Embryo – “No Place To Go” (1973)

Band : Embryo (Musical collective from Munich, Germany, founded in 1969 by Christian Burchard and Edgar Hofmann)

Country Of Origin : Germany

Members :

Christian Burchard (vibraphone, hammer dulcimer, percussion, vocals, marimba, drums, 1969-2018), Edgar Hofmann (saxophone, flute, violin, 1969-79, 1985-89), Lothar Meid (bass, 1971), Jimmy Jackson(organ, 1971), Ralph Fischer (bass, 1969-73), Dieter Miekautsch (piano, clavinet, 1972-75), Dieter Serfas (drums, percussion, 1986-present), Wolfgang Paap (drums, 1971), Ingo Schmidt (saxophone, 1971), John Kelly (guitar, 1969-72), Charlie Mariano (soprano saxophone, alto saxophone, flute, bamboo flute, nagasuram, 1972-77), Roman Bunka (guitar, saz, vocals, percussion, bass, oud, 1972-80, 1988-96), Hans Fischer (flute, percussion, vocals, 1971), Jörg Evers (bass, 1971-72), Dave King (bass, 1972-73), Uwe Müllrich (bass, 1974-80), Maria Archer (vocals, percussion, 1975), Michael Wehmeyer(percussion, vocals, keyboards, 1983-84, 2002-present), Butze Fischer (drums, percussion, 1977-?), Friedemann Josch (flute, 1983-84), Julius Golombeck (guitar, percussion, oud, vocals, 1985-96), Gerald Luciano (bass, 1985), Lamidi Ayankunle (drums, vocals, 1986-?), Rabiu Ayandokun (drums, 1986-?), Marque Lowenthal (piano, 1988), Paolo Cardoso (bass, 1988), Paramashivam Pilai (vocals, tavil, 1988-?), Nie Xizhi (erhu, muyü, sheng, gaohu, 1995-present), Chris Karrer (oud, 1995-present), Lothar Stahl (drums, marimba), Jens Pollheide, Mik Quantius

Related Artists :

Amon Düül II, Checkpoint Charlie, Dissidenten, Mikrokosmos, Missus Beastly, Moira, Sadja

Track : “No Place To Go” (A1, written by Charlie Mariano, Christian Burchard, Dieter Miekautsch, Roman Bunka)

Album : “We Keep On” (Band’s sixth studio album)

Label : BASF (20 21865-1)

Date/Year Of Release : 1973

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

Embryo – “No Place To Go”

Video on YouTube

The track is included on the album “We Keep On”, 1973 (A1, opening track)

“We Keep On” album (LP BASF Systems BC 21865 / CD Disconforme Records 1936 (1999) includes two lengthy bonus tracks “Ticket to India” and “Flute, Saz and Marimba” with different order of the tracks).

Embryo – “We Keep On” Full Album Video on YouTube 

Embryo – “We Keep On” Full Album Audio Playlist on Spotify

Album cover photo (front)

Album photo (A’ Side)

Image result for embryo we keep on basf

Track-list

01. Abdul Malek (Roman Bunka, Christian Burchard) – 3:15
02. Don’t Come Tomorrow (Christian Burchard) – 3:48
03. Ehna, Ehna, Abu Lele (Roman Bunka, Christian Burchard) – 8:43
04. Hackbrett-Dance (Charlie Mariano, Christian Burchard) – 3:54
05. No Place To Go (Christian Burchard) – 12:27
06. Flute And Saz (Roman Bunka, Charlie Mariano, Christian Burchard) – 5:57
Total Time: 38:09
Bonuses:
07. Ticket To India (Christian Burchard) – 15:49
08. Flute, Saz And Marimba (Christian Burchard) – 8:35

Line-up 

– Roman Bunka / guitar, saxophone, vocals, percussion, bass (6)
– Christian Burchard / drums, vocals, percussion, marimba, vibes, hackbrett, Mellotron
– Charlie Mariano / alto & soprano saxes, flute, nagasuram, bamboo flute
– Dieter Miekautsch / acoustic & electric pianos, bass piano on the clavinet

Credits

Design – Holger Matthies

Lacquer Cut By – PF

Liner Notes – Rainer Blome

Liner Notes [Translation] – Mary McGlory

Producer – Embryo (3)

Producer, Photography By [Portraits] – Othmar Schreckeneder

Written-By – Mariano (tracks: A1 to B2, B4), Burchard, Miekautsch (tracks: A1, B1, B4), Bunka (tracks: A1 to B1, B3, B4)

Information about the band

Musical collective from Munich (Germany), founded in 1969 by Christian Burchard and Edgar Hofmann. Considered as one of the most important German jazz-rock bands during the 1970s.
In 1981, Uve Müllrich and Michael Wehmeyer left Embryo to form “Embryo’s Dissidenten” who soon became Dissidenten.
Embryo have continued for over 40 years with Christian Burchard always in charge and an ever changing international cast of musicians including talents from North Africa, India, China, etc., as well as occasionally featuring top jazz names like Mal Waldron and Charlie Mariano and luminaries of the Krautrock scene (source : “Discogs”).

EMBRYO (not to be confused with Italian and Swedish death metal bands of the same name) are a musical collective from Munich who, lead by former R&B and jazz organist Christian Burchard, boast the participation of some 400+ musicians since their beginnings in 1970. Over the years, the band went from classic space rock to jazz fusion, then Burchard soon started travelling the world and recording LPs with African bands and Middle Eastern musicians. They are still going strong and their 30 or so albums cover a wide spectrum of styles, but the constant remains a blend of Krautrock, fusion and ethnic music.

Of particular interest to progsters are four of their earlier albums: “Rache” (heavy, JETHRO TULL inspired), “Steig Aus” (for some warmer, jazzy prog), “Father, Son and Holy Ghost” (lots of ethnic influences) and “We Keep On” (a convincing blend of rock, ethnic and jazz). For fans who have already acquired the taste, “Zack Glück” (’80) is pleasantly quirky and more focussed than the rest of their repertoire; “Reise” (’79) is noteworthy for some interesting Indian fusion tracks; and “Opal” (’70), their very first, is considered their psychedelic masterpiece. For some samplers of more recent material, the album “Ni Hau” (’96), featuring music from China and Mongolia, and the double live cd “Istanboul-Casablanca – Tour 98” are particularly recommended.

If you’re into Krautrock and are a wee bit curious to see what a jazzy FAUST, AMON DÜÜL II or GURU GURU sounds like, you could start with any of the first four albums mentioned above (source : “Progarchives”).

One of the most original and innovative Krautrock bands, Embryo fused traditional ethnic music with their own jazzy space rock style. Over an existence spanning decades, during which Christian Burchard became the only consistent member, the group traveled the world, playing with hundreds of different musicians and releasing over 20 records.

Originally a jazzy space rock band, Embryo were formed in 1969 in Munich, Germany, by former R&B and jazz organist Christian Burchard (vibraphone, hammer dulcimer, percussion, marimba), Edgar Hofmann (saxophone), Lothar Meid (bass), Jimmy Jackson (organ), Dieter Serfas (drums, percussion), Wolfgang Paap (drums), Ingo Schmidt(saxophone), and John Kelly (guitar). However, the lineup was already different by the time sessions for their debut album began. The resulting record, Opal (1970), is considered Embryo’s masterpiece of their early, more psychedelic sound. By the time of Embryo’s Rache (1971), the group was already adding ethnic touches to its music.

In 1972, the same year they played at the Olympic Games in Munich, Embryo were invited by the Goethe Institute to tour Northern Africa and Portugal. In Morocco, the band was fascinated by the different tonal scales used by Moroccan musicians, profoundly shaping the group’s music to come. In 1973, the band was joined by saxophonist Charlie Mariano and guitarist Roman Bunka, who were both influential in moving Embryo toward their genre-blending mixture of space rock and ethnic sounds. We Keep On, released in 1973, was the most successful album in the group’s career.

However, after Surfin’ (1974) and Bad Heads & Bad Cats (1975), Burchard decided Embryo were moving in too commercial a direction and led them on an eight-month excursion to India, where they met local musicians. Shobha Gurtu, an Indian singer the bandmembers met during their travels, would later record an album with them, 1979’s Apo Calypso. Embryo also set up their own record label, Schneeball, with the rock band Checkpoint Charlie during this time, releasing such albums as 1979’s Embryo’s Reise and 1982’s La Blama Sparozzi – Zwischenzonen on the imprint. Embryo also took off on a two-year journey through the Middle East, India, Pakistan, and Afghanistan, during which the band’s bus broke down in Tehran near the end of the Iranian Revolution in 1981; this musical expedition was captured by the documentary film Vagabunden-Karawane. After touring Asia, the Middle East, and Egypt during the early ’80s, Embryo released their first studio album in seven years, Zack Gluck, in 1984. The band then toured Africa and became involved with Nigeria’s Yoruba Dun Dun Ensemble.

