Nosferatu – “Found My Home” 1970

Band : Nosferatu

(formed in 1968,  in Frankfurt am Main, Hessen, Germany. Disbanded in 1971).

Obscure German Krautrock band, notable for its English progressive rock influences. One self-titled album was released in 1970. In their early days they were fronted by guitarist/vocalist Michael Winzkowski (who went on to Orange Peel and Epsilon), and winds player Christian Felke also guested later with Epsilon.

Related Artists/Bands : Epsilon, Orange Peel, Papa Zoot Band

Country Of Origin : Germany

Track ” “Found My Home” (A3 track, written by Michael Thierfelder, Nosferatu)

Album ” “Nosferatu” (The band’s debut and sole studio album)

Label : Vogue Schallplatten (LDVS 17178)

Date/Year Of Release : 1970

Category/Music Genres : Krautrock, Progressive Rock, Germany 1970s (Tracks)

Nosferatu – “Found My Home”

Video on YouTube

The track is included on the album “Nosferatu”, 1970 (A3 track)

“Nosferatu” album (released in a laminated gatefold cover).

Nosferatu – “Nosferatu” Full Album Video on YouTube

Nosferatu – “Nosferatu” Full Album Audio Playlist on Spotify

Album cover photo (front)

Track-list 

1. Highway (4:16)
2. Willie The Fox (10:48)
3. Found My Home (8:39)
4. No. 4 (8:47)
5. Work Day (6:59)
6. Vanity Fair (6:44)

Total Time: 46:32

Line-up 

Bass Guitar – Michael “Mike” Kessler

Drums – Byally Braumann

Lead Guitar – Michael “Xner” Meixner

Organ – Reinhard “Tammy” Grohé

Saxophone, Flute – Christian Felke

Vocals – Michael “Mick” Thierfelder

Credits 

Design [Cover] – J. Kipp

Engineer – Conny Plank

Photography By – G. Bockemühl, Horst-D. Barkow, K.-H. Hoffmann

Producer, Liner Notes – Tony Hendrik

Written-By – M. Thierfelder, Nosferatu (3)

Information about the album/band/track

Contrary to other bands produced by the famous Conny Plank (KRAFTWERK, GURU GURU and many others), NOSFERATU’s musical career was very short and suffered of a lack of recognition by a larger public. Almost nothing is said about their history and the only thing we have from them is a fresh, enthousiastic, atypical jazzy rock album dominated by raw, aggressive guitars and progressive “folk” arrangements. NOSFERATU belongs to this kind of German bands who success to create a deep and trippy atmosphere thanks to fine moments of long instrumental solos, crossing with an original touch guitars to sax, flute and electric organs. The lyrics are sung in English and stay very strong. An enjoyable effort which can be compared with others “cult” German fusion items. Similar bands: DZYAN, XHOL, SAMETI, OUT OF FOCUS (source : “Progarchives”).

Named after the vampire from the early expressionist film, Nosferatu were one of the earliest groups from Germany to explore beyond the conventional beat music and blues into the far more progressive realms of Krautrock in the late 1960s. The group is also one of the most obscure Krautrock bands, with only one record to their name.

The 1968 students riots in Paris were the spark for several groups of musicians, in both France and Germany, and that event marks the starting point of the earliest Krautrock bands, among them Can, Xhol Caravan, and others, including Nosferatu. One early member was guitarist Michael Winzkowski, who later went on to the better-known prog-rock band Epsilon in 1970. The group’s music still owed some debt to more conventional British rock and earlier beat bands, but also saw the group adventuring out on longer compositions and some fusion elements, and their music was imbued with that dark Teutonic angst that often distinguishes Krautrock from other rock music of that era.

In 1970 Nosferatu recorded their one and only self-titled album, which was released by the French label Vogue in both France and Germany. At this time the band consisted of vocalist Michael Thierfelder, sax and flute player Christian Felke, bassist Michael Kessler, organist Reinhard Grohe, guitarist Michael Meixner, and drummer Byally Braumann. Since Vogue wasn’t a label normally associated with Krautrock, record sales languished and the group disbanded the next year when Felke joined Winzkowski in Epsilon. The rare LP has since become one of the more pricey items on the collector’s circuit, with mint copies fetching the equivalent of $500 or more. In 1993 the album was released on CD by Ohrwaschl (source : “All Music”).

External links

Nosferatu – “Nosferatu” Full Album Video on YouTube

Nosferatu – “Nosferatu” Full Album Audio Playlist on Spotify

Nosferatu – “Nosferatu” Full Album Audio/Video Playlist on Last Fm

Nosferatu – “Nosferatu” Full Album Download Link on Rock Archeologia 60-70 Blog

Nosferatu – “Nosferatu” Full Album Download Link on Back In Purple Blog

 

Progressive, Psychedelic, Space Rock U.S.A. 1970s (Tracks) Sweet Smoke – “Baby Night”

Sweet Smoke – “Baby Night” Video on YouTube

Category/Music Genres :

Progressive, Psychedelic, Space Rock U.S.A. 1970s (Tracks)

Band :

Sweet Smoke (Brooklyn, New York, U.S.A.)

Sweet Smoke Band’s Photo

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Sweet Smoke were a psychedelic jazz-rock band formed in Brooklyn, New York in 1967. The group moved to Europe in 1969, living in Germany, and performing in Germany, Holland and France until 1974 when the band split up. Initially, some members stayed in Europe, some went to India, but most of the band returned to the United States. Although originating in the U.S., Sweet Smoke is often referred to as a Krautrock band. Noted for their buoyant rhythms, inventive improvisations and complex musical structures, in interviews, the group says their music was influenced by Eric Clapton, Jimi Hendrix, Frank Zappa, John Coltrane and The Beatles.

Track :

“Baby Night” (written by Sweet Smoke), (closing track) included on the album “Just A Poke”

Album :

“Just A Poke” released on Columbia Records (1 C 062-28 886) in 1970

Sweet Smoke – “Just A Poke” Album cover photo (front)

Image result for sweet smoke just a poke

Sweet Smoke – “Just A Poke” Full Album Video on YouTube

Just a Poke is the first album by the band Sweet Smoke, released in 1970, engineered by Conny Plank. The song Baby Night displays the band’s progressive jazz fusion style at the time. The song can be divided into three main sections, the highlights being the instrumental sections.

Line-up/Credits :

Marvin Kaminowitz / lead guitar, vocals
Steve Rosenstein / rhythm guitar, vocals
Michael Paris (Fontana) / tenor saxophone, alto recorder, vocals, percussion
Andrew Dershin / bass
Jay Dorfman / drums, percussion

Made By – Pathé Marconi

Printed By – I.D.N.

