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

Munju ‎– High-Speed Kindergarten

Munju ‎– High-Speed Kindergarten

Release date:1977

Genre: Krautrock

A typical Schneeball fusion band at the start, "Munju" originated in Würzburg circa 1976 as the new group of ex-'Missus Beastly' and 'Erna Schmidt' winds-player Jürgen Benz.
A notable 'Kraan' feel lived in their early recordings, with the bass being the kingpin of it all, with a multi-percussion axis and excellent solo work from the guitar and winds.
They became part of the independent musicians owned record label & distribution "Schneeball" together with 'Embryo', 'Missus Beastly', 'Ton Steine Scherben' and many more.
On their debut album, "High-Speed Kindergarten" "Munju" presents fine instrumental jazz rock with some Krautrock- and Latin influences.
"Munju" was first and foremost a touring live band. They played way over 1000 gigs in the 10 + years of their existence. Most of the gigs took place all over Germany and the highlights were tours through Italy, Sicily, Sweden, Austria, France, Spain and Switzerland.

1. Kirschsuppe
2. Fall Oslip
3. Patschamenga Underground (Part I+II)
4. Talk To Me But I Listen To You
5. High Speed Kindergarten

• Jürgen Benz - Alto Saxophone, Flute
• Dieter Kaudel - Guitar
• Wolfgang Salomon - Bass
• Thomas Römer - Drums
• Joseph Spector - Congas

Night Sun ‎– Mournin'

Night Sun ‎– Mournin'

Release date:1972

Genre: Hard Rock

Largely undocumented, the history of "Night Sun" comes out of the melting pot of bands from the Mannheim area, interconnected with the likes of 'Kin Ping Meh' and 'Twenty Sixty Six And Then'.
The origins of the band lay in the late 1960s jazz band 'Take Five' who were popular in the Rhine Neckar Area of Germany.
Many musicians passed through the band during their three year existence, including ex-British army servicemen based in Germany.
Not surprisingly, "Night Sun" had a very British heavy style, with 'Deep Purple' and 'Led Zeppelin' influences, spiced up by Teutonic fusion and psychedelic touches.
"Night Sun" released their sole album "Mournin'" in 1972.
After they split Bruno Schaab went on to 'Guru Guru', and Knut Rössler stepped further into his oeuvre in the jazz-rock band 'Chameleon'.

1. Plastic Shotgun
2. Crazy Woman
3. Got A Bone Of My Own
4. Slush Pan Man
5. Living With The Dying
6. Come Down
7. Blind
8. Nightmare
9. Don't Start Flying

• Walter Kirchgässner - Guitar
• Bruno Schaab - Vocals, Bass
• Ulrich Staudt - Drums
• Knut Rössler - Organ, Piano, Saxophone, Trumpet, Trombone

Out Of Focus ‎– Wake Up!

Out Of Focus ‎– Wake Up!

Release date:1970

Genre: Krautrock

"Out Of Focus" formed in late-1968 in Munich, they rapidly established a stylish and refined blend of rock and jazz, that drew in psychedelic overtones and also a profound socio-political awareness in Moran Neumüller's songs.
The early albums exhibited that unique character of Krautrock (akin to 'Xhol', 'Thirsty Moon', etc.) with pure invention in a music that transcends boundaries, taking the rock song beyond its normal format with extended instrumentals featuring an abundance of solos and surprises. I would argue that "Out Of Focus" started excellent, and got even better with each album. "Wake Up!" is a music as exclamatory as the title, very underground and still with an air of psychedelia.

1. See How A White Negro Flies
2. God Save The Queen, Cried Jesus
3. Hey John
4. No Name
5. World's End
6. Dark, Darker

Remigius Drechsler - Guitar, Backing Vocals

Hennes Hering - Keyboards

Moran Neumüller - Vocals, Saxophone, Flute

Klaus Spöri - Drums

Stefan Wisheu - Bass

Pinguin ‎– Der Grosse Rote Vogel

Pinguin ‎– Der Grosse Rote Vogel

Release date:1972

Genre: Krautrock

"Pinguin" formed by ex-members of the psychedelic band 'Talix', and that's about all we know about them! "Pinguin" are amongst the most mysterious of bands.
The band recorded their sole album "Der Grosse Rote Vogel" between September and November 1971 and released in 1972. "Der Grosse Rote Vogel" is a Krautrock classic album, dark and sinister, in the realms of Drosselbart and Eulenspygel. "Pinguin" blended all sorts of unlikely elements into a rock music that trips out and flies off at tangents, topped by superbly gothic German vocals.