However, after internal conflicts, Embryo split up. Burchard continued under the Embryo name with new musicians while a new group, Embryo’s Dissidenten, was formed. Embryo continued to release both new and archival recordings into the 21st century, including 2006’s Embryonnck, a collaboration with the No-Neck Blues Band. However, Burchard suffered a stroke in 2016, which effectively ended his career as a musician, and his daughter Marja took over leadership of the group. Christian Burcharddied in January 2018 at the age of 71 (source : “All Music”).

Embryo is a musical collective from Munich which has been active since 1969, although its story started in the mid-1950s in Hof where Christian Burchard and Dieter Serfas met for the first time at the age of 10. It was one of the most important German jazz-rock bands during the 1970s and has also been described as “the most eclectic of the Krautrock bands.”

History

In 1969 the band was founded by multi instrumentalist Christian Burchard (drums, vibraphone, santur, keyboard) and Edgar Hofmann (saxophone, flutes). To date more than 400 musicians have played with the collective, some, such as Charlie Mariano, Trilok Gurtu, Ramesh Shotham, Marty Cook, Yuri Parfenov, Allan Praskin, X.Nie, Nick McCarthy, Monty Waters and Mal Waldron, have played on multiple occasions. Longtime members are Edgar Hofmann (sax, violin), Dieter Serfas (drums), Roman Bunka (guitar, oud), Uve Müllrich (bass), Michael Wehmeyer (keyboard), Chris Karrer (guitar, oud, violin, sax), Lothar Stahl (marimba, drums), and Jens Polheide (bass, flute).

With Ton Steine Scherben, they were founders of the first German independent label Schneeball in 1976.

In 1979 the band started a nine-month tour to India by bus which is documented in the movie “Vagabunden Karawane”. Embryo developed from jazzy Krautrock to a world music band which is able to merge different styles and trends. Many of their albums originated during collective journeys on 4 continents. The band played many festivals around the globe: in India (Mumbai Jazz 1979), England (Reading 1973), Nigeria (Port Harcourt Jazz 1987), Japan (Wakayama 1991) to name a few. In July 2008, Embryo was awarded the German World Music Award RUTH 2008 at the TFF Rudolstadt Festival.

In 1981, Müllrich and Wehmeyer left Embryo to form “Embryo’s Dissidenten” who soon became Dissidenten.

On the road to Marokko in March 2016 Christian Burchard had a stroke. Since then Marja Burchard (drums, vibraphone, vocals, trombone, keyboard), daughter of Christian Burchard, who grew up with the band, is leading Embryo.

On January 17, 2018 Christian Burchard passed away in Munich. He was 71 years old (source : “Revolvy”/”Wikipedia”).

Discography 

Discography

1970: Opal (Ohr)

1971: Embryo’s Rache (United Artists)

1972: Father Son and Holy Ghosts (United Artists)

1972: Steig aus (Brain, a.k.a. This Is Embryo), featuring Mal Waldron

1973: Rocksession (Brain), featuring Mal Waldron

1973: We Keep On (BASF), featuring Charlie Mariano

1975: Surfin (Buk), featuring Charlie Mariano

1976: Bad Heads and Bad Cats (April), featuring Charlie Mariano

1977: Live (April), featuring Charlie Mariano

1977: Apo Calypso (April), featuring Trilok Gurtu and Shobha Gurtu on one track

1979: Embryo’s Reise (Schneeball/Indigo)

1980: Embryo / Karnataka College of Percussion / Charlie Mariano – Life (Schneeball)

1980: Anthology (Materiali Sonori, compilation reissued on CD as Every Day Is Okay in1992)

1982: La blama sparozzi / Zwischenzonen (Schneeball)

1984: Zack Glück (Materiali Sonori)

1985: Embryo & Yoruba Dun Dun Orchestra Feat. Muraina Oyelami (Schneeball)

1985: Africa (Materiali Sonori)

1989: Turn Peace (Schneeball), featuring Mal Waldron

1994: Ibn Battuta (Schneeball/Indigo), featuring Marty Cook on one track

1996: Ni Hau (Schneeball/Indigo), featuring Xizhi Nie

1998: Live in Berlin (Schneeball)

1999: Istanbul–Casablanca Tour 1998 (Schneeball/Indigo), featuring Alan Praskin

1999: Invisible Documents (Disconforme)

2000: One Night in Barcelona (Recorded at the Joan Miró Foundation) (Disconforme),featuring Yuri Parfenov

2001: Live 2000, Vol. 1 (Schneeball)

2001: Live 2001, Vol. 2 (Schneeball)

2003: Bremen 1971 (Garden of Delights)

2003: Hallo Mik (Schneeball/Indigo, live recordings)

2006: Embryonnck with the No-Neck Blues Band(Schneeball/Staubgold/Sound@One)

2006: News (Ultimate)

2007: Live im Wendland (Schneeball), anti-nuclear solidarity concert 2005 in Gorleben

2007: For Eva , 1967 recording featuring Mal Waldron

2008: Freedom in Music , featuring X. Nie

2008: Live at Burg Herzberg Festival 2007 (Trip in Time)

2008: Wiesbaden 1972 (Garden of Delights)

2010: Embryo 40 (Trikont/Indigo, compilation)

2011: Memory Lane, Vols. 1-3 (Download only), featuring Mal Waldron

2016: It Do (Trikont/Indigo, compilation)

External links 

Embryo Band’s Homepage

Embryo Band’s Page on Facebook

Embryo Band’s Page on Spotify

Embryo Band’s Page on Last Fm

Charlie Mariano Tribute Page

Embryo Album Reviews on Gnosis2000.Net

Embryo Band’s Documentary on IMDb

Embryo – “We Keep On” Full Album Download Link on Rock & Roll Archives

Embryo – “We Keep On” Full Album Download Link on 7Digital

Embryo – “We Keep On” Full Album on Google Play

Embryo – “We Keep On” Full Albun on Apple Music

 

 

 

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

 

Folk/Krautrock/Progressive Rock Germany 1970s (Tracks) Hölderlin – “Waren Wir”

Hölderlin – “Waren Wir” Video on YouTube

Category/Music Genres :

Folk/Krautrock/Progressive Rock Germany 1970s (Tracks)

Band :

Hölderlin (Wuppertal, Düsseldorf, Germany)

Image result for holderlin 1972

Hoelderlin were a German progressive rock band that was formed in 1970 as Hölderlin by brothers Joachim and Christian von Grumbkow with Nanny de Ruig, whom Christian was married to. They were influenced by rock, jazz, and folk music.

Track :

“Waren Wir” A1 track (written by Christian von Grumbkow), (opening track) included on the album “Hölderlins Traum”

Album :

Hölderlins Traum” released on Pilz (20 21314-5) in 1972

Hölderlin – Hölderlins Traum” Album cover photo (front)

Hölderlin – “Hölderlins Traum” Full Album Video on YouTube

Hölderlin – “Hölderlins Traum” Full Album Audio Playlist on Spotify

Hölderlin – “Hölderlins Traum” Full Album Audio Playlist on Soundcloud

Line-up/Credits :

Line-up :

Nanny de Ruig – female vocals
Christian von Grumbkow – guitar
Joachim von Grumbkow – cello, acoustic guitar, flute, piano, organ, mellotron
Peter Käseberg – bass, acoustic guitar, vocals
Christoph Noppeney – violin, flute, piano
Michael Bruchmann – drums, percussion
Peter Bursch – sitar (03)
Mike Hellbach – tablas (03)

All tracks written by Christian von Grumbkow .

Credits :

Artwork – Helmut Friz

Engineer [Sound] – Dieter Dierks

Photography – Victor

Producer – Rolf-Ulrich Kaiser

Walter Westrupp – recorder (05)

Recorded January 1972 at Tonstudio Dierks in Stommeln.

Released in a laminated gatefold cover.

Track-list :

01. Waren wir – 4:50
02. “Peter” – 2:55
03. Strohhalm – 2:04
04. Reqiem für einen Wicht – 6:36
05. Erwachen – 4:04
06. Wetterbericht – 6:37
07. Traum – 7:23

HOLDERLIN HOLDERLINS TRAUM 2 (2)

Information related to the album/band/track :

“Discogs”

From Wuppertal, circa 20 miles east of Düsseldorf, Germany, Hölderlin evolved out of a 1960’s folk group playing Fairport Convention and Pentangle songs. They took their name from the 19th Century writer Friedrich Hölderlin.
Originally, they were a family band, the core was the brothers Christian and Jochen von Grumbkow, with Christian’s wife Nanny as lead singer, with a trippy cosmic styled progressive folk, full of rich textures, psychedelic, medieval and classical touches.