Record Company – Les Industries Musicales Et Electriques Pathé Marconi

Pressed By – Pathé Marconi, Chatou – 278923

Pressed By – Pathé Marconi, Chatou – 278924

Producer – Rosie Schmitz, Winfried Ebert

Recorded By – Conrad Plank,  Klaus Löhmer

Painting [Cover] – Jan Fijnheer

Track-list :

1. Baby night (16:24)
2. Silly Sally (16:22)

Total Time: 32:46

Sweet Smoke – “Just A Poke” Album Artwork Photo/Track-list

Information related to the album/band/track :

“Wikipedia”

After their first performances in the U.S. and the Caribbean, the group moved to Germany and formed a commune in a farm house in the village of Hüthum, outside the city of Emmerich, about a kilometer (0.62 miles) from the border with Holland. The group became well known in the region on and off the stage for their mixture of spirited musical performances combined with their interests in Eastern and Psychedelic philosophies. The original members when they arrived in Germany were Andy Dershin (bass guitar), Michael Fontana (tenor saxophone, alto recorder, vocals, percussion), Jay Dorfman (drums, percussion), Marvin Kaminowitz (lead guitar, vocals) and Victor Sacco (guitar). Victor would soon be replaced by Steve Rosenstein (rhythm guitar, vocals). In 1970 the group was approached by EMI, and they recorded their first LP, Just a Poke with German record producer Konrad “Conny” Plank.

After recording Just a Poke, Sweet Smoke took a year off to travel. Most of the group drove the band’s Ford Transit van overland to India for a spiritual journey in connection with the socio-spiritual group Ananda Marga. The group first learned of the success of Just a Poke, after meeting German tourists in Nepal. They returned to Europe, signed a new recording contract with EMI, and added Jeffrey Dershin (piano, percussion, vocals) as a full-time member. The group recorded their second LP Darkness to Light at EMI studios in Holland in 1973. Later in 1973, Jeffery Dershin returned home to assume his role as a father, Michael Fontana left the group to return to India, and Steve Rosenstein was replaced by Rick Greenberg, aka Rick Rasa (rhythm guitar, sitar, vocals).

Near the end of 1974, the group broke up for the final time. They played their last performance in the concert hall of the music conservatory Hochschule für Musik in Berlin. The concert was recorded by EMI and became the group’s last LP, Sweet Smoke Live.

“Sweet Smoke” Band’s Homepage

The Sweet Smoke Story

Beginnings

SWEET SMOKE WAS BORN IN BROOKLYN SOMETIME IN THE MID 60’S WHEN MUSICIANS from three different popular local groups got together. Jay and Marvin were playing with The Madabouts, Andy was playing with The Chasers, and later The Raves, and Mike was playing with The Sunday Funnies. The name, originally Sweet Smoke of the Happy Plant Pipeful, was coined by drummer Jay and was later  shortened by general usage to Sweet Smoke – a name clearly emblematic of the times.

Greenwich Village

Sometime in 1968, shortly after the formation of Sweet Smoke, the band secured an audition at a popular Manhattan nightclub called Club 54. The audition, a complete disaster, turned out to be the most significant event in Sweet Smoke’s early development. It was a Monday night. The band had its instruments and amplifiers loaded in their van with no place to go. Andy had an idea. In his previous groups, he had a regular Monday night gig at the Cafe Wha in Greenwich Village. It wasn’t a gig in the real sense. It was something the management called “audition night”, a way to get local bands to play for free in exchange for the prestige that came with playing in a club in New York’s trendy Greenwich Village. So the band sent their equipment off to the club in the van while the group jumped on the subway downtown.

The Islands

At the time, the manager of the Cafe Wha? also owned, or managed – it’s not clear which – two clubs in the Caribbean, one in old San Juan, Puerto Rico and the other in St. Thomas, U.S. Virgin Islands. The band recalls the manager offering them a gig in the islands if their set went well that evening at the Wha?. The band brought the house down and were indeed offered the gig of a lifetime. There was a small problem. It was March, 1968 and three of the members, Mike, Marvin and Jay, were in college. Taking the gig would mean quitting school. They quit school. What followed was three months of playing six hours a night, six nights a week. Somewhere in paradise, Sweet Smoke became a band.

Europe

Spending carefree days on some of the world’s most beautiful beaches, the band pondered its future. After the whirlwind events of the past several months, going home to Brooklyn to live with their parents was not an option. Mike began talking about going to Europe. Mike was very persuasive. The warm Caribbean breezes and gentle waves were intoxicating. It was 1968 and anything seemed possible. By the end of that year, Mike, along with Andy and old dear friend Marty had purchased one way tickets to South Hampton, England and off they went. Jay and Marvin followed later and by late 1969 the entire band, their plan to settle in Amsterdam having failed, found themselves, with invaluable help from unforgettable people, firmly planted in Germany.

Jay, the band’s drummer recalls:

“By the dawn of the 70’s the band had acquired a sizable following and had moved to Europe where they spent the next years in a van driving though France, Holland, Germany delivering to audiences of  quickly expanding sizes a typically 60’s form of rave like musical be-in.  The party was only beginning. They began to open for large European pop bands like Focus and Golden Earring.  They were quickly signed to Electrola Records for a 3 Record deal in West Germany and recorded their first hallucinogenic stream of musical consciousness,  the quintessential 60’s jam fest Just A Poke.

The fans and the critics were all over it, , a mix of jazz, rock, improv, avant garde, inspired just as much by John Coltrane as it was by The Doors. The cover of the record was a brazen shout out to inner consciousness and a  simple downright salute to the fact that the boys had gone cosmic, global and had tuned out, turned on and dropped whatever they could find. The band kept rolling for years, attracting new players, losing original members, recording with the highest rung of European free jazz musicians and generally having the time of their lives.”

India – Chapter II and Beyond

In many ways Sweet Smoke’s European story had two distinct chapters: pre and post India. Like the Beatles, The Beach Boys and many bands before them, the boys became spiritually restless. Their interest in yoga, meditation and self-realization grew stronger with time and at some point in 1972 the band took a break from their rock star lives to embark on a life altering journey traveling over land to India. In what seems an utterly reckless, if not altogether impossible undertaking, they motored from Europe to India, driving in the process through Iraq, Iran, Afghanistan and Pakistan before arriving in India. What followed was a year long stay in an Ashram where they practiced chanting and meditation and travelled extensively through one of the world’s most enchanting countries. The experience had a dramatic and lasting impact. Mike, the band’s saxophone player and front man ultimately married an Indian woman and today lives in India. The seductive sights and sounds he encountered there still inform much of Jay’s current work. It should be noted that not all the band members were equally seduced by the lure of the East. While most of the members packed the truck and took off to India, Marvin, the band’s lead guitarist and vocalist returned to the States, married his girlfriend and prepared for what would be the next chapter in Sweet Smoke’s story. In 1973 the band reunited in Germany, this time in Bavaria, and resumed their touring and recording career.