1. Der Große Rote Vogel
2. Die Angst
3. Der Frosch In Der Kehle
4. Der Blaue Wind
5. Die Nachtmusik
6. Der Traum

Markus Schaub - Guitar, Percussion, Choir

K.D. Blahak - Drums

Volker Plitz - Organ, Percussion

Joe Voggenthaler - Guitar, Percussion

Elmar Kast - Tenor Saxophone, Flute, Percussion, Choir

Klaus Gebauer - Vocals

Tom Wohlert - Basses, Bongos, Choir

Ramses ‎– La Leyla

Ramses ‎– La Leyla

Release date:1976 

Genre: Progressive Rock

Formed in Hannover, December 1972, with the line-up: Hans-Jürgen Lammers (drums), Peter Klages (guitar), Bernd Probst (keyboards), Hans-Dieter Klinkhammer (bass), Herbert Natho (vocals), "Ramses" toyed with many different styles in their formative days, only really gaining focus when joined by the Langhorst brothers.
After winning the Nachwuchsfestival "Pop74" competition, they soon got the interest of then Brain producer Günter Körber, who signed them to his fledgling independent label Sky, with Klaus Hess (of Jane) as producer.
The recordings for the first album "La Leyla" were in Conny Plank's studio in just eight days September / October 1975. The album released in February 1976.

1. Devil Inside
2. La Leyla
3. Garden
4. War
5. Someone Like You
6. American Dream

Winfried Langhorst - Keyboards, Vocals

Hans D. Klinkhammer - Bass

Norbert Langhorst - Guitars

Herbert Natho - Vocals

Reinhard Schröter - Drums, Percussion

Rufus Zuphall ‎– Weiß Der Teufel

Rufus Zuphall ‎– Weiß Der Teufel

Release date:1970 

Genre: Krautrock

"Rufus Zuphall" is one of the significant Krautrock bands of the early seventies.
Formed in Aachen in 1969 and initially with a keyboard player as fifth man, the band melted together blues elements, the ease of Anglo-Saxon folk, classical influences and driving guitar rock with progressive song structures into an autonomous instrumental dominated style and live programme.
In the beginning the band was not so Germany-orientated but more towards the neighbouring countries Belgium and particularly Holland and their breakthrough came accordingly in 1970 in front of a 30.000 crowd at the Jazz Festival in Bilzen (Belgium).
Actually planned as a sideshow, they then played as the only amateur band next to such stars as 'Black Sabbath', 'Cat Stevens' or 'May Blitz' and were celebrated by the press as "surprise of the festival".
Previously "Rufus Zuphall" had even appeared with 'Living Blues' and 'Cuby' and the 'Blizzards', in the same year this was followed by gigs with 'Curtis Jones', 'Group 1850' and 'Golden Earring'.
Their self-produced debut album "Weiß Der Teufel" released in 1970 on 'Good Will Records' - a masterpiece of progressive rock.
The album considered one of the underground classics of the Krautrock era, a mostly instrumental, live and vibrant excursion full of raw energy and riddled with surprises, not least the side-long excursion based on the song "Summertime".

1. Walpurgisnight
2. Knight Of Third Degree
3. Spanferkel
4. Freitag
5. Weiß Der Teufel

• Klaus Gülden - Flutes, Percussion
• Günter Krause - Guitars, Vocals
• Helmut Lieblang - Bass
• Udo Dahmen - Drums, Tablas

Satin Whale ‎– Desert Places

Satin Whale ‎– Desert Places

Release date:1974

Genre: Krautrock

Thomas Brück (bass), Horst Schättgen (drums) and Gerald Dellmann (keyboards) since the late 60's were active members in various bands in the Cologne-Bonn area, before they joined forces in the spring of 1971 to a formation, which they named "Satin Whale" .
The band were no doubt influenced by many of the bands that had preceded them 'Jane', 'Sahara', 'Os Mundi', et al.,
Blending powerful rock ballads with dramatic instrumentals that featured classical and jazz elements, and a notable comparison with 'Camel' and Canterbury bands, in the use of keyboards and flute.
Their debut album on Brain "Desert Places" is a fine example of this genre, featuring lengthy tracks with surging instrumentals, complex arrangements and quite an individual song style. The strong keyboards, flute and saxophone, all add up to an impressive concoction.

