• Udo Custodis - Saxophone
• Eddie Friedrich - Drums
• Wilfred Jens - Piano

Kollektiv ‎– Kollektiv

Kollektiv ‎– Kollektiv

Release date:1973

Genre: Krautrock

The story of 'Kollektiv' is quite complex. Originally a school band playing pop songs in the mid-1960's as a trio called 'The Generals' with the twin brothers Jogi and Waldemar Karpenkiel, and Jürgen Havix. During the late-1960's the three went their separate ways playing in diverse rock, blues and psychedelic bands. In 1967 Jogi joined 'The Phantoms', which also featured later 'Kraftwerk' member Ralf Hutter. This band went through several changes of name, 'Rambo Zambo' 'Bluesband', 'Bluesology' and, after Jogi had left to rejoin 'The Generals', became 'Organisation'.
Also in 'Bluesology' was the talented jazz saxophonist Klaus Dapper who left the band along with Jogi. With Dapper at the helm, 'The Generals' changed style completely and changed name to 'Kollektiv', with the line-up of Dapper, Havix and the Karpenkiel brothers.
As a dedication to their roots 'Kollektiv's' debut album opened with the track "Rambo Zambo" sounding very close to the music of 'Organisation' and early 'Kraftwerk', a spacious fusion involving unusual structures, and strongly featuring electrified flute and saxophone, in all - too esoteric and complexly crafted to be called jazz-rock.
The band name was apt for a music that was created as a collective, with the attitude "Our maxim: Everything is allowed! Music as experiment", and in keeping with their novel music the LP cover had a novel word game inside based around the words: Rock, Jazz and Pop (or as my LP often says "RACK POZZ").
German humour can be so wicked, you know. In fact, along with the likes of 'Xhol', instrumental 'Thirsty Moon', 'Ibliss', et al., 'Kollektiv' exhibited a style that was uniquely German, the jazzier end of Krautrock, full of invention and exceptional musicianship.

1. Rambo Zambo
2. Baldrian
3. Försterlied
4. Gageg a)Andante
5. Gageg b)Allegro
6. Gageg c)Preßluft

• Jogi Karpenkiel - Bass
• Waldemar Karpenkiel - Drums
• Jürgen Havix - Guitar, Zither
• Klaus Dapper - Flute, Saxophone

Lied Des Teufels ‎– Lied Des Teufels

Lied Des Teufels ‎– Lied Des Teufels

Release date:1973

Genre: Krautrock

Part of a strange legacy of bands, these were previously known as 'Hanuman', who were in turn ex-'Murphy Blend', changing name after the original leader Wolf-Rüdiger Uhlig left. They named themselves after the closing track on the 'Hanuman' album.
'Lied Des Teufels' (in English "Song of the Devil") made a much more aggressive politico-German rock, stylistically between 'Out Of Focus', 'Floh De Cologne' and 'Ton Steine Scherben', being all the more theatrical and offbeat on their second album. Very German and quite heavy going in the lyric department, the music nonetheless - sizzled!
Throughout their career 'Lied Des Teufels' certainly did play "Hellish Hot Rock music".

1. Wenn Du Fragst
2. Nichts
3. Steht Nicht Abseits
4. Gott, Geld Und Freiheit
5. Ich Bin Nur Ein Kind
6. Das Lied Des Teufels

• Thomas Holm - Drums, Vibes
• Jörg Hahnfeld - Bass
• Ralf Schultze - Guitars, Vocals
• Peter Barth - Vocals, Alto Saxophone, Flute

Lightshine ‎– Feeling

Lightshine ‎– Feeling

Release date:1976

Genre: Krautrock

Formed in 1974 by four students, "Lightshine" originated from the town of Emmerich in the lower Rhein area.
Slightly out of their time, negotiations with Sky and Vertigo came to nothing, they didn't fit in with the new smoother progressive sounds of the mid-1970's, so eventually they decided to publish an album themselves.
Unusually, "Lightshine" sounded very psychedelic for a band in 1976, their personalised brand of progressive rock was heavily inspired by British bands like 'Family' and 'Genesis', along with touches of early 'Jane', 'Eloy', or 'Satin Whale', but with a touch of Teutonic eccentricity, their twist on 'Peter Gabriel' type theatrics is highly original, and with complex arrangements and clever (sometimes very funny) songs, it all made for an enjoyable and inventive album. But, aside from getting enough interest to repress the album a year later, "Lightshine" never got above the ranks of support act to the likes of 'Hoelderlin' or 'Scorpions'.
They disbanded in late 1977.

1. Sword In The Sky
2. Lory
3. Nightmare
4. King And The Queen
5. Feeling

• Olli - Synthesizer
• Wolfgang - Bass, Vocals
• Egon - Drums
• Ulli - Rhythm Guitar, Flute, Vocals
• Joe - Lead Guitar, Vocals