Postscript

Bands break up. The one’s that don’t are the exceptions (think Beatles). By 1974 the band members had become disenchanted and began to think about life after Sweet Smoke. Mike had already left the band and was ably replaced by Rick Greenberg. Marvin, who was mostly self-taught was yearning to study music in a more formal setting. The luster had worn off and in 1974, after recording its final album, Sweet Smoke Live in Berlin,  the band broke up for good.

The original members still remain friends and over the years have gotten together several times to play and reminisce but mostly to laugh.

“Moof Magazine”

Founded in Brooklyn in 1967, the U.S. based psychedelic jazz-rock band Sweet Smoke (originallySweet Smoke of the Happy Plant Pipeful) were creative from 1969-1974 in Germany; there they set up a commune with the support of sculptor Waldemar Kuhn, first in Emmerich am Rhein, then in Sulzfeld. They had planned to settle in the Netherlands, with Amsterdam being the ‘place to be’ at the time, and in 1972, they visited India for the obligatory stay in an Ashram. Mainly, Sweet Smoke toured across Europe (Germany, France and the Netherlands), playing at festivals or as opener for pop groups such as Focus and Golden Earring. Even before their time in Germany, Sweet Smoke had regularly played long-enduring gigs at a club in the Caribbean, where the guys had worked on their playing and improvising skills, a style similar to many late 1960’s U.S. West Coast bands. In 1974, shortly after the release of their third album, Sweet Smoke Live (1974), they broke up and split into different directions, mostly back to the U.S. to study and find other work.

Their debut studio album, Just a Poke, was released on EMI Columbia, in Germany, in 1970. It was also released in Italy, the Netherlands and France, but not in the U.K. Taken together with their presence on stage, Sweet Smoke were popular in those parts of Europe, yet quite unknown in the U.K. For a long time, the band were a mystery. Thanks to the internet, media and other networks, you can find information on their website, and for sure, this album now has its deserving place in the international psychedelic scene. Sweet Smoke released three albums of which the last two have an extended or different line-up. Still, among Just a Poke (1970), Darkness to Light (1973) and the live album, Sweet Smoke Live (1974), Just a Poke ranks the highest.

The album features four founding members, Andy Dershin on bass, Jay Dorfman on percussion and drums, Marvin Kaminowitz on solo guitar and vocals, Michael Paris on alto recorder/tenor sax/vocals/percussion, along with Steve Rosenstein on rhythm guitar and vocals. Just a Poke was produced by Rosie Schmitz and Winfried Ebert, along with engineers, Conrad Plank and Klaus Löhmer. Applying innovative studio technologies, Plank could easily be called the German pioneer of the electronic sound. In the early and mid 1970’s, he worked with progressive Krautrock and jazz-rock bands, Ash Ra TempelKraan, and Guru Guru, but from 1978 onward he drifted into the new-wave and synth-pop dimension, getting involved with Brian Eno. Unfortunately, Jan Fijnheer, who designed the beautiful exotic album cover, is not mentioned. Credited is just the photographer, Joachim Hassenburs.

With a total running time of 32:46 minutes, the record carries a total of just two tracks. Although there isn’t a long list of tracks, there is some confusion. The titles of the tracks got mixed up either on the sleeve or on the label of the record, so that even the experts slightly disagree. Lets take the best solution and rely on what the label tells. The tune on the A-side is called “Baby Night” and the other one on the B-side is “Silly Sally”. Proof is given by some text passages of the B-side, where it goes “Well, now, Sally-Sally-Sally, hey be with me tonight”, and the ones of the A-side with, “If you hear sounds of bitter weeping, to be sure the God of Night is sleeping, no time for mirth, much death and birth…”Anyway, in addition to a coherent session-like structure on a smooth jamming ground, the first tune features a delightful recorder melody, while the second one offers a stunning minute-long drum solo. Lyrics are not that important. The text passages rather provide a theme on which the band exuberantly jams and improvises.

“Baby Night” starts in a meditative folk manner, which is introduced by the lovely melody of Michael Paris’ alto recorder and only supported by the guitars. The gentle innocent voice of Marvin Kaminowitz is supported by dreamy flute sounds. One could assume that the first section refers to “In the World of Glass Teardrops” by Jeremy & the Satyrs from 1968, although it is not mentioned in the liner notes. Then there comes a recorder solo upon a swinging part which turns into easy jamming. Paris’ playing could be compared to the style of Jethro Tull’s Ian Anderson, with ‘airy attacks’ and the additional use of his voice. Unfortunately, the flute sound overlaps with the surroundings and gets opaque at times. Those blurred sounds can either be strange or elevating, depending on your preference. Then, the guitar clings on for a solo without fuzz. More jamming with stronger repetitive riffs follows. After a while, the vocals eventually come, throwing you back in a meditative mood, framed by conga sounds. This section’s theme is a text-reduced version of The Doors’, “The Soft Parade.” Another swinging interlude follows before going back to the theme at the beginning, now in a steady rhythm and more experimental way.

With “Silly Sally”, the accent now is more on audio effects. Michael Paris enters with a groovy melody on tenor sax, sometimes with reverb. Then, the vocals take over with seductive lyrics. Marvin Kaminowitz does a great job in using his voice as an instrument and jams with the rhythmic pulse afterwards. This is followed by the guitars’ wah-wah solo on the right and left channels, which releases into the bass solo. Now, turn your speakers louder, the album has reached it’s phenomenal climax – the drum solo! Jay Dorfman starts with Afro tribal drumming, soon, the sounds begin rotating around your head and develop into a thunder-like rolling or a tube-like rattling within three minutes. Mind the gap! This is hardcore! Such a handling of stereo effects, the ping-pong effect and phasing, similar to the drum solo in “In-a-gadda-da-vida” by Iron Butterfly’s Ron Bushy on their 1968 album from. After this awesome hallucinogenic trip, the track proceeds with a long Latin percussion interlude, and turns back to the groovy sax theme.

Integrative rhythmic and stylistic variations are in constant flow, with interchanging solo and single rhythm group parts. After the beautiful glass teardrops-intro, this record keeps you dancing the whole time. With its focus on studio effects and magical sounds, Just a Poke offers you a medium for the experience of extraterrestrial dimensions. For some people, several sections may simply take too long, and could run the risk of getting boring. Occasionally, you get the impression that the band simply didn’t want to come to an end. Nevertheless, it is a psychedelic masterpiece which should be part of your collection.