1. Desert Places
2. Seasons Of Life
3. Remember
4. I Often Wondered
5. Perception

• Thomas Brück - Bass, Vocals
• Horst Schättgen - Drums, Vocals
• Dieter Roesberg - Guitars, Flutes, Alto Saxophone, Lead Vocals
• Gerald Dellmann - Organ, Piano, Vibes

Shaa Khan ‎– The World Will End On Friday

Shaa Khan ‎– The World Will End On Friday

Release date:1978

Genre: Progressive Rock

The band formed in Duisburg, 1970 by drummer Walter Kaulhausen and guitarist Roland Soltysiak as a school band.
The name "Shaa Khan" has no concrete meaning - he is merely a play on words that pleased the musicians sound.
Like many young bands, "Shaa Khan" started by playing the music of their heroes, with a repertoire built on a diet of 'Deep Purple' and 'Led Zeppelin' numbers.
Via a trek into jazz-rock, and then after supporting the likes of 'Earth & Fire', 'UFO' and 'Nektar', the 1976 incarnation had gained a complex and lyrical progressive rock style comparable to 'Grobschnitt', 'Gentle Giant' and 'Druid'.
With dual lead vocalists and inventive instrumental work, their debut album "The World Will End On Friday" was a fine example of the genre, and a surprisingly fresh album stepping on from 'Grobschnitt's' 'Jumbo'.
In August 1978 "Shaa Khan" won the "Rock Festival Würselen '78", at which 40 groups took part from all over the Europe.

1. White Room
2. World Will End On Friday
3. Graveyard
4. Ocean
5. Seasons

• Roland Soltysiak - Guitars
• Jochen Gutermuth - Bass
• Horst Schlechtriemen - Keyboards, Choir
• Walter Kaulhausen - Drums, Choir
• Heiner Waldmann - Vocals, Acoustic Guitar
• Klaus Grandt - Vocals, Percussion

To Be ‎– To Be

To Be ‎– To Be

Release date:1977

Genre: Jazz Rock

A veritable supergroup of top pop and rock musicians from Hamburg (many of whom had played with the 'Achim Reichel Band'), "To Be" were surprisingly an instrumental jazz-rock band.
"To Be" is the debut album of the band, which present them as a multi-percussion focused combo, playing a bright/light instrumental music with Latino touches akin to 'Santana', with 'Return To Forever' like feeling in the guitar and piano solo work.

1. Samba For Heino R.
2. Flügel
3. Is It Liebman's Song?
4. Tell The Truth
5. Glücklich
6. Communication

• Lemmy Lembrecht - Drums, Percussion
• Peter Franken - Percussion, Drums
• Peter Weihe - Guitar
• Rolf Köhler - Bass
• Claus-Robert Kruse - Keyboards

Tyll ‎– Sexphonie

Tyll ‎– Sexphonie

Release date:1975

Genre: Progressive Rock

Formed as 'Eulenspygel' by the pre-Royal Servants guitarist Det Fonfara and ex-Eulenspygel drummer Günter Klinger.
Apparently, their original live set included 'Eulenspygel' repertoire, arranged differently, which naturally caused confusion with concert-goers, and after conflicts and legal wrangles with the real 'Eulenspygel' these changed name to "Tyll".
On their sole LP release "Sexphonie" they played an unusual progressive with folky and psychedelic touches, sometimes close to 'Floh De Cologne' and 'Eulenspygel', with theatrical elements, yet surprisingly instrumental for a band featuring three solo vocalists!
Typical of releases on Kerston Records they were very Teutonic, non-commercial, with a very varied range of styles and lots of invention.