“Wikipedia”

The group started out as a folk group, but after the release of their first album in 1972 and the departure of Nanny in 1973, the group began to change musical direction, incorporating jazz and rock. They changed their name to Hoelderlin in 1973 and took legal action against Rolf-Ulrich Kaiser, the head and founder of the label Pilz, which eventually led to the record label going out of business. In 1975 they got a new record contract with the label Spiegelei and released their second album the same year. After the release of three more albums, almost all of the founding members left the group, leaving Joachim to be the only remaining founding member. This led to both a significant change in lineup and another significant change in musical direction. The group was introduced to Dave Hutchins, who was an engineer for the Genesis album The Lamb Lies Down on Broadway and subsequently decided to develop an anglo-american commercial sound that later resulted in two more albums before their split in 1980. The album Fata Morgana was then put together and released by Spiegelei the following year. The group reunited in 2005 with only Hans Bäär and Michael Bruchmann as former members. However, Christoph and Nanny made special guest appearances for a few of their subsequent performances. Upon the release of their eighth album, the group then split up again in 2009.

Personnel :

Michael Bruchmann – drums (1971-1978, 2005-2009)

Hans Bäär – bass, guitars, vocals (1976-1981, 2005-2009)

Ann-Yi Eötvös – vocals (2005-2009)

Andreas Hirschmann – keyboards, vocals (2005-2009)

Joachim von Grumbkow – keyboards, vocals (1970-1981) (died 1990)

Christian von Grumbkow – guitar (1970-1977), lyrics (1970-1978)

Christoph Noppeney – violin (1971-1977), guitar, vocals (1975-1978)

Tommy L’Ohr – guitar, vocals (1977-1981)

Peter Käseberg – bass, vocals (1970-1975)

Eduard Schicke – drums (1978-1981)

Nanny de Ruig (1970-1972)

Pablo Weeber – guitar, vocals (1976-1977)

Discography :

Hölderlins Traum (Pilz, 1972)

Hoelderlin (Spiegelei, 1975)

Clown & Clouds (1976)

Rare Birds (1977)

Traumstadt (Live Album, 1978)

New Faces (1979)

Fata Morgana (1981)

8 (2007)

“ProgArchives”

Founded in Wuppertal, Germany in 1970 – Disbanded in 1980 – Reformed from 2005-2009

This, in my opinion, underrated German progressive rock band has its roots in ’63 when the brothers Joachim and Christian Grumbkow founded the rock-band The BEATKIDS and played covers from The BEATLES, The ROLLING STONES and The SHADOWS. In november ’70 the brothers GRUMBKOW presented the name HÖLDERLIN (derived from a German romantic poet) after they had played with a sery of musicians mainly folk-rock covers (especially TRAFFIC), all layered with long instrumental improvisations. Then HÖLDERLIN got an invitation from a record company, this after only three months of their existence! The debut-album “Hölderlin’s Traum” was released in ’72 with a nine-piece line up, including female vocals and instruments like the Mellotron, Grand piano, violin, cello, sitar, tablas and flute. Their sound is a progressive blend of rock, jazz and folk. It sold 5000 copies and the LP is still a collector’s item. But then the troubles began with their producer Rolf-Ulrich Kaiser (TANGERINE DREAM, KLAUS SCHULZE and WALLENSTEIN). He tried to force the band into a more cosmic approach (‘LSD’ inspired complained the band) and was not amused with the “more political oriented lyrics” as he analyzed.

It took almost three years with many juridical conflicts to get rid off the contract but eventually HÖLDERLIN won their case. Under the new name HOELDERLIN (in German the pronunciation of “oe” is the same as the “ö” and much easier to write or type) the second eponymous LP was released in 75. The band called their music ‘romantic rock’, it sounded more jazzy and it contained echoes from KING CRIMSON and GENESIS. HOELDERLIN toured through Scandinavia, Holland, Germany and Switzerland, got good reviews and radio – and tv-airplay. In ’76 HOELDERLIN released the album entitled “Clowns and Clouds”. The music consists of more complex rock with many theatrical and surrealistic elements. In ’77 Christian had a mental breakdown, he could no longer combine the too busy work with the band and his family life (the upbringing of two children). He left and Spanish guitar player Pablo Weeber joined HOELDERLIN. In ’77 they released the album “Rare Birds”, a year later followed by the 2-LP “Hoelderlin Live Traumstadt”. Soon after the unstable personality of Pablo led to his dismiss. “Traumstadt” got very good reviews, it even reached the German charts. Further releases were “New Faces” (’79) and “Fata Morgana” (’81), including new drummer Eduard Schicke, know from the progrock trio SCHICKE, FUHRS, FRÖHLING. These albums have a more accessible melodic rock approach.

The double-album “Hoelderlin Live Traumstadt” is their finest work and showcases the band at their pinnacle. It’s still considered as one of the milestones in the German rock history and has some similarities with other German progrock band GROBSCHNITT concerning the long solos, visual effects, costumes and humor. The music was recorded in the Wuppertaler Opernhaus in October ’77, the 2-LP was released in ’78. The band was hit by multiple changes in the line-up, on “Traumstadt” the musicians were Joachim Grumbkow (keyboards and vocals on “Streaming”), Pablo Weeber (all guitars), Michael Bruchmann (drums), Cristoph ‘Nops’ Noppeney (lead vocals and violin) and Hans Bäär (bass). All the nine melodic tracks have their own climate and features fluid accelerations, nice interludes, pleasant keyboards (string-ensemble, electric piano, organ and clavinet) and great interplay between electric guitar and violin. But the focus is on the solo work: fiery (“Sun Rays”), biting (“Soft Landing”) and howling (“Die Stadt”) on the electric guitar and exciting (“Streaming”) and spectacular (“Die Stadt”) on the violin. Many solos are supported by the wonderful and distinctive sound of the string-ensemble, a compelling combination! Recommended, especially to the fans of the violin play of Jean Luc PONTY and Eddie JOBSON.

Photos related to the album/track :

Hölderlin – Hölderlins Traum” Album cover photo (front)

Hölderlin – Hölderlins Traum” Album cover photo (back)

Hölderlin – Hölderlins Traum” Album  photo (A/B’ Sides)

Photos related to the band :

holderlin band

holderlin band

holderlin band

Links related to the album/track :

Hölderlin – “Waren Wir” Track Video on “YouTube”

Hölderlin – “Hölderlins Traum” Full Album Video on “YouTube”

Hölderlin – “Hölderlins Traum” Full Album Audio Playlist on Spotify

Hölderlin – “Hölderlins Traum” Full Album Audio Playlist on “Soundcloud”

Hölderlin – Hölderlins Traum Full Album Audio Playlist on “Shazam”

Hölderlin – “Hölderlins Traum” Full Album on “Google Play”

Hölderlin – “Hölderlins Traum” Full Album on “Apple Music”

Hölderlin – “Hölderlins Traum” Full Album Download Link on “Old Rock News” Blog

Hölderlin – “Hölderlins Traum” Full Album Download Link on “Free Spiritual Be-In” Blog

Links related to the band :

Hölderlin Band’s Page on “ProgArchives”

Hölderlin Band’s Page on “Discogs”

Hölderlin Band’s Page on “Musikzirkus”

Hölderlin Band’s Page on “Spotify”

Hölderlin Article about the band on “Rheinlaender”

Hölderlin Band’s Page on “Google Play”

 

 

 

Krautrock/Progressive Rock Germany 1970s (Tracks) Frumpy – “Take Care Of Illusion”

Frumpy – “Take Care Of illusion” Video on YouTube

Frumpy – “Take Care Of illusion” Video on YouTube (Beat-Club 68 – 26.6.1971)

Category/Music Genres :

Krautrock/Progressive Rock Germany 1970s (Tracks)

Band :

“Frumpy” (Hamburg, Germany)

Frumpy Photo

Members :
Inga Rumpf (lead vocals, percussion, guitar), Carsten Bohn (drums, percussion), Karl-Heinz Schott(bass, percussion, 1970-72, 1994-95), Kravetz (organ, piano, Mellotron, percussion, saxophone, spinet, 1970-71, 1972, 1990-95), Rainer Baumann (guitar, 1971-72), Erwin Kania (organ, piano, 1972), Thomas Kretschmer [Carola Kretschmer] (guitar, 1972)
Related Artists :
Atlantis, Rainer Baumann Band, Die City Preachers

Track :

“Take Care Of Illusion” (written by Inga Rumpf, Jean-Jacques Kravetz), B1 track included on the album “Frumpy 2” 

Album :

“Frumpy 2”, released on Philips Records ( 6305 098) in August 1971

Frumpy 2 was the second album by the German progressive rock band Frumpy. It was released in 1971.