Copies are available on Discogs and Amazon. Alternatively, you can listen to it on Youtube or on Sweet Smoke’s MySpace website. As well as this, EMI Electrola released a remastered version on CD in 2000, which combines Just a Poke and Darkness to Light all in one.

Photos related to the album/track :

Sweet Smoke – “Just A Poke” Album cover photo (front)

SWEET SMOKE JUST A POKE 2 (2)

Sweet Smoke – “Just A Poke” Album photo (A’ Side)

Sweet Smoke – “Just A Poke” Album photo (B’ Side)

Photos related to the band :

Untitled

Sweet Smoke in Southern Germany, 1974.
Photo supplied by Rick Rasa, September 2000

SWEET SMOKE BAND 3

Sweet Smoke in 1974 with their Ford Transit van (from left to right: John, Rick, Andy, Enid, Marvin, Marty, Howie, Diane)

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Promotional Postcard of Jazz-Rock Band Sweet Smoke, 1970 top row: Jay, Jeffery, Mike, Andy, Rochus – bottom row: Steve, Marvin, Nico

Image result for sweet smoke live album

 

Untitled

Untitled

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Untitled

Links related to the album/track :

Sweet Smoke – “Baby Night” Video on YouTube

Sweet Smoke – “Just A Poke” Full Album Video on YouTube

Sweet Smoke – “Just A Poke” Album’s Review on Rock Times

Sweet Smoke – “Just A Poke” Full Album Download Link on Culture For All Blog

Sweet Smoke – “Just A Poke” Full Album Download Link on Urban Aspirines Blog

Sweet Smoke – “Just A Poke” Full Album Download Link on Plain and Fancy Blog

Sweet Smoke – “Just A Poke” Full Album Download Link on Willie Said

Sweet Smoke – “Just A Poke” Full Album Download Link on Music Bazaar

Links related to the band :

Sweet Smoke Band’s Page on Spotify

Sweet Smoke Band’s Page on Mixcloud

Sweet Smoke Band’s Page on ProgArchives

Sweet Smoke Band’s Homepage

Sweet Smoke Band’s Page on Facebook

Sweet Smoke Band’s Interview on It’s A Psychedelic Baby Magazine

Sweet Smoke Interview with Michael Paris Fontana on Ritvik

Sweet Smoke Band’s Page on Google Play

Sweet Smoke Band’s Page on Apple Music

Sweet Smoke Band’s Page on Tidal

 

 

Ambient/Electronic/Experimental/Krautrock Germany 1970s (Tracks) Michael Rother – “Flammende Herzen”

Ambient/Electronic/Experimental/Krautrock Germany 1970s (Tracks)

Michael Rother (Hamburg, Germany)

Instrumental Music

Title Track

“Flammende Herzen” (written by Michael Rother) A1 (opening track) included on the album “Flammende Herzen”, his debut album as a solo artist.

Released on Polydor Records (2372 112) in March 1977

Line-up/Credits :

Michael Rother – Guitar, Electric Piano, Bass, Synthesizer, Organ, Electric Percussion, Producer

Jaki Liebezeit – Drums

Conny Plank – Producer, Engineering

Ann Weitz – Front Cover Photograph

Christian Rabe – Back Photo

Rike – Design

Mastered By  – G. F. Pfanz

Track List :

1.Flammende Herzen (07:03)
2.Zyklodrom (09:36)
3.Karussell (05:22)
4.Feuerland (07:06)
5.Zeni (05:09)

Bonustracks:
6.Flammende Herzen – Film Remix [1993]
7.Vorbei (Flammende Herzen – Chill Remix) [1993]

Member of :
Hallogallo 2010, Harmonia, Kraftwerk, NEU!, Spirits of Sound
Related Artists :
Herbert Grönemeyer, Jaki Liebezeit, Moebius, Conny Plank

Michael Rother (born 2 September 1950 in Hamburg, Germany) is a German experimental musician, best known for being a founding member of the band Neu!, and as a short-lived member of the band Kraftwerk.

Michael Rother was born in Germany in 1950. In the late ’60s, he played for a group called Spirits of Sound and also Wolfgang Flür. The latter group would later become Kraftwerk; Rother also played with Kraftwerk in 1971. That same year he went on to the band NEU! He recorded three albums with them during his four-year tenure. He also worked with Harmonia (with whom he released two albums) starting in 1973, running concurrently with several of his years in NEU! In 1976, he recorded with Brian Eno. The recording was released in 1997 under the moniker Harmonia 76. 1977 saw the release of Rother’s first solo album, entitled, Flammende Herzen. The following year Rother released his second solo album, Sterntaler. He followed that one up in 1979 with Katzenmusik. His next solo release would not be seen until 1982. This time the title was Fernwärme. The following year saw Rother releasing Lust. Süssherz und Tiefenschärfe, his sixth solo album, would be released in 1985. 1987 saw the follow-up to that one, it was entitled Traumreisen. His next solo album was not released until 1996. That one was called Esparanza.

Michael Rother – “Flammende Herzen” Album cover photo (front)

MICHAEL ROTHER FLAMMEND HERZEN 2

Michael Rother – “Flammende Herzen” Album photo (A’ Side)

MICHAEL ROTHER FLAMMENDE HERZEN 2

Michael Rother – “Flammende Herzen” Video file link on YouTube

Michael Rother – “Flammende Herzen” Full Album Video file link on YouTube

Michael Rother Artist’s Page on Spotify

Michael Rother Artist’s Page on Discogs

Michael Rother Artist’s Page on Facebook

Michael Rother Artist’s Homepage

Michael Rother Artist’s Interview on Perfect Sound Forever Online Magazine

Michael Rother Artist’s Interview on Wire

Michael Rother Artist’s Interview on Gigwise

Michael Rother Artist’s Page on Apple Music

Michael Rother Artist’s Page on Google Play

Michael Rother – “Flammende Herzen” Full Album Download Link on Krautrock Maniac Blog

Michael Rother – “Flammende Herzen” Full Album Download Link on Opium Hum Blog

 

 

Ambient/Electronic/Experimental/Krautrock Germany 1970s (Tracks) Neu! – Hallogallo

Ambient/Electronic/Experimental/Krautrock Germany 1970s (Tracks) 

Neu! (Düsseldorf, Germany)

Instrumental Music

“Hallogallo” A1 track (opening track) included on the album “Neu!”