1. Tim
2. Sexphonie
3. Asiatische Liebeserklärung
4. Paranoia Eines Verliebten
5. Nervenzusammenbruch Einer Gitarrre
6. Siamesische Überraschung
7. Kristinas Traum
8. Delirium Song
b.Grammophon
9. Rita
10. Suzie Steno
11. Für Michael Pfadpfinder
12. Morgenlicht

• Michael Scherf - Vocals
• Ulrike Schempp - Vocals
• Susanne Schempp - Vocals
• Det Fonfara - Guitar
• Achim Bosch - Bass
• Günter Klinger - Drums

Utopia ‎– Utopia

Utopia ‎– Utopia

Release date:1973

Genre: Krautrock

It seems that even in 1973 'Amon Düül II' still wanted to do double albums!
But, instead of making 'Wolf City' into a double, somehow this side-line project came in to being.
"Utopia" were basically fronted by three musicians who had earlier worked together in 'Passport' (on their debut LP) joined by the rest of the cast of 'Amon Düül II' and a few other jazz-fusion talents like guitar whiz's Joe Quick and Siegfried Schwab and a big cast of percussionists.
Although since reissued as an 'Amon Düül II' album, "Utopia" was in fact a different much jazzier and bluesier offering, focusing on Jimmy Jackson and Olaf Kübler's jazz origins, and more on Lothar Meid's songs.
The results (featuring in common slightly different versions of "Deutsch Nepal") were that 'Wolf City' and "Utopia" became the "yin and yang" of each other, if you know what I mean!

1. What You Gonna Do
2. The Wolf-Man Jack-Show
3. Alice
4. Las Vegas
5. Deutsch Nepal
6. Utopia No. 1
7. Nasi Goreng
8. Jazz Kiste

Lothar Meid - Bass, Vocals, Mellotron

Olaf Kübler - Saxophones, Flute, Moog, Gong

Christian Schultze - Electric Piano

Jimmy Jackson - Pianos, Organs, Marimba

Joe Nay - Drums 

Vinegar ‎– Vinegar

Vinegar ‎– Vinegar

Release date:1971

Genre: Krautrock

A legendary rarity of 'Krautrock' for a long long time, "Vinegar" certainly rank as one of the finest lost bands of the Cologne scene.
Their roots stemmed back to 1968, with the guitar/bass/drums trio of Jochen Biemann, Bernhard Liesegang and Wolfgang Grahn, later joined by Dagmar Dormagen (vocals, flute), and a year on Rolf Zwirner (guitar, violin) and Ralf Modrow (organ) fleshed out the sound.
1970 saw a few successful gigs, and winning third pace in a "battle of the bands" type competition festival. Independent record producer Werner Purrmann was quite impressed by them and financed the recording and production of their LP in January 1971.
"Vinegar's" sole album was a magical affair, full of innovation, strong composition, with lengthy tracks that gave lots of room for the unexpected, musical complexities and instrumental solo breaks. Often compared to British bands like 'Tractor' or 'Elias Hulk', one could quote 'T2', 'Pink Floyd', amongst dozens more. John Cipollina (Quicksilver) flair in some of the guitar, Simon House (with High Tide and Hawkwind) and Chris Karrer (of Amon Düül II) touches in the violin, as well. But, in all, they had a style of their own that was very Teutonic, and difficult to pin-down.
Key factors are the violin, a wide palette of multi-guitars and subtle use of organ, with many nods to classical and jazzy themes. With only one proper song in the opening "Missi Solis" the largely instrumental concoction is punctuated by some offbeat punky vocals from Dagmar Dormagen at the opening of "Sawmill", and some wonderfully demented chanting from all in "Der Kaiser Auf Der Erbse".
It's a shame that the band split shortly after recording the LP. Although it's much better for a band to leave behind a sole pearl than lots of average plastic!
A few of the band members continued with other projects since, although nothing is documented.