Frumpy – “Frumpy 2” Album cover photo (front)

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Line-up/Credits :

Rainer Baumann – guitar

Carsten Bohn – drums

Karl-Heinz Schott – bass

Jean-Jacques Kravetz – keyboards

Inga Rumpf – vocals

Producer [Produced By] – Rainer Goltermann

Pressed By – Deutsche Grammophon Gesellschaft Pressing Plant

Lacquer Cut At – Deutsche Grammophon Gesellschaft Pressing Plant

Track-List :

1. Good Winds (10:02)
2. How The Gipsy Was Born (10:05)
3. Take Care Of Illusion (7:30)
4. Duty (12:09)

Total Time: 39:46

Lyrics :

I saw a light tonight
it shined mighty bright
dsw it through my open door
while i heard a thundring roar of something
that exploded down there. So I have been in confused fear.
Got Up and followed that blood – red shine
’cause I felt a warning sign.
Yeah – it seemed to be Yeah – big misery!
Oh, that house was burning down
couldn’t see if there’s somebody’round.
I got a dreadful feeling deep inside oh, i just tried …
I was running for my life
to save the sleeping children and wife.
But when i reached that burning house
I was standing in front of a crowd
of helpless people were staying around
they watched the flames and their crying was loud.
I asked a man, who was standing near by.
How could it happen, when and why?
He said, Yeah – it seems to be Yeah – big misery!
It’s burning down it’s burning down to the ground.
It’s a lot of pain when you see it was all in vain.
They worked every day, every night, every hour in their life.
With a faith that we all have before it’s getting late
but you see how it can be, when you’re thinking
you are free, and you’re proud
what you’ve down
that’s a fraud – it could be gone
“Take care of illusion – it shares with confusion”
Look, you are young, and i think you are not the only one
who would help with that faith
that i meant before it’s late.
So go, try you’re best, save their life,
you can’t save their happiness!
Yeah – It’s up to you
Yeah – try to get through!
Oh, they have been still alive
and soon they opened up their eyes.
As they remembered, they began to moan,
No, that man was not wrong
Songwriters: Inga Rumpf
Information about the album/band/track :
Frumpy was a German progressive rock/krautrock band based in Hamburg, which was active between 1970–1972 and 1990–1995. Formed after the break-up of folk rockers The City Preachers, Frumpy released four albums in 1970–1973 and achieved considerable commercial success. The German press hailed them as the best German rock band of their time and their vocalist Inga Rumpf [de] as the “greatest individual vocal talent” of the contemporary German rock scene. They disbanded in 1972 although the various members all worked together at various times over the following two decades and they reunited again in 1989, producing three more albums over five years after which they disbanded once more.
Formation :

All of the band members met as performers with Germany’s first folk rock band The City Preachers, formed by Irishman John O’Brien-Docker in Hamburg in 1965. In 1968, the band had split, with O’Brien-Docker and several other members parting company. Singer Inga Rumpf, a distinctive “un-feminine” sounding vocalist often compared favourably with Janis Joplin, continued to use the band name with a line-up including drummer Udo Lindenberg, singer Dagmar Krause, French organist Jean Jacques Kravetz and bassist Karl Heinz Schott. In the spring of 1969, Lindenberg left to pursue a solo career and was replaced by Carsten Bohn, who by November that year had grown disappointed with Krause and called for the band to pursue a new creative direction, “a fusion of rock, blues, classical, folk and psychedelic.”Reforming in March 1970 as Frumpy (a play on Rumpf’s surname inspired by seeing the word “frumpy” in a CBS record catalogue) the new line-up of Rumpf, Bohn, Kravetz and Schott debuted at the Essen International Pop & Blues Festival in April 1970, where two of their songs “Duty” and “Floating” were recorded and released on the live compilation album Pop & Blues Festival ’70. This was followed by more tour dates in France, Germany and the Netherlands, an appearance at the Kiel Progressive Pop Festival in July 1970, and at the Open Air Love & Peace Festival at Fehmarn, September 6, 1970.
Recordings :

They recorded their debut album All Will Be Changed in August 1970. To promote the album the band embarked on a fifty-night German tour with Spooky Tooth, as well as playing supporting slots with Yes, Humble Pieand Renaissance. The album received both critical acclaim and commercial success.Initially the band played without a guitarist, which was unusual in the rock genre, and the band instead made great use of Kravetz’s “spacey [Hammond] organ excursions” and his powerful Leslie Rotating Speaker System, a sound modification and frequency modulation device. Rumpf said: “In the beginning we were happy enough as a quartet. I played and composed exclusively on an acoustic guitar. It was only later that we began to write songs that called for a guitar.”In 1971, just before the band started recording their second album, called simply 2, they recruited former Sphinx Tush guitarist Rainer Baumann to the line-up. The album, “heavier and more mature progressive rock with classical overtones in Kravetz’s organ ([and] occasionally mellotron) work,” repeated the success of the first, and gave the band a hit single with “How the Gipsy Was Born”, which would become their “signature tune.”The German music magazine Musikexpress dubbed Frumpy as the best German rock act of the year, while Inga Rumpf, variously described as “smoky”, “demonic” and “roaring,” was declared by national newspaper Frankfurter Allgemeine Zeitung to be the “greatest individual vocal talent” of the German rock scene so far.Due to “musical differences” Kravetz left the band in early 1972 to work with Lindenberg and his Das Panik Orchester and also to record a solo album, Kravetz (1972) which featured both Rumpf and Lindenberg. He was replaced in Frumpy by Erwin Kama, who had previously played in Murphy Blend, and Kama appears on several of the tracks on Frumpy’s third album By The Way, being ousted halfway through recording in March 1972 when Kravetz rejoined the band. Baumann expressed a desire to establish a solo career also, and the band played a “farewell concert” on 26 June 1972 with Thomas Kretschmer on guitar.Musikexpress published an obituary for the band in August 1972.The obituary closed with: “We request that you refrain from messages of condolence, since you will soon be hearing from Inga, Karl-Heinz and Jean-Jacques under another name.”A double, live album, Live, was released posthumously in 1973.

Post-Frumpy :


Shortly after Frumpy disbanded, Rumpf, Kravetz and Schott recruited guitarist Frank Diez and drummer Curt Cress, both formerly with Munich-based jazz fusion combo Emergency, to form a “supergroup” called Atlantis. Atlantis, which has been described as “Frumpy repackaged with a more commercial hard-rock style,” recorded their first album Atlantis in 1972, which was released early in 1973. Rumpf was voted ‘Best Female Rock Singer of 1973’ by Musikexpress readers. Diez and Cress were replaced by George Meier and Lindenberg for the subsequent tour, who were themselves replaced by Dieter Bornschlegel and Ringo Funk when the tour ended. They then released It’s Getting Better (1973), which had a strong Afrobeat influence, and caused Die Zeit to hail Rumpf as a “superstar”, after which in early 1974 Kravetz left the band to join Randy Pie.Schnelle was replaced again by Adrian Askew and Bornschlegel by Curly Curve’s Alex Conti. The third album Ooh Baby (1974) was written mostly by Askew and Conti and veered towards the P-funksound, and the band toured the U.S. as a support act for Aerosmith and Lynyrd Skynyrd. Following more changes in line-up two further albums were released, Get On Board (1975) and Live (1975) but, despite achieving commercial success in Germany, the group disbanded in January 1976.On 23 February 1983 the founder members played a one-off reunion concert in Hamburg.
Reunion :

In 1989, Rumpf, Bohn and Kravetz reformed Frumpy and released two albums, Now! (1990) and News (1991) but by 1992 the members had moved in different directions and the group was once more disbanded in 1995.
Discography :

All Will Be Changed (1970)Frumpy 2 (1971)By the Way (1972)Live (1973)Now! (1990)News (1991)Live NinetyFive (1995)

Rising out of the ashes of Sixties folk band City Preachers, German-based band Frumpy formed in 1969 and over the course of their brief career released two albums of rock tinged with blues, jazz and psychedelic elements. They were for awhile Germany’s most popular rock band, selling out concerts and winning numerous awards. They eventually disbanded in 1972.

While Frumpy’s music is appealingly Uriah Heapish (yes I like Heep), it is their 22 year old lead singer, Inga Rumpf, that I find totally mesmerizing – a unique presence that evokes Nico, Janis Joplin and Robert Plant.

 

Frumpy was perhaps the first or best internationally known of the German progressive bands who had their heyday was from 1970 – 72.

Shortly after Frumpy disbanded, Inga RumpfJean-Jacques Kravetz and Karl-Heinz Schott recruited guitarist Frank Diez (ex-Emergency) and drummer Curt Cress to form Atlantis.

Inga RumpfCarsten Bohn and Jean-Jacques Kravetz reformed a more soulfull/bluesier version of Frumpy in 1990 which released a couple of CDs. These later recordings are less progressive than earlier works.

Inga Rumpf was one of the best-known German R&B singers. Her voice often drew comparisons to Janis Joplin, but Rumpf was able to develop her own unique vocal style. Catapulted to stardom in the ‘70s with her band Frumpy, she released a number of highly acclaimed solo works in the ‘80s and ‘90s and came to be regarded as the grand old lady of German R&B. Whereas other German female vocalists such as Nina Hagen faded away over time, Rumpf consequently followed her path and never compromised herself artistically (unlike her ex-bandmate Udo Lindenberg, whose creativity died down by the end of the ‘80s when he started putting out lightweight pop).