Released on Brain Records ( brain 1004), Metronome Records (  1004) in 1972

Line-up/Credits :

Michael Rother – guitars, basses, producer

Klaus Dinger – Japanese banjo, drums, guitar, vocals, producer

Konrad “Conny” Plank – producer, engineer

Cover [Cover Von] – Neu!

Engineer [Tontechnik] – Conrad Plank

Lacquer Cut By – PF

Music By – Klaus Dinger, Michael Rother

Photography By [Fotos Von] – Fritz Müller, Thomas Dinger

Producer [Produziert Von] – Conrad Plank, Klaus Dinger, Michael Rother

Notes

Released in a gatefold cover.
First pressing: the labels have the wording ”Metronome” across.
“Jahresüberblick” or “Jahresübersicht”? The title is handwritten as “Jahresübersicht” on cover but printed on labels and later copies as “Jahresüberblick”. Obviously a mistake.Recorded in December 1971 at the Windrose Studios (Dumont-Time), Hamburg.
Mixed at Ralf Arnie’s Star-Musik Studio, Hamburg.

Track-List :

1. Hallogallo (10:07)
2. Sonderangebot (4:50)
3. Weissensee (6:42)
– Jahresüberblick :
4. Im Glück (6:52)
5. Negativland (9:46)
6. Lieber Honig (7:15)

Total Time: 45:42

Neu! – “Neu!” Album cover photo (front)

NEU! NEU! 1 (2)

 

Neu! – “Neu!” Album photo (A’ Side)

NEU! NEU! 3

Neu! – “Neu!” Brain Records,  Album Advertisement

NEU! NEU! AD 1

NEU! is a duo of Michael ROTHER (guitars, keyboards) and Klaus DINGER (bass, drums, vocals, guitar and piano). They jumped ship from KRAFTWERK at a very early juncture. The ’70s electronic band NEU! created a new kind of rhythm that bridged the gap between rock n roll’s syncopation and dance music’s four-to-the-floor beats. NEU’s music is simple, natural, creating evocative soundscapes that are stimulating rather than tranquilizing. Their melodies are balanced upon driving almost hypnotic beats. From big fans BOWIE and ENO back in the seventies to the hundreds of postrock/electronica acts that namecheck them now, NEU! are gods.

NEU! only made three studio albums during their brief existence in the 70s (another studio album was released in 1995, called “Neu! 4”), but they were uniformly excellent. It’s possible that you could discern their “style” just by listening to this one (or any one of the others), but as with CAN, FAUST and KRAFTWERK, to really get the full experience you have to hear all of them. The debut is a fascinating work of experimental Krautrock. The critical status quo qualifies “Neu! 75” as the best of three albums, simply because it is the most musically adept and holds the most studio polish. The “Hallogallo” begins the first album, and is an essential slice not only of Krautrock, but of musical history. This hypnotic album is the most like KRAFTWERK, but the emphasis is on guitars, not keyboards. “Black Forest Gateau” is a British compilation drawing entirely on the first and last LPs.

Krautrock may not be every prog fan’s favorite type of music, but there are few canons that demand as much dedication from the listener, and in the end, the trance can’t work its magic unless you’re there for the duration. I say Krautrock is great prog, and NEU! is as definitive a specimen as any.

hile little known and relatively unheralded during its brief existence, the Krautrock duo Neu! cast a large shadow over later generations of musicians and served as a major influence on artists as diverse as David Bowie, Sonic Youth, Pere Ubu, Julian Cope, and Stereolab. Neu! formed in Düsseldorf, Germany, in 1971 after multi-instrumentalists Michael Rother and Klaus Dinger both split from Kraftwerk. Recorded in the space of four days with Can producer Conrad Plank, the duo’s self-titled debut appeared early in 1972 and quickly established their affection for minimalist melodies and lock-groove rhythms. While virtually ignored throughout the rest of the world, the album sold extremely well in West Germany, resulting in a tour with support from Guru Guru’s Uli Trepte and Eberhard Krahnemann.

Rother and Dinger returned to the studio in 1973 for Neu! 2, but a shortfall of cash allowed the duo to complete only two songs, “Super” and “Neuschnee,” which they subsequently remixed at varying and disorienting speeds in order to flesh out a full-length album. After the record’s release, Rother joined Dieter Moebius and Joachim Roedelius of Cluster to form Harmonia, but Neu! officially reunited in 1975 to record Neu! 75. After its release, they again disbanded; Rother continued on as a solo performer, while Dinger and drummer Hans Lampe formed La Dusseldorf. In the mid-’80s, Rother and Dinger re-formed yet again, although the recording sessions, titled Neu! 4, did not officially surface until 1996.

The problems Klaus and I have with one another cannot be separated from our music. We have such completely different personalities. The actual mystery is how we were able to do the three albums together at all. Our opposing characters sometimes led to great friction, crazy struggles and contradictions in our music. This is what made Neu! so special.”

That is Michael Rother, one half of the legendary Neu!, discussing the first authorised CD releases of the group’s three classic albums: Neu!, Neu! 2 and Neu! 75. Along with Can, Kraftwerk and Faust, Neu! are the most iconic of that new wave of German rock groups from the late 1960s and early 1970s that goes under the disparaging but affectionate banner of Krautrock.

Neu! consisted of multi-talented musicians Klaus Dinger on drums and Rother on guitar; they first played together in a 1971 Kraftwerk line-up. In Europe in the depths of the cold war, West Germany’s economic miracle was set against the social radicalism of the post-1968 counter-culture and the avant-garde of Karlheinz Stockhausen and Joseph Beuys. Bands such as Neu!, Faust, Amon Duul II, Kraftwerk and Tangerine Dream explored the gap between these two polar opposites, expressing in their post-rock music the fractured ethos of the times.

At a crucial remove from the mainstream – and, largely, from each other – they were connected only by their disconnection from dominant political and musical currents, influenced as much by Stockhausen as by the Stones, the Kinks or Jimi Hendrix. Krautrock began where the early Pink Floyd and the Velvets left off, playing into an unexplored wilderness. Where they went, others – Bowie, Eno, John Lydon, the Fall, whole genres such as electronica and trance – would follow.

A recently released Japanese DVD of Kraftwerk performing on Beat Club in 1971 features the future Neu! with Florian Schneider improvising the 10-minute, trance-like Rueckstossgondoliero. This, if anything, marks the birth of the Neu! sound and ethos. But personal and musical tensions between Dinger and Schneider meant a split was inevitable. Soon afterwards, Dinger and Rother launched Neu! with the help of renowned producer Conny Plank, the Lee Perry of Krautrock.