1. Missi Solis
2. Sawmill - Teil I
3. Sawmill - Teil II
4. Der Kaiser Auf Der Erbse (Caesar Supra Ciceronem)
a.Des Kaisers Süßer Schlummer b.Des Kaisers Böser Traum c.Des Kaisers Zinnenstürz
5. Fleisch

Bernhard Liesegang - Bass, Vocals

Rolf Zwirner - Guitar, Violin

Wolfgang Grahn - Drums

Ralf Modrow - Organ, Vocals

Ambrosias Gulbatscher - Viola

Dagmar Dormagen - Vocals, Flute

Jochen Biemann - Guitar

Virus ‎– Revelation

Virus ‎– Revelation

Release date:1971

Genre: Psychedelic Rock

Originating from Bielefeld in Northern Germany, the roots of "Virus" go back to the early-1960's, with Bernd Hohmann in the school band 'The Moonbirds', later joining up with 'Man's World', a rock 'n' soul band, who gradually transmuted into "Virus" circa 1970. Another "Virus" root starts in 1966, with Wolfgang Rieke of the award winning Percy & The Gaolbirds. All the founding members were experienced talents and well-known musicians of the Westphalia region.
"Virus" were justly one of the most legendary of Krautrock bands, notably in that their debut took the 'Pink Floyd' type of space-rock sound onto new uncharted realms.
"Revelation" was aptly titled, being full of invention and surprises within long tracks that sported extensive guitar work-outs, swirling organ, free-riffing and lots of interactive musical interplay, no less so that on the very free adaptation of "Paint it Black" and a most astonishing diversion on a "Saucerful Of Secrets" theme! "Endless Game" is a 12-minute opus that's even more original in its vision of space rock, varying from deep solo bass-throbbing ambience to over-fuzzed guitar spazz-outs."Burning Candle" is a more conventional rock song, though with impassioned vocals and plenty of energy, "Hungry Loser" is another long piece that begins with a tension-fraught instrumental bit before settling into a cosmic blues piece with dark lyrics and more excellent guitar and keyboard soloing that builds with intensity toward the end. Finally the album concludes with "Nur Noch Zwei Lichtjahre," which comes closer to the deep space moments of 'Ash Ra Tempel' and 'Agitation Free' with some 'Pink Floyd' thrown in.
But, like 'Gila' or 'Tangerine Dream', "Virus" were by no means plagiarists, what they did was to venture beyond such influences and come up with a style all of their own, resulting in a powerful cosmic excursion that's largely instrumental and full of surprises. Certainly an album of revelations!

1. Revelation (Nach Dem Thema „Paint It Black”)
2. Endless Game
3. Burning Candle
4. Hungry Looser
5. Nur Noch Zwei Lichtjahre

• Reinhold Spiegelfeld - Bass
• Bernd Hohmann - Flute, Vocals
• J. Dieter Krahe - Organ
• Wolfgang Rieke - Drums
• Werner Monka - Guitar

Wallenstein ‎– Blitzkrieg

Wallenstein ‎– Blitzkrieg

Release date:1971

Genre: Symphonic Rock

The band formed in Mönchengladbach by classically trained art student Jürgen Dollase in autumn 1971 as 'Blitzkrieg', with an international cast of American Bill Barone, Dutchman Jerry Berkers, and local friend Harald Grosskopf.
The provoking band name (from a German point of view) was changed later by Dollase for legal reasons, because the name were already used by an English rock band. They decided on "Wallenstein", a notorious character of the Thirty Years War.
Just before the end of 1971, "Wallenstein" produced the first four music themes at Studio Dierks in Stommeln, near Cologne. This record was called “Blitzkrieg” according to the former band name.
The opening track "Lunatic" has the energy of High Tide crossed with the complexity of the finest Italian classical rock. Not unlike Mythos' Stephan Kaske, Jürgen Dollase had a similarly strong accented Peter Hammill style of singing, which lead to "Wallenstein" often being quoted as a German classical twist on 'Van Der Graaf Generator'.
But there was more to "Wallenstein" than that!

1. Lunetic
2. The Theme
3. Manhatten Project
4. Audiences

• Bill Barone - Guitars, Vocals
• Harald Grosskopf - Drums, Percussion
• Jürgen Dollase - Keyboards, Vocals
• Jerry Berkers - Bass, Vocals

Wyoming - Wyoming

Wyoming - Wyoming

Release date:1971

Genre: Blues Rock

An unusual name for a band, indeed, "Wyoming" proved to be basically the vehicle for Munich folk singer 'Pete Bender', along with 'Rainer Marz' and friends, playing a soft blend of styles with a few progressive elements.
The debut LP "Wyoming", recorded in 1971 at Dieter Dierks Studios in Cologne and released the same year. Amounted to a patchy album with some real strong moments and, being light rock with a wealth of Mellotron and folky touches, it hints at British groups like 'Spring' or 'Cirkus'.