Born on August 2, 1946 in Hamburg, Rumpf started performing as a teenager with different blues bands in the Hamburg entertainment district of St. Pauli. In 1965, she founded the folk band City Preachers and recorded three albums with them. After a creative crisis in 1969, the band changed styles from folk to a mix of beat and soul. A new lineup reflected this: Jean-Jacques Kravetz (keyboards), Karl-Heinz Schott (bass) and Udo Lindenberg (drums) formed the core of the new band, which one year later was to become Frumpy when Udo Lindenberg left to start a solo career and was replaced by Carsten Bohn. Frumpy recorded only two albums, All Will Be Changed (1970) and Frumpy 2 (1971) — the latter containing the hit single “How the Gipsy Was Born” — but these two LPs rewrote German rock history. The band was praised as the best German rock act, and Rumpf was declared the greatest individual vocal talent of the German rock scene to date.

After Frumpy disbanded, Rumpf founded Atlantis in 1972, with Kravetz and Schott, along with new additions Frank Diezon guitar and Curt Cress on drums. The same year, the German music magazine Musik Express selected Rumpf best German vocalist, and her band, Atlantis, “best live and studio band.” Several U.K. tours, alone and with Lindenberg, made her well-known in the English-speaking hemisphere as well. Atlantis disbanded in 1975 after three excellent years, and Rumpf released her first solo effort, Second Hand Mädchen, which was heavily influenced by Lindenberg who, two years earlier, had established himself as one of the most promising German rock acts. Lindenberg had shown that German lyrics work in rock songs, and so Rumpfswitched to singing in German, too, although on her 1981 album, Reality, she sang in English again. She wrote all of the songs herself for this, and even produced it. Tina Turner did a cover of “I Wrote a Letter,” which was released as the B-side of her 1984 comeback single “Let’s Stay Together” (re-released as a bonus track on the centenary edition of her landmark album Private Dancer in 1998). Also in 1981, Rumpf widened her horizon by accepting a job as a lecturer at the Hamburg Musikhochschule (university of music). Her 1984 album, Liebe, Leiden, Leben, again containing German lyrics, earned critical acclaim and she proved not to have lost any of the power she’d radiated in the ‘70s with Frumpy and Atlantis.

After a short Frumpy reunion in 1991-1992, the ‘90s saw Rumpf experimenting with jazz (with the 1994 album Fifty-Fifty with pianist Joja Wendt) and gospel music. In accordance with the philosophy of gospel, a significant number of her performances took place in churches, her lyrics became more spiritual, and increasingly revealed a Christian context without being preachy, so even atheists should be comfortable with the music of her later career. Critics hailed her 1996 album In the 25th Hour as her best to that point. Among other covers, the album contained her version of Ray Charles’ hit “Unchain My Heart,” as her best so far. The same year, the compilation The Best of All My Years was released. Her 1999 album, Walking in the Light, contained text adaptations of the biblical Sermon on the Mount.

From 2001 onward, Rumpf started to perform rock, R&B, and soul on a weekly basis in her hometown of Hamburg. Three years later, she founded her own record label, 25th Hour Music with the release of the live album Live im Michel. Rumpf’s work with Frumpy and Atlantis, as well as her solo output of later years, is essential listening for everybody who wants to get to know German rock music.

Photos about the album/band/track :

Frumpy – “Frumpy 2” Album cover photo (front)

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Frumpy – “Frumpy 2” Album Artwork photos

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Frumpy – “Frumpy 2” Album photo (A’ Side)

Frumpy – “Frumpy 2” Album photo (B’ Side)

Inga Rumpf of German prog rock band Frumpy poses for a pirtrait circa 1970 in Hamburg, Germany. (Photo by Gunter Zint/K & K Ulf Kruger OHG/Redferns)

Inga Rumpf : News Photo

Inga Rumpf from German Rock band Frumpy performs live on stage at Musikhalle in Hamburg, Germany in 1972 (Photo by Ellen Poppinga – K & K/Redferns)

Frumpy Live : News Photo

Inga Rumpf Photo

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Inga Rumpf Photo

INGA RUMPF 1 (3)

Frumpy Photo

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Frumpy Photo

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Frumpy Photo

Frumpy Photo

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Links about the album/band/track :

Frumpy – “Take Care Of Illusion”Video file link on YouTube

Frumpy – “Take Care Of Illusion” Video file link on YouTube

Frumpy – “Frumpy 2” Full Album Video file link on YouTube

Frumpy – “Frumpy 2” Full Album Video Playlist on YouTube

Frumpy – “Frumpy 2” Full Album Video file link on Vimeo

Frumpy Band’s Page on Spotify

Frumpy Band’s Page on Discogs

Frumpy Band’s Page on Rate Your Music

Frumpy – “Frumpy 2” Full Album Download Link on Rockasteria Blog

Frumpy Band’s Page/Full Albums Download Links on Muro Do Classic Rock Blog

Frumpy – “Frumpy 2” Full Album Download Link on Boyz Make Noize Blog

Frumpy Band’s Page on Google Play

Frumpy Band’s Page on Apple Music

 

 

Fusion, Jazz Rock, Krautrock, Progressive, Psychedelic Rock Germany 1970s (Tracks) Out Of Focus – “See How A White Negro Flies”

 

Out Of Focus – “See How A White Negro Flies” Video on YouTube

Out Of Focus – “Wake Up” Album Playlist on Spotify

Category/Music Genres :

Fusion/Jazz Rock/Krautrock/Progressive/Psychedelic Rock Germany 1970s (Tracks)

Band / Country of Origin :

OUT OF FOCUS 2

Out Of Focus (Munich, Germany)

Track :

“See How A White Negro Flies” (written by Out Of Focus), A1 track (opening track) included on the album “Wake Up”

Album :

OUT OF FOCUS WAKE UP 1

Released on Kuckuck Records ( 2375 006) in 1971, recorded in Union-Studio München, 27 to 31 October and 5 to 7 December 1970.

Line-up/Credits :

Remigius Drechsler / guitar
Hennes Hering / keyboards
Moran Neumüller / vocals, saxes
Klaus Spöri / drums
Stefan Wisheu / bass

Recorded At – Union Studios, Munich

Printed By – Gerhard Kaiser GmbH

Manufactured By – Deutsche Grammophon

Composed By, Arranged By – Out Of Focus

Design [Cover] – Concept Data

Engineer – Mack (2), Thomas Klemt

Illustration – Ch. Ruthenberg

Photography By – Matthias Porst

Producer – Jonas Porst

Track-List :

1. See how a white negro flies (5:48)
2. God saved the queen, cried Jesus (7:28)
3. Hey John (9:35)
4. No name (3:06)
5. World’s end (9:55)
6. Dark, darker (11:37)

Information about the album/band/track :