Unlike many other groups in the “kosmische” genre, Neu! left only a tiny recorded legacy, and through the height of the Krautrock revival in the 1990s the only available copies of Neu! CDs were bootlegs, with overtures from record companies such as Mute stalled by the band members’ conflicting demands. It wasn’t until last year that tensions between the two were resolved to a point where they could finally agree on an official release of Neu!’s albums.

Both oversaw the remastering of the music, and there has even been talk of a boxed set with remixes, a book and a DVD of interviews and Neu! documents. This, however, has been delayed, perhaps indefinitely, by continuing disagreements.

The first Neu! album was recorded more or less spontaneously, from the roughest of musical sketches, over four nights at Conny Plank’s Hamburg studio in December 1971. “It was chaos,” remembers Rother, while Dinger says: “After two days we hadn’t recorded anything we could use.” Then on the third day they played the basic track of Negativland, which became the template for future operations. With Plank at the helm, Neu! turned the basics of their sound – Dinger’s insistent “motorik” drumming, Rother’s stripped-down riffing – into kosmische classics, with the mixing desk as essential a musical instrument as Dinger’s kit or Rother’s guitar.

The album’s first track, Hallogallo, is classic Neu!, championed early on by John Peel who played it regularly on his radio show. Trance-like, yet too barbed and unsettling a sound to become sweet, the song is a 10-minute sound sculpture that barely wavers from Dinger’s pulsing beat, and somehow seems to hold a whole world of mystery, beauty and emotion within its highly defined minimalist structure. Dinger refers to his drumming as “a feeling, like a picture, like driving down a long road or lane. It is essentially about life, how you have to keep moving, to go on and stay in motion. To be driven by the drive.” It may well be the greatest road music ever made.

During the recording of their second album in 1972, the pair ran out of money and filled the second side of Neu! 2 with scratch versions of their only single, Nueschnee/ Super, played at different speeds on a cassette player that “howled and chewed tape” and on a hand-driven turntable with a jumpy needle. Typically, Dinger called such emergency operations a “pop art solution to a pop problem”, and in retrospect the trick does have the dumb beauty of many a great conceptual idea. What was once seen as a cop-out is now hailed as an innovation, and Dinger claims it as his own. “I was very well informed about Warhol, pop art, contemporary art,” he says. “I had always been very visual in my thinking.”

Even the band’s name had a pop art dimension – it was and is the most common slogan in German advertising. And Neu!’s music comes across as a very sculptural, kinetic sound. The album covers – Neu! hand-painted in big, bold strokes, the semi-legible credits handwritten, crossed out, taped to a brilliant white background – give the whole enterprise an inscrutably gnomic, handmade quality that is an integral part of the band’s aura and legacy.

True to the spirit of Neu! integrity, the covers have been remastered for the CD release. They are a clear agitpop statement that the group’s parameters were radically different from those of other German groups, let alone those of mighty Anglo-American rock, then at its 1970s stadium apogee.

For Neu! 75, their final official release, the two musicians reconvened at Plank’s studio after working independently on solo projects. For the first, more ambient side of the album, they worked, as they had three years previously, as a duo. On side two’s abrasive proto-punk songs After Eight and Hero (a Bowie favourite and the inspiration for his own career-defining Heroes), they drafted in members of Dinger’s new group, La Düsseldorf, and Neu’s final incarnation was as a stripped-down, sand-blasted four-piece that anticipated virtually all the pathways opened up by punk a year later.

Neu!’s music is spiky, oppositional, beautiful and utterly uncompromising. Its chemistry mirrors the volatility of its makers. Every Neu! song contains the basic warring elements that made Dinger and Rother’s creative rela tionship so productive: a struggle between noise and silence, aggression and calm, pattern and disruption. Each would pursue his own path of extremes in subsequent ventures, but on their three classic albums the finely balanced magic of the Neu! sound manifests itself to perfection.

“Neu is what happens whenever Michael and I are together,” Klaus Dinger has said, and though Neu! may be their finest achievement, it is only part of their legacy. La Düsseldorf, which Dinger led until 1981, explored the glam-pop industrial wing of Neu!’s innovations, while Rother teamed up with kosmische duo Cluster to produce the two shimmering, lovely Harmonia albums.

Both projects caught the ears of Bowie and Eno during the Heroes era in Berlin. Rother was asked to play on the sessions, but he declined. “I think [Bowie’s management] wanted to see Bowie change to a rock music sound for commercial reasons,” he comments. Rother did collaborate with Eno, however. Four years ago Rykodisc released Harmonia 76’s album Tracks and Traces, recorded 20 years before in the countryside of Weserbergland, where Rother still lives. There are beautiful ambient collaborations, too, between Eno and Cluster from the same period.

Krautrock is the music of a generation at one remove from rock’s American source, as self-conscious and home-grown as the 1960s British Beat boom. On classic tracks such as Lilac Angel from Neu! 2, Dinger and Rother distil the core elements of garage rock to a pounding heart pulse, forging a hypnotic, interior sound that builds up to and even sur passes the rock’n’roll intensities of the Stooges or the Velvet Underground. The group’s industrial ambience has no match.

There is a curious timelessness and internationality about Neu!, a common beat that spans east and west. They and the other great Krautrock groups were social, political and musical trailblazers, defining their contexts at one extreme in the utopianism of the commune and at the other in the Baader-Meinhof mindset of confrontation and action. Both represent the idealism and terror of the times, the deep heat of the cold war at the heart of a divided Europe. Neu! and their Krautrock peers simply planted their own suspect devices, throwing their noise bombs into music’s country without borders.

Formed by guitarist Michael Rother and percussionist Klaus Dinger, both veterans of Kraftwerk, Neu (102)Neu! (1972 – Gronland, 2005) pushed to the limit the technique of iterative patterns and the impressionistic approach that were popular among contemporary cosmic musicians. Pieces such as Negativland are essentially continuums of rhythmic impulses propelled by Dinger’s legendary “motorik beat” and by obsessive repetition of ferocious percussive patterns (occasionally bordering on jack-hammer noise). It was tribal drumming applied to the devastating neurosis of the post-industriale era. Fur Immer, on their second album, 2 (1973 – Gronland, 2005), offered the last glimpse into their personal and public hell. Neu! 75 (1975 – Gronland, 2005) was a much quieter and softer affair, downplaying the rhythmic element and incorporating a stronger melodic element. Neu’s anti-romantic futurism and anguished hyper-realism of Wagner-ian intensity would be highly influential.Full bio.
(Translated from the Italian by Troy Sherman)

Following their departure from Kraftwerk, Michael Rother (guitar and keyboards) and Klaus Dinger (drums) began Neu!, one of the most significant happenings in the history of rock music. Although they created only three albums (1972, 1974, 1975), they exerted a huge influence on the music of later generations. Even so, it took a quarter of a century before their insights were absorbed by the rest of rock music.