1. September Day
2. Saying Things
3. Can't Go Wrong
4. I'm Weeping
5. Seven Days
6. Two Faced Woman
7. Livin In Sorrow
8. Let The Light Shine On Me
9. Who Turned The Light On

• Pete Bender - Vocals, Piano, Organ, Mellotron
• Rainer Marz - Guitar, Bass, Vocals, Percussion
• Jürgen Ermisch - Guitar, Clavinet, Vocals, Percussion
• Bernd Billhardt - Drums

Xhol Caravan ‎– Electrip

Xhol Caravan ‎– Electrip

Release date:1969

Genre: Krautrock

The history of "Xhol" is not that well documented. Though we do know that they originated in the mid-1960's as "Soul Caravan", changing name in late-1968 to "Xhol Caravan" after playing at the Essener Songtage. This new name heralded a more progressive blend of new ideas, and the developing their sound with a big conceptual opus now documented on disc 1 of the 'Motherfuckers Live' set.
Still finding their feet, and moving on "Xhol Caravan" debuted with a single in the vein of 'Shades Of Deep Purple', still soul-edged but much more progressive. Though, it never hinted at all at the album that was to follow a few months later.
In 1969, on the little known Hansa label, "Electrip" was released to an unsuspecting public."Electrip" was one hell of a remarkable album, especially for the 1960's, an electric saxophone and organ fronted fusion (kind of classic "Uncle Meat" jamming Zappa territory) with a great deal of invention and energy, hinting at later records by 'Nosferatu', 'Faust', et al.
The album starting with a toilet flush, blasts away with "Electric Fun Fair". "Pop Games" and "All Green" continue along this path with the same optimistic melodies and insouciant demeanor. On the 17 minute "Raise Up High", the instrumental sections are very similar to the previous side, but here they added some wild English vocals to the mix giving the song a rough hard rock feel to it.
The album is full of surprises and unlikely diversions, dazzling studio trickery and humour amongst its features. Remarkable throughout!
Whether they existed much beyond this, we don't know. We do know that the band name led to some confusion, and the name was shortened to just "Xhol".

1. Electric Fun Fair
2. Pop Games
3. All Green
4. Raise Up High
5. Walla Mashalla

• Tim Belbe - Tenor Saxophone
• Hansi Fischer - Flute, Soprano/Alto Saxophones
• Öcki Brevern - Organ, Electric Piano, Tuba
• Klaus Briest - Bass
• Peter Meisel - Toilet Flush
• Skip Van Wyck - Drums

Yatha Sidhra ‎– A Meditation Mass

Yatha Sidhra ‎– A Meditation Mass

Release date:1974

Genre: Krautrock

The Fichter brothers from Freiburg (South East Germany) had been playing in various groups together since the mid-1960's. Their first professional band was the rock and soul combo 'Lea Gamble' which they formed with two American ex-service men.
Later they formed 'Brontosaurus', together with French bassist Jean-Michel Boivert and flautist Peter Elbracht.
Apparently at this time they sounded like a hard-rock twist on 'Jethro Tull'.
In early 1973 'Brontosaurus' began to work on a new ambitious opus, a suite called "A Meditation Mass". In concert, they caught the attention of Achim Reichel, who managed to get a contract for them via his Gorilla Music for an LP release on Brain. There was one concession, the name 'Brontosaurus' no longer fitted the type of music they were making, so a new mystical name was chosen: "Yatha Sidhra".
"A Meditation Mass" is actually one of the most magical albums ever made, a single cosmic suite, self-contained and an island unto itself. Aptly, it would be my "Desert Island Disc", and I've often quoted it as my favourite all-time album, due to its uniqueness, that it has never dated, and is so charged. Few albums hold that same enigmatic quality. It starts from silence, at first faintly bubbling and scuttling, gaining focus oh-so enigmatically, a musical form gradually develops amidst a wash of psychedelic echo/reverb effects, out of which a semi-sung unfocused song develops, leaving us like a half grasped thought as the music becomes dynamic, gaining fire, and if that weren't enough it goes from brilliant diversion to theme change, to extraordinary crescendo, with many more surprises on the way, eventually returning to silence. A superb blending of ethnic, Kosmische and pure Krautrock. Flutes, guitars and electronics are the basis of the music, backed up by a rock/jazz rhythm section, all perfectly balanced. A mystical Eastern step on from the realms of Kollektiv or instrumental Thirsty Moon, "A Meditation Mass" remains one of the most enigmatic and timeless albums ever made.
It's a shame really that "Yatha Sidhra" only made the one album, though later the Fichter brothers did form a new band named 'Dreamworld'.