OUT OF FOCUS 4

Wake Up! was originally recorded and released in 1970 by a band that seemingly lacked the wherewithal to manage such a thing. A practised and experienced live outfit that had made a name for itself in and around Munich, the members of Out Of Focus hit the studio for the first time having procured label support from Eckart Rahn’s Kuckuck which had established itself the year before. However, the band was usually stoned and their live set featured prolonged jams that could see them playing for 3 hours. The discipline and rigour of the studio presented a challenge to the band who had to be made aware of the need for accuracy, tuning and brevity. “It took them a bit of adjustment,” remembers Rahn.
Nevertheless, there was a genuine desire to allow the band their artistic freedom and capture something of the socially conscious, psychedelic, and slightly surreal live experience that had made them a popular act in the first place. So they had two long weekends to track the album and, on listening to it, it has that cohesive, driven quality that often comes from the exquisite pressure of time.
Opening with See How A White Negro Flies, we get an immediate sense of the musical direction this album is going to take. A heavy, plodding, psychedelic groove supported by a spectacular ‘walking’ bass motif combines tightly with Klaus Spφri’s energetic and busy drumming while Remigius Drechsler pulls off a riff that would turn Ennio Morricone green. Drechsler’s guitar work is a highlight of the album and the band’s overall sound. He combines spastic thrashing rhythm work with electrifying, fuzzed and distorted lead work as well as dealing in clean picked box-riffs and gently strummed atmospherics. You get a real sense of this range in God Save The Queen Cried Jesus which cycles through vivid shades and phases led as much by Moran Neumόller’s wonderfully dynamic flute work as his off-the-wall, impassioned and theatrical vocal delivery. Neumόller’s declamatory squawking is something of an acquired taste however, often sounding too much like a hangover from ‘60s American protest music, although occasionally, he sounds passingly like Jim Morrison.
Hey John is an extended jam on a rising and descending chord pattern held dramatically and melodically in tow by Neumόller’s flute. Again Spφri’s athletic drumming is powerfully supported at every turn with fluid and intuitive bass runs while Hennes Hering (organs, piano) and Neumόller interject lengthy improvisational solos over the shifting weight and changing light of the band’s delicately calculated soft/loud dynamic. No Name has a similar feel in its brief, shouty moment and is perhaps remarkable in that it predates by some 7 or 8 years the raucous, New Wave aggro of early Ian Dury And The Blockheads.
Out Of Focus’ strength lies firmly in their instrumental endeavours. With the two closing tracks being longer than ten minutes each, there’s plenty of scope for the improvisatory excursions that have served them well throughout the album. There’s little development of the formula, just energetic, occasionally frenetic shaping of the dynamics. It’s raw and vivid, but I’m not getting much out of it by the end, just roach burn.
This is a fairly convincing debut that mashes several strands of the underground scene from the late ‘60s into a blend of Traffic, The Doors, early (Saucerful Of Secrets) Floyd with the hard rock of The Edgar Broughton Band and Atomic Rooster. Having said that, Out Of Focus are resolutely their own band with their own sound and their own take on the underground music scene of their day. It has an immediate appeal, made all the more attractive by Ben Wiseman’s excellent remaster.
Out of Focus was one of the many creative groups that arose from Germany in the early ’70s. Its inventive take on fusion laid the groundwork for their three LPs released a year apart from each other. The first record was excellent and each successive album got even better. Out of Focus began in Munich, Germany, in late 1968 with Drechsler, Hering, Neumuller, Spori, and Wisheu. Very much a product of those times, the group combined jazz, folk, blues, psychedelic, and progressive rock, as well as political and social awareness as often exemplified by Neumuller’s lyrics. They quickly developed their style and from 1969 onward, they toured constantly, gigging all over Germany and opening for Amon Düül II, Nektar, Ginger Baker, Kraan, Kraftwerk, and Embryo, among others. By mid-1970, the Kuckuck label signed them. After several months in their practice room to work on their chops, they recorded material between October and December and by the end of the year, their debut, Wake Up, was released. In June 1971, the group recorded a second album for Kuckuck that came out later that year. This eponymous second album contained less rock riffing as the band branched further into jazz, improvisation, and experimentation. Out of Focus went back into the studio in the summer of 1972 to record Four Letter Monday Afternoon, an even more experimental double album with much longer tracks, including the 50-minute “Huchen-55,” which took up the entire second record. The group on this record was expanded to an 11-piece with the temporary addition of Dechant, Schmid-Neuhaus, Polivka, Breuer, Thatcher, and Langhans. Kuckuck pressured the group for a hit single. Both the unruly behavior of the group and the dislike the owner of Kuckuck had toward Four Letter caused Out of Focus to be dropped by the label soon after that record came out. At the beginning of 1973, the group and their wives moved 30 miles out of Munich to the countryside. By now, Hering had left the group and Schmid-Neuhaus and new member Gohringer had joined. Without a new label, they began pre-production work on a fourth album between March and May 1974, but these recordings were not released until much later, on the album Not Too Late. By 1975, the group started to fall apart as the various musicians drifted away. By the time they performed at the 1978 Unsont & Draussen festival, Drechsler was the only remaining original member and their music was far more straight-ahead jazz. A year later, Drechsler joined Embryo and Out of Focus disbanded.

Review by Sean Trane, progarchives.com

If you ever read Asbjornssen’s Cosmic Dreams at Play, you will know how high esteem he holds this band. His article finishes this way: WHAT AN AWESOME GROUP THEY WERE! I cannot say it any better as the three albums they made in their prime were all drastically different from each other yet so unmistakably OOF (much like Floyd did all of their albums so different, yet all so FLOYD). Their music is absolutely theirs and sound like nothing else and although they are Germans, I hesitate to call it Krautrock or as some call it Krautjazz.
They develop a strange mix of psyched-out rock with a good sense of jazz rock (although not quite as much in this debut album), add a good dose of flute/sax dominated prog rock and give themselves a maximum space for instrumental interplay even if Moran’s voice holds an important role (and is an acquired taste in the same way that Peter Hammill or Roger Chapman are an acquired taste) with some non-sensical lyrics laying out their hippy ideals. With an abstract artwork this debut album (released on the legendary Kuckuck label) is aptly named Wake Up, even if the goal is to send you into dreamy trip, the music is raw, just the way the Germans liked it, reminiscent of their crosstown colleagues of Amon Duul II.

Right from the first repetitive note of Drechsler’s guitar, soon underlined by Herring’s organ and Moran Neumuller’s flute, in the opening White Negro, you just know you’re flying in a wonderful universe where time seems to be a very random dimension and the dreamy soundscapes are an invitation to tripping around the universe. The tougher-sounding God Save The Queen is more of rougher guitar-lead early 70’s UK proto-prog ala EBB or BechKendel, but the middle section (recorded a bit too low) shared between the folky flute and the organ is a great counter-point using the full dynamics contrasting with the return of the opening section. Hey John is an almost 10-min wild flute-lead jam that can sound like Deep Purple’s Mandrake Root in the middle.

The flipside jumps at your throat with the short but powerful No Name track that could easily be called You’re Wasting Time, and even if there are obvious flaws in recording levels, this track is most likely to also claim the album’s title, Wake Up! World’s end is a fairly doomy track that still trails a bit of 60’s into it, sometimes reminding of Floyd (Herring’s organ and Spori’s drumming sound like early Floyd circa Saucerful Of Secrets), while Moran’s flute is more reminiscent of Traffic’s Chris Wood and the guitar reminding us a bit of Krieger in The Doors’ epic track The End. Ending the album is the lengthy Dark Darker track, which is a bit disjointed in its psyched-out moods especially Moran’s flute racing up and down the ladder of sanity. This is one track where the group shows an excellent aptitude at light improvisation that lead to wild jamming, a thing that we would see much more of in the next three albums. Again the raw sound gives the impression that this record could’ve easily been recorded live in the Anglo-Saxon world, with only the approximate accent of Moran giving a hint otherwise. The closing section is a hard-driving Atomic Rooster-like heavy prog.

As with most German band singing in English, the vocals are not perfect but this is very minor as the texts (lyrics) are easily understood and are of a very social/political nature that they could also be classified in German only category Polit-rock (never thought you’d read about such a category, Uh? 😉 This IMHO only adds to the quality of the music and does not make it dated just for that reason. Technically absolutely brilliant (D-E A + HCH). Just by the weird song titles, one can see that this band is heavy, I mean HHHEEEAAAVVVYYY, man!!

 

Photos about the album/band/track :
Out Of Focus – “Wake Up” Album cover photo (front)
OUT OF FOCUS WAKE UP 1
Out Of Focus – “Wake Up” Album cover photo (back)
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Out Of Focus – “Wake Up” Album photo  (A’ Side)
Out Of Focus Photo
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OUT OF FOCUS 2
OUT OF FOCUS 3
OUT OF FOCUS 4
OUT OF FOCUS 5 (2)
Links about the album/band/track :

 

 

Experimental/Jam Band/Jazz Rock/Krautrock/Progressive/Psychedelic Rock Germany 1970s (Tracks) Guru Guru – “The Girl From Hirschhorn”

Experimental/Jam Band/Jazz Rock/Krautrock/Progressive/Psychedelic Rock Germany 1970s (Tracks)

Guru Guru (Heidelberg , Baden-Württemberg, Germany)

Instrumental Music

“The Girl From Hirschhorn” (written by M. Neumaier, H. Hartmann, H. Nejadepour) A2 track included on the album “Dance Of The Flames”

Released on Atlantic Records (ATL 50 044)  in 1974

Related Artists :
Hausmusik, Ja Ja Ja, Pension Winnetou, Roland und die »Dadadogs«, Take Five
Also  known as :
The Guru Guru Groove [1968-70], Guru Guru Sunband

Line-up/Credits :

Houschäng Nejadepour / electric & acoustic guitars, vocals (5)
Hans Hartmann / bass, acoustic bass
Mani Neumeier / drums, percussion, vocals

Engineer – David Siddle

Engineer [Assistant Engineer] – Günter Theis, Uwe Schier

Photography By – Tai Lüdicke

Produced by : Guru Guru

Recorded at Studio 70, Munich, April 12 to 20, 1974.