Neu! (Brain, 1972), their first album, was produced,as the next, by Conrad Plank (the same person who had produced the first Kraftwerk record). It brought to rock music the concepts of iteration and impressionism, which had already been mildly toyed with in the works of other cosmic musicians of those years. The songs are essentially a continuum of rhythmic impulses, based solely on percussion and an incessant repetition of a fierce percussive pattern. In practice, the songs become rituals of the deconstruction of sound: the relentless, obsessive beat favors the emergence of details. The method is also used to enhance the neurosis of each piece. Fusing the “dark” tribalism of Kraftwerk and the romantic futurism of Popol Vuh, Neu! contains songs with a certain hyper-realism and an anguished intensity reminiscent of Wagner. The album contains six purely instrumental suites. They are the degenerated, dilated daughters of psychedelia (the reserved guitar playing and coy and slow pulse of Weissensee); this music brings an absurd sound to arrhythmia (Sonderangebot is an exercise on noise in a cosmic void, and Lieber Honig is a voiceless essay created by hand in an equally spooky atmosphere of random sounds). The supersonic vortex of Hallogallois a pure percussive soundscape of drum machines and guitars, barely disturbed by agreements of minimalism and cacophonous noise. The ten minutes of Negativland contain a blend of expressionism and demonic tribalism, predating heavy metal; this song is an orgy of evil instincts, a whirlwind of daily, psychoanalytic noises (jackhammers, furious guitar distortions, and an ultrasonic syncope). With this austere and hypnotic masterpiece, the Teutonic tradition (that of the desperate Gothic) is combined with psychological tensions of modern times in a demonic ritual. With this record, Neu! invented the “motorik beat;” a propulsive beat and steady pace, which turns the artists’ anguish into a sonic trance.

Neu! 2 (Brain, 1973) is more fragmented than the first record (the duo could not find the money to complete the recording), and it incorporated keyboards. The key song is Fur Immer, which consumes ten minutes in a neurotic seizure similar to that of Negativland. This song, however, is closer to minimalism (the insistent piano pattern) and Sister Ray by the Velvet Underground (the obsessive and inexhaustible drumming). The songs live in the same eerie paranoia and extremely narrow range of expression as the previous records: the theme is always furious, percussive, and atonal, quartered by excruciating bouts of distorted guitar, which concedes nothing to the melody and sensationalism. Through the tribalism of Lila Engel, the shrill carousel of Neuschnee 78, and the crawling gait of Super 16, which was a child of the raucous Super (the two tracks, and Super 78, were the same song recorded at different speeds, as the titles suggest), their repertoire is proven to be a catalog of horrifying technological cadences. Among other things, this second album contains several versions of songs that Neu! had already created played at different speeds. Although these altered tracks were created partially because the band ran out of money, they were nevertheless some of the first cases of “remixes.”

Neu! 75 (Brain, 1975) is a rather different album, much quieter and softer. The album downplays the rhythmic element and incorporates a stronger melodic element. The resulting atmosphere is almost pastoral, by their standards. Neu! used to be the dark side of cosmic music, but here they explore a lighter side of cosmic music. Isi is angelic music for piano, locomotive beat and Terry Riley-ain electronic dervishes. The trance in Seeland is due to both the minimalistic beat and the guitar’s middle-eastern line, and the mixture sounds like the missing link between early Pink Floyd and early Brian Eno. The “motorik beat” returns in E-Musik, but, again, the guitar and the keyboards dance on it with a gentle, melodic elegance. Neu! even speaks (or, better, whispers) in Leb Wohl, a delicate sonata lulled by ocean waves that sounds like a slow-motion replay of a romantic ballad and abandons their trademark massive rhythms. Hero is a rock song, and an anthemic one, with strong echoes of the Stooges and the Rolling Stones. So is After Eight. And they both predate punk-rock. Overall the album is a lot less experimental than the previous two, but it may have helped insinuate Neu! into the mainstream.

Rock on Brain (Brain, 1980) is an anthology. Neu! 4 (1995) is a reunion album. Live in Dusseldorf (Captain Trip, 1996) documents a 1972 performance.

After the dissolution of Neu!, Michael Rother and Klaus Dinger pursued separate careers.

After the break-up, Michael Rother created the supergroup Harmonia, which was comprised of him and most of Cluster. After Harmonia, Rother then embarked on a solo career more in line with the sound of Neu! 75Flammende Herzen (Sky, 1976 – Water, 2008) recovers the dark, obsessive, demonic, trend of the other Neu! albums, with rhythmic lines repeated until the neurotic sound becomes claustrophobic. He either soaks these claustrophobic numbers in melodic contexts (the titular suite), leaves them to drift in minimalist progressions (Zyklodrom),or both at the same time (Karussell). A hellish pace infects Feuerland, seemingly a left-over black-magic ritual of Walpurgis Night. On this first solo record, Rother plays guitars, bass, piano, organ and synthesizer, assisted only by Jaki Liebezeit on drums. Sterntaler (Sky, 1977 – Water, 2007), again with only Liebezeit, already begins showing much less originality than Rother’s previous works. The subsequent discs, Katzenmusik (Sky, 1979 – Water, 2008), Fernwärme (Random, 1981 – Water, 2007),Lust (Random, 1983), Sussherz Und Tiefen Scharfe (Random, 1985), Traumreisen (Random, 1987), would only repeat the deteriorating formula. Each, though, was saved by some rare melodic idea that saved it from mediocrity. After many years of silence, Rother returned with Esperanza (Random, 1996).

Post-Neu!, Klaus Dinger formed LA Dusseldorf, in which he played guitar and keyboards, accompanied by Hans Lampe on drums, Thomas Dinger on percussion and vocals, Harald Konietzko on bass, and Nicolas van Rhein on keyboards. La Dusseldorf(Nova, 1976 – Warner, 2005 – 4 Men With Beards, 2008) is a hybrid of many things, but seldom recalled Neu!; if anything, it harked to Amon Duul and Can. Their masterpiece, Dusseldorf, was one of the greatest manifestos of Teutonic electronics; it combines the spaciousness of Kraftwerk and physicality of Neu. It is at the same time a tribal dance and a journey into the subconscious. The relentless beat of the drums and synthesizer overlap in myriad sound events, which includes spells, wheezing hallucinogens, guitar distortions, solfeggi mantras, and spatial organs, which all lead into the growing chorus. Even more stunning is the concise anthem La Dusseldorf, a tour de force of grotesque and manic spiritualism grotesque. Silver Cloud (their first single) is a song of appealing spaciousness.Compared to the violent, terrible expressionistic cataclysms of Neu!, LA Dusseldorf’s suites are more lyrical, melodic, and impressionist, although at the pace of savage and heavy industry. The hallucinogenic soundscapes are hymns to human existence, blasphemous orgies of spirits rising in sacred and solemn spirals, leaving behind the desolation of industrial noise.