1. Part 1
2. Part 2
3. Part 3
4. Part 4

• Rolf Fichter - Moog, Flute, Vibes, Electric Piano, Guitar, Vocals
• Klaus Fichter - Drums, Percussion
• Matthias Nicolai - Guitar, Bass
• Peter Elbracht - Flute

Zyma ‎– Thoughts

Zyma ‎– Thoughts

Release date:1978

Genre: Progressive Rock

"Zyma" is an obscure German band from the 70's. The band formed in 1972 from the Heidelberg/Mannheim region starting as a hard-rock band, and then moving on with the addition of a keyboard player, and then further instrumentalists.
Their original drummer Karl-Heinz Weiler later played with 'Nine Days Wonder' under the guise of "Hyzantius". The line-up seemed to be constantly changing, with musicians moving to and fro, but with four musicians (Brandl, Ferber, Hornung and Kübler) being constant on all their recordings.
Captured just as the band had gelled the two 1974 tracks, on the Kerston Records "Proton 1" double album, see a development on 1960's American Soul/Blues/Heavy styles rooted in 'Vanilla Fudge' and/or 'Chicago' possibly as previously frequented by other German acts like 'Frumpy' or 'Tomorrow's Gift'.
I guess there would have been many changes of direction over the next few years, as when they next appeared on the scene they'd changed style considerably.
Their debut album "Thoughts" starts sounding very British Jazz, almost a Teutonic answer to 'Nucleus'' 'Labyrinth', changing as it goes on, with a liberal dose of Darryl Way's Wolf thrown in, then moving on to very different musics like Wallenstein and Hoelderlin. The lengthy tracks are complex, full of instrumental breaks, solos, etc., but with odd 'Steeleye Span' folksy strong vocals.
The 12:33 minutes jam "Businessman" is an example of a nice 'Magma'-like Rhodes groove over which female vocals and synths lay down parts, occasionally changing its rhythmic structure for the bluesy chorus. The album released in 1978.

1. Thoughts
2. Businessman
3. One Way Street
4. We Got Time
5. Wasting Time

• Dorle Ferber - Violin, Flute, Vocals, Percussion
• Günther Hornung - Pianos, Moog, Cembalo
• Meinrad Hirt - Clavinet, String Ensemble, Flute, Backing Vocals, Violin
• Bodo Brandl - Bass
• Udo Kübler - Drums, Vocals, Bells, Vibraphone, Marimba, Congas

Live In Japan

"Live In Japan" is a tribute to Rock Artists that they recorded live albums in Japan and released in 70's. We know that some artists are out of "Live In Japan" but soon we will be back with them.

Cat Stevens ‎– Saturnight (Live In Tokyo)

Cat Stevens ‎– Saturnight (Live In Tokyo)

Release date:8 November 1974

Genre: Rock

"Saturnight" is the first live album by Cat Stevens, released only in Japan, to support UNICEF.
The album recorded June 22, 1974 at the Sunplaza Hall, Nakano, Tokyo, Japan.

1. Wild World
2. Oh Very Young
3. Sitting
4. Where Do The Children Play
5. Lady D'Arbanville
6. Another Saturday Night
7. Hard Headed Woman
8. Peace Train
9. Father And Son
10. King Of Trees
11. A Bad Penny
12. Bitterblue

• Cat Stevens – Vocals, Acoustic Guitar, Synthesizers, Percussion
• Alun Davies – Guitars, Backing Vocals
• Jean Roussel – Keyboards
• Bruce Lynch – Bass Guitar
• Gerry Conway – Drums, Percussion, Backing Vocals
• Larry Steele – Guitars, Percussion, Backing Vocals
• Jim Cregan – Electric Guitar
• Anna Peacock – Backing Vocals
• Suzanne Lynch – Backing Vocals