Green/White WEA Musik GmbH company inner sleeve.
Made in Germany

Track-List :

1. Dagobert Duck’s 100Th Birthday (7:39)
2. The Girl From Hirschhorn (8:33)
3. The Day Of Timestop (5:22)
4. Dance Of The Flames (3:28)
5. Samba das Rosas (4:05)
6. Rallulli (4:35)
7. At The Juncture Of Light And Dark (3:12)
8. God’s Endless Love For Men (7:24)

Formed in 1970, Guru Guru was a German prog rock outfit whose largely instrumental work set the group squarely within the boundaries of what is commonly referred to decades later as Krautrock. While guitarist Ax Genrich, Uli Trepte, and keyboardist/drummer (and Cluster collaborator) Mani Neumeier remained the core of the band throughout its ten-year existence, a number of other musicians passed through the band’s ranks, including Cluster co-founder Hans-Joachim Roedelius, who played keyboards on 1976’s Mani und Seine Freunde, and keyboardist Ingo Bischof, who assumed increasing control of the group until its 1979 dissolution following the release of Hey Du, recorded under the name the Guru Guru Sun Band

Formed in 1968 by Swiss percussionist Marcus “Mani” Neumeier (who had played with jazz musicians Irene Schweizer and the Globe Unity Orchestra), bassist Uli Trepte and former Agitation Free guitarist Ax Genrich, the Guru Guru Groove Band (later shortened to Guru Guru) offered a surreal mixture of psychedelia, humour, improvisation and collage technique. It was different from what the most famous German bands of the period were offering, and perhaps less revolutionary. They were taking inspiration from Jimi Hendrix and Frank Zappa rather than inventing a whole new kind of electronic music. Their albums were played, recorded and organized in a sloppy manner. Ufo (Ohr, 1970) contains five lengthy free-form pieces, including their anthem, the 20-minute juggernaut Der LSD Marsch. The other tracks pale compared with this masterpiece: Stone In (5:43), Girl Call (6:21), Next Time See You At The Dalai Lhama (5:59), Ufo(10:25). Ax Genrich was not an academic guitarist, and he could make Hendrix turn in his grave, but he was a living hurricane, staging manic assaults to the brain.

The four jams on Hinten (Ohr, 1971) are less chaotic and less primitive, but, if possible, they are even more extreme, misunderstanding Jimi Hendrix and the Cream as a wall of noise that will be surpassed only by the Japanese bands of a few years later:Electric Junk (10:58), The Meaning Of Meaning(12:09), Bo Diddley (9:56), Space Ship (11:05).

Kanguru (Brain, 1972) may not be the most creative of Guru Guru’s albums, but it is played in a more structured manner and produced in an almost professional manner. THe 15-minute Immer Lustig is a classic of space-rock. Oxymoron (10:33), Baby Cake Walk (10:57) and Ooga Booga (11:11) all have their share of brilliant brainscapes.

Der Elektrolurch (Brain, 1974) is an anthology.Space Ship is an anthology of their best years (1971-74).

As the line-up began changing, Neumeier remained the only constant member. Guru Guru (Brain, 1973), Don’t Call Us (Atlantic, 1974), Dance of the Flames (Atlantic, 1974), Mani und Seine Freunde(Atlantic, 1975), Tango Fango (Brain, 1976),Gobetrotter (Brain, 1977), Sunband Hey Du(Brain, 1979) were variations on the same theme.

After a long hiatus, Guru Guru returned as a clone of Hawkwind with Mani in Germani (1982), Neue Streiche (1983), Jungle (Casino, 1987), Shake Well(1993), Wah Wah (Think Progressive, 1995), Moshi Moshi (Think Progressive, 1998), 2000 Gurus(Funfundvierzig, 2000).

Privat (Admission, 1993) is credited only to Neumeier and is an experimental drum album.

Founded in Heidelberg, Germany in 1968 – Still active as of 2017

“We`re not cosmic rock, we`re comic rock.”
Mani Neumeier, 1973

A free form jazz mentality, avoiding musical clichés and commercialism, has always characterized the music and philosophies of German freak `n roll band GURU GURU who have categorically occupied their own special stage within the realms of modern music. From it`s LSD induced origins in the late `60s to it`s present day configuration which still rocks and grooves with intensity, countless personnel changes have occurred making it more of a succession of musical ventures and concepts under the moniker GURU GURU, which came about as a tongue-in-cheek reference to the BEATLES and their guru worshipping of the late `60s. GURU GURU were one of the first bands to become associated with the German Krautrock movement from that era along with bands such as XHOL CARAVAN, AMON DUUL and CAN. However, the band was not partial to the absurd stereo-typing and preferred the terms “acid space” or simply, “acid rock” which better described their loud, trippy, improvisational music.

The constant driving force behind GURU GURU since it`s inception as THE GURU GURU GROOVE BAND in 1968 has been the unusual intellect and masterful musicianship of drummer MANI NEUMEIER. During the first half of the 1960s he embraced the jazz interpretations of JOHN COLTRANE, THELONIOUS MONK, MAX ROACH and other jazz mentors from which he would develop his own style of impulsive drumming. During this period he played with various traditional jazz groups in Zurich, Switzerland culminating with work with Swiss jazz pianist IRENE SCHWEIZER. It was during this time that he hooked up with bassist ULI TREPTE with whom he shared the desire to create louder more adventurous music which would follow the paradigms of JIMI HENDRIX and FRANK ZAPPA. Joined by guitarist EDY NAGELI, they played their first gig in Heidelberg, Germany in August 1968 and shocked audiences who had been familiar with Neumeier`s work in the more mainstream European jazz scene.

After a few more lineup changes, during which they briefly became a quartet, they were joined by ex- AGITATION FREE guitarist AX GENRICH whose pyrotechnical aspirations were just what Neumeier and Trepte were looking for. On the insistence of their fans who followed them from gig to gig, their debut album, “UFO”, was released in early 1970 on the Ohr record label which by that time was already known for promoting avant garde music. Their guitar driven music was wild and imaginative and also incorporated many primitive atmospheric effects using echo boxes, fuzz pedals, wah wah pedals, processed signals and microphone distortion which predated the electronic instrumental music of the seventies. Drug experimentation with LSD also acted as a catalyst and their live performances were often better than material recorded in the studio because of the high decibel levels of their playing. This extravagant free nature of their music was also meant as a left wing political statement as the band was also part of the Socialist German Student Union who would read out political statements during their performances. These free-thinking attitudes were also reflected through their communal lifestyle, living on the road and later in a house with their groupies and roadies

Tripped out philosophies as well as a nod towards one of their rock`n roll heroes, BO DIDDELEY appeared on their next acid soaked LP, Hinten in 1971 while the following album, Kanguru, took musical experimentation to soaring heights. With the aid of German production wizard CONNY PLANK it was one of the first albums released on the new German Brain record label which was created by former employees of Ohr Records. It contained long discordant compositions with psychedelic textures which incorporated more recognizable elements of jazz, hard rock and pop music laced with all kinds of bizarre humour and drugged out vocals, not surprisingly becoming an underground favourite of long haired freaky people everywhere.

The first personnel changes occurred on a self-titled album which was released in December 1972 with ex-NIGHT SUN bassist BRUNO SCHAAB replacing ULI TREPTE who disappeared under similar circumstances to those which resulted in the decommissioning of SYD BARRETT from PINK FLOYD. Attempts were made at a couple of psychedelic `60s sounding singles as well as another far out tribute to a rock`n roll hero, this time a medley of EDDIE COCHRAN classics from the `50s. But long trippy abstract compositions remained their forté and the album also spawned a whacked out piece of music which would become their trademark entitled “Der Elektrolurch”. It was about an imaginary electric amphibian creature that Neumeier and Genrich cooked up while travelling on their tour bus which Nuemeier would act out on stage during live performances wearing a costume he designed much like PETER GABRIEL of GENESIS was doing around the same time.

In 1973 GURU GURU were signed to the heavy hitting Atlantic Records ( UK ) label for their fourth album ” Don`t Call Us We Call You ” which brought on further changes in personnel and significant musical departures. Bassist HANS HARTMAN, a veteran of the European jazz scene replaced BRUNO SCHAAB and with his more precise and dominating bass playing giving the band a tighter sound. AX GENRICH also watered down his guitar experiments to include more streamlined blues explorations as well as some country ingredients. A group of Schoshonen native Indians spent some time with with the band in their communal ways of life during this period and Neumeier`s tribal curiosities resulted in an ethno track entitled “Round Dance”. There was also more emphasis on Neumeier`s quirky vocals but nonetheless the album didn`t sell as well as Atlantic had anticipated. This signaled the end of an era of the band which many consider to be GURU GURUs definitive years.

Persian / German guitarist Houschang Nejadepour who had played with the recently dissolved German progressive jazz-rock band Eiliff joined the band in early `74. This generated the most technically spectacular GURU GURU album, Dance Of The Flames which sounded at times like THE MAHAVISHNU ORCHESTRA minus the keyboards and violin as a result of Nejadepour`s fluid speed-of-light guitar lines and eastern influences ( he also played the sitar while with Eiliff ). Like their previous album, “Dance Of The Flames” also had world beat elements with African and Latino rhythms along with the inevitable psychedelic blowouts and silly vocalizations. The album was greeted with mixed sentiments by fans and the press alike and The New Musical Express even called it : “absolutely terrible music”. Nejadepour`s tenure was brief and he left in July `74 and was replaced temporarily with Connie Veit who had previously played with the psyched out “GILA” and the highly experimental avant garde band POPOL VUH. An unofficial CD which surfaced in the late `90s documented some live performances from this period with Veit on guitar.