Viva (Teldec, 1978 – Warner, 2005 – 4 Men With Beards, 2008) saw them approaching the mystical atmosphere of the utopian hippie. This record goes through a series of songs imbued with humanitarian pathos (the song Viva, the boogie White Overalls, the poignant and epic instrumental Rheinita, and the apotheosis of Geld). The Caribbean-futuristic Cha Cha 2000 rambles along for nearly 20 minutes to sublimate the solemn tones of the euphoric disk, and even of the entire era. Individuellos (Teldec, 1980 – Water, 2008) is a simple collection of “songs,” worthy of the synth-pop era (DampfriemenIndividuellos). For a few years after this last album, Dinger was silent. Then he resurfaced with Neondian(Teldec, 1985), which is credited to Klaus Dinger and Rheinita Bella Dusseldorf. In actuality, this was a supergroup of Dinger on guitar, Nikolaus Rhein on keyboards, Jaki Liebezeit on percussion, etc). Again, several years of silence followed, until Die Engel des Herrn (1992), Dinger’s first true solo album.

Dinger’s next project was an ideal fusion of the two bands, appropriately named La! Neu?. Dusseldorf(Captain Trip, 1996) contains the 22-minute Hero ’96and the 33-minute D.-12.22.95, which is a wild psychedelic jam. But it would become one of those prolific, low-quality indie-rock projects of the 1990s, flooding the market with collections of rather mediocre (studio and live) music that crossed acid-rock, motorik sound and ambient electronica.Zeeland (1997) documented a 1997 live performance; Rembrandt (Captain Trip, 1997) is actually a collaboration with fellow La! Neu? member Lensink; Year Of The Tiger (Captain Trip, 1998) contains two half-hour exaggerations; Gold Regen (Captain Trip, 1998); the double CD Cha Cha 2000 (Captain Trip, 1998), which documents a 1996 Japanese tour, which was followed by Live In Tokyo 1996 Vol 2 (1999); Blue (Captain Trip, 1999), which collects unreleased material by Dinger; Live At Kunsthalle Düsseldorf (2002).

Dinger died in 2008.

BBC Review

Neu! are often touted as one of the most influential bands of the last thirty years; they’ve been praised by Julian Cope and imitated by the likes of Stereolab, yet it’s only now their three albums have made it to CD after years of legal wrangles and poor bootleg releases. In fact, for a long time it’s been easier to get a Neu ! T-shirt than any of their records.

Neu!,their 1971 debut is arguably the strongest record the duo of Michael Rother and Klaus Dinger made; its stunningly reductionist stuff, rock stripped down to its essentials of pulse and texture, arguably predating techno and the whole post-rock movement by a good fifteen years. It’s music with no narrative structure, not much in the way of dynamics – it just is.

The opening “Hallogallo” is the classic Neu! sound in a nutshell – Dinger’s crisp, insistent tribal drums underpin Rother’s yearning guitar figures and the whole thing spends 10 minutes going nowhere beautifully.

Elsewhere, “Sonderangebot” is an illbient dronescape of processed cymbals, “Negativland” is a wholseome slice of proto punk squeal featuring Dinger’s infamous Japan banjo, while “Weisensee” recalls Meddle era Floyd without the pomposity. All three albums are essential, but if you’re (ahem) new to Neu!, this is the place to start.

Neu! – “Hallogallo” Video file link on YouTube

Neu! – “Neu!” Full Album Video file link on YouTube

Neu! Band’s Homepage

Neu! Band’s Page on Discogs

Neu! Band’s Page on Rate Your Music

Neu!Band’s Page on Apple Music

Neu! Band’s Page on Google Music Store

Neu! Band’s Page on Spotify

OBSERVER MUSIC 8 Krautrock Artists You Need to Hear Right Now

Neu! Band’s Page on Ambient Music Guide

Neu! Band’s Page on Progarchives

Opening Tracks A personal playlist on Spotify

 

 

Live Performances Folk/Fusion/Jazz/Krautrock/Progressive Rock Germany 1970s (Tracks) Jane – “Windows”

Live Performances Folk/Fusion/Jazz/Krautrock/Progressive Rock Germany 1970s (Tracks)

Krautrock, Progressive Rock band

Jane

“Windows” D track included on the album “Jane Live ” 

Released in 1977 on Brain Records ( 80.001-2)

Line-up/Credits :

Klaus Hess / lead guitar, vocals, Taurus bass pedals
Manfred Wieczorke / keyboards, vocals
Martin Hesse / bass, vocals
Peter Panka / drums, vocals

Recorded live at Niedersachsenhalle Hannover on Friday, 13th August, 1976 by Conny’s recording mobile.
Mixed at Conny’s Studio, Neunkirchen

Jane – “Jane Live” Album cover photo (front)

JANE LIVE AT HOME

Jane – “Windows” Video file link on YouTube

Jane – “Windows” Audio file link on Spotify

 

 

Ambient/Berlin School/Electronic/Krautrock/Minimal Music Multinational 1970s (Tracks) Cluster & Eno – “Ho Renomo”

Ambient/Berlin School/Electronic/Krautrock/Minimal Music Multinational 1970s (Tracks)

Cluster, Eno (Germany/U.K.)

“Ho Renomo” A1 track (opening track) included on the album “Cluster & Eno”, composed by Moebius, Roedelius and Eno

Recorded in June 1977 at Conny Plank’s studio, released in August 1977 on Sky Records (010)

Multinational ( Germany/U.K.)

Line-up/Credits :

Hans-Joachim Roedelius

Dieter Moebius

Brian Eno

with:

Holger Czukay – bass on “Ho Renomo”

Okko Bekker – guitar on “One”

Asmus Tietchens – synthesizer on “One”

Technical

Conny Plank – engineer

J. Krämer – assistant engineer

Cluster – cover

Cluster – “Cluster & Eno” Album cover photo (front)

CLUSTER AND ENO 1

Cluster & Eno – “Ho Renomo” Video file link on YouTube

Cluster & Eno – “Ho Renomo” Audio file link on Bandcamp

Cluster & Eno – “Ho Renomo” Audio file link on Spotify