In 1975 Neumeier would rethink the GURU GURU concept by inviting a potpourri of musical friends to perform with himself and new members Sepp Jandrists and Jurgen Karpentiel on guitar and bass respectively on an album appropriately titled “Mani Und Seine Freunde” ( Mani And His Friends ). Members from KARTHAGO, HARMONIA and KRAAN gave the album a wonderful jazz-rock feel to most of the tracks while members of CLUSTER added surreal touches on a couple of ambient adventures which also included ethereal environmental sounds. It had a joyous feel to it and Neumeier considered it to be the most satisfying GURU GURU project to date.

The more upbeat approaches on ” Mani Und Seine Freunde” set the stage for the next GURU GURU record, “Tango Fango” which would become the template for the funked up jazz-rock flavoured attitudes which would colour GURU GURUs music for the remainder of the seventies. Back on the Brain label, it introduced a full time keyboard player, INGO BISCHOF as well as sax / guitarist, ROLAND SHAFFER who would become a GURU GURU fixture to the present day. In March 1976 the band became the first act to be featured on the acclaimed German rock music TV program Rock Palast ( Rock Palace ) playing music from “Tango Fango” as well as the spaced out signature numbers “Der Elektrolurch” and “Ooga Booga”. They also starred in a movie called “Notwehr” in which they played a freaky hippie band called Rattenfanger (The Ratcatchers )which takes over a small German Hamlet much to the chagrin of the townspeople. On the music side of things two further albums were released ” Globetrotter” ( 1978 ) and “Hey Du” ( 1979 ) interspersed with a long awaited double live album in 1978. . These albums didn`t completely forget the band`s earlier more spaced out socio-political deviations and included weird compositions which spoke out against nuclear power, called for the re-unification of the two Germanies as well as another extended freakout, ” Atomlch” which was reminiscent of the dark sonic images of “Der Elektrolurch”. By the end of the decade GURU GURU had played hundreds of concerts all over continental Europe, parts of the United States as well as acquiring a vibrant following in Japan which still exists to this day.

In the early 1980s the GURU GURU entity went into stasis while Neumeier focused on jazzy solo work as well as other side projects. He also furthered his musical education by taking instruction with an Indian drum master and released an esoteric drum album entitled “Privat” in 1991.

The GURU GURU creature creeped back to form with ” Guru Guru Jungle ” which included a female vocalist, Lisa ( Lysa ) Kraus and contained freakish new wave electronica experiments with the idiosycratic GURU GURU touch. They also became regular performers at the Finkelbach free music festival which they co-founded and continued to record periodically. Throughout the 1990`s and into the 21st century GURU GURUs music fluctuated between pilgrimages to their psychedelic past, straight rock, more freak techno excursions as well as jazz-rock.

Neumeier`s ongoing native tribal drumming convictions from all corners of the planet which have constantly instilled primeval visions into GURU GURUs diverse sound are more conspicuous than ever as the Gurus transcend the new millenium. Continuing to elude any notions of mainstream identity GURU GURUs eternal quest for freedom and contentment through their wonderfully strange music forges on to this day. Their live performances still breath fire and shine with exuberance with no sign of letting up any time soon with concert dates planned well into the year 2010.

Guru Guru – “Dance Of The Flames” Album cover photo (front)

GURU GURU DANCE OF THE FLAMES 4 (2)

Guru Guru – “Dance Of The Flames” Album photo (A’ Side)

GURU GURU DANCE OF THE FLAMES 1 (2)

 

Guru Guru – “The Girl From Hirschhorn” Video file link on YouTube

Guru Guru – “Dance Of The Flames” Full Album Video file link on YouTube

Guru Guru Band’s Page on Spotify

Guru Guru Band’s Page on Apple Music

Guru Guru Band’s Homepage

Guru Guru Band’s Page on Facebook

Guru Guru Band’s Page on Discogs

Guru Guru Band’s Page on Rate Your Music

Guru Guru Band’s Page on Prognosis

Guru Guru Interview on Aural Innovations

Guru Guru Interview on It’s A Psychedelic Baby Magazine Blog

Guru Guru Band’s Page/Discography/Full Albums/Download Links on Lágrima Psicodélica Blog

 

Folk/Krautrock/Progressive Rock/Space Rock Germany 1970s (Tracks) Twenty Sixty Six And Then – “Reflections On The Future”

Folk/Krautrock/Progressive Rock/Space Rock Germany 1970s (Tracks)

Twenty Sixty Six And Then (Mannheim, Baden-Württemberg , Germany)

Krautrock/Progressive Rock Band

“Reflections On The Future” (written by Veit Marvos/Geff Harrison) B1 track included on the album “Reflections On The Future”

Released on United Artists Records (UAS 29 314 I) in 1972

Line-up/Credits :

Geff Harrison / lead vocals
Gerhard Mrozeck / acoustic & electric guitars
Steve Robinson / keyboards
Veit Marvos / keyboards
Dieter Bauer / bass
Konstatin Bommarius / drums

With:

Wolfgang Schönbrot / flute
Curt Cress / drums

Arranged By – Twenty Sixty Six And Then

Bass Guitar – Dieter Bauer

Design [Cover-Design] – Günter Karl

Drums – Konstantin Bommarius

Electric Guitar, Acoustic Guitar, Vocals – Gagey Mrozeck

Engineer – Dieter Dierks

Lead Vocals – Geff Harrison

Lyrics By – Harrison

Organ, Electric Piano [E-piano], Piano, Mellotron, Percussion, Vocals – Veit Marvos

Organ, Electric Piano [E-piano], Vibraphone [Vibes], Synthesizer, Mellotron, Vocals  Steve Robinson

Photography By – Gerhard Vormwal

Producer [Produced By (Inside Cover)] – Madaus Sound

Producer [Produced By (On Record Labels)] – Eckhard Madaus

Track-List :

1.  At My Home (Gerhard Mrozeck, Steve Robinson, Geff Harrison) – 05:02
2.  Autumn (Steve Robinson, Geff Harrison) – 09:05
3.  Butterking (Steve Robinson, Geff Harrison) – 07:20
4.  Reflections On The Future (Veit Marvos, Geff Harrison) – 15:47
5.  How Would You Feel (Veit Marvos, Geff Harrison) – 03:22

TWENTY SIXTY SIX AND THEN are: Geff Harrison on lead vocals, Gagey Mrozeck on guitars, Dieter Bauer on bass, Konstatin Bommarius on drums and Steve Robinson with Veit Marvos both sharing duties on organ, electric piano, vibes, synthesizer, mellotron and vocals (the name ‘2066 & THEN’ comes from adding an extra thousand to the number 1066, year of the historical battle of Hastings). Their heavy progressive style has been compared to that of DEEP PURPLE, VANILLA FUDGE and IRON BUTTERFLY. After releasing their first album, individual members got involved in different projects that never really stood the test of time, so ‘Reflections on the Future’ is their only legacy, and a fine one at that.

Their dramatic organ-drenched, complex music sometimes dons symphonic elements, but the band isn’t afraid to dive into some heavy guitar/organ jamming either, featuring elements of jazz, some high-octane rhythmic parts and quick changes, mixed with weird psychedelic electronic effects – the hoarse vocals, however, perhaps better suited to conventional hard rock, may take some getting used to.

Their record company (Second Battle) re-released the album in 1991 under the name ‘Reflections on the Past’. Considered a collectors item, it also contains unreleased masters and some bonus practice sessions from an early rehearsal session in 1991. In 1994, the cd ‘Reflections!’ came out, compiling tracks from both, plus some which had been considered for a second album that never materialized. A combination of poor sales and a ruined German economy at the time sadly forced the premature death of this fine German band, only months after the release of their first album.

Twenty Sixty Six And Then – “Reflections On The Future” Album cover photo (front)

TWENTY SIXTY SIX AND THEN REFLECTIONS ON THE FUTURE 1 (2)

Twenty Sixty Six And Then 

TWENTY SIXTY SIX AND THEN PHOTO 2

 Twenty Sixty Six And Then – “Reflections On The Future” Video file link on YouTube

Twenty Sixty Six And Then – “Reflections On The Future” Full Album Video file link on YouTube

Twenty Sixty Six And Then Band’s Page on Discogs

Twenty Sixty Six And Then – “Reflections On The Future” Full Album Download Link on Rockasteria Blog

Twenty Sixty Six And Then – “Reflections On The Future” Full Album Download Link on Muro Do Classic Rock Blog

Twenty Sixty Six And Then Band’s Page on Apple Music

Twenty Sixty Six And Then Band’s Page on Google Music Store

Twenty Sixty Six And Then Band’s Page on Deezer

Twenty Sixty Six And Then Band’s Page on Napster

Twenty Sixty Six And Then – “Reflections On The Future” Full Album Download Link on Back In Purple 70 Blog

Folk/Krautrock/Progressive Rock/Space Rock Germany 1970s Personal Playlist on Spotify