***Krautrock -Music for your Brain Vol 4- various artists***

Disc 1

01 - Ton Steine Scherben - Macht kaputt was Euch kaputt macht
02 - Out of Focus - Blue Sunday Morning
03 - Percewood's Onagram - Cause Me Pain
04 - Mythos - Neutron Bomb
05 - Drosselbart - Engel des Todes
06 - Michael Rother - Feuerland
07 - Murphy Blend - First Loss
08 - Pell Mell - City Monster
09 - Message - Before the Dawn
10 - Hanuman - Taue der Fremdheit
11 - Embryo - Es ist wie's ist
12 - Guru Guru - Electric Junk

Disc 2

01 - Neu ! - Isi
02 - Lied des Teufels - Nichts
03 - Out of Focus - Tsajama
04 - Nine Days Wonder - Moss Had Come
05 - Rufus Zuphall - Portland Town
06 - Drosselbart - Jemima
07 - Parzival - Black Train
08 - Nektar - King of Twilight
09 - Michael Rother - Katzenmusik 9
10 - Anyone's Daughter - Blue House
11 - Armaggedon - Open
12 - The Petards - Blue Fire Light
13 - Ihre Kinder - Wurfelspiel
14 - Ernst Schulz - XY

Disc 3

01 - Flaming Bess - Tanz der Gotter
02 - Neu ! - Negativland
03 - Thirsty Moon - Big City
04 - Out of Focus - Hey John
05 - Witthuser & Westrupp - Orienta
06 - Lied des Teufels - Das Lied des Teufels
07 - Embryo - Opal
08 - Deuter - Babylon
09 - A.R. & Machines - I'll Be Your Singer, You'll Be My Song
10 - Rufus Zuphall - I'm on My Way
11 - Improved Sound Limited - Catch a Singing Bird on the Road
12 - Emtidi - Traume

Disc 4

01 - A.R. & Machines - Globus
02 - Murphy Blend - Speed Is Coming Back
03 - Parzival - Groove Inside
04 - Michael Rother - Sonnenrad
05 - Ton Steine Scherben - Der Traum ist aus
06 - Sonny Hennig - Pik As
07 - Ihre Kinder - Hexenhammer
08 - Checkpoint Charlie - Smogalarm
09 - Jerry Berkers - Es wird morgen vorbei sein
10 - Improved Sound Limited - Rio Bravo 59
11 - Hoelderlin - Peter
12 - Drosselbart - Liebe ist nur ein Wort
13 - Armaggedon - Round
14 - Deuter - The Key

Disc 5

01 - Straight Shooter - My Time - Your Time
02 - Streetmark - Dreams
03 - Harlis - Runaway
04 - Ramses - Time
05 - Bullfrog - A Housepainter's Song
06 - Shaa Khan - The World Will End on Friday
07 - Wolfgang Riechmann - Silberland
08 - Cluster - Sowiesoso
09 - Octopus - The First Flight of the Owl
10 - Ramses - La Leyla
11 - Streetmark - Lovers

Disc 6

01 - Brainticket - Black Sand
02 - Tangerine Dream - Rising Runner Missed By Endless Sender
03 - Faust - Jennifer
04 - Triumvirat - Illusions on a Double Dimple
05 - Kraan - Wintrup
06 - Ougenweide - Der Fuchs
07 - Orexis - Unter-Rock
08 - Eloy - The Sun Song
09 - Franz K. - Sensemann

Vol 1
Vol 2
Vol 3
Vol 4
Vol 5
Vol 6

***Sweet Smoke - From Darkness to Light (US 1973) Magical Proggy Hippy Psych with Eastern touches***

The underrared "From Darkness to Light" is SWEET SMOKE's last studio album. This one has some shorter tracks but I think it's closer to progressive rock genre than their first. The music is more diverse, complex and thoughtfully composed. However, in some parts it still ratains the jazz-rock elements from their first album. Their typical sudden changes in mood and rhythm are also presented. I welcome the addition of piano and string instruments. I also like the singing and occasional beatlesque choir parts. The hippie imagery in the music and on the coverart is even more prominent than before. This is also notable in the epic track "Kundalini" which begins in Indo-fusion style: a crowd singing a mantra (a few people are out of tune but I think it was intentional), ethnic percussion, instrumental improvisations, scat singing... It's slowly proceeding in more "conventional" jazz-ock. The ending is a crazy jazz counterpoint between guitar, piano, sax, bas and drums. Trully stunning! "Show Me the War" is thoughtfully arranged and spiced with some dissonance. The title track has some awesome trippy and jazzy things going on. In the end they freak out... Other tracks are nice and simple songs with folky flute and a few intelligent twists. I'm not a "flower power" follower but there is something magical about this album that makes it one of my favorites. PROG ARCHIVES -by Matej Luketic

Tracks
1. Just An Empty Dream
2. I'd Rather Burn Than Disappear
3. Kundalini
4. Believe Me My Friends
5. Show Me The Way To The War
6. Darkness To Light

darknesstolight

Krokodil -Swamp (1970 Krautrock)(apparently)-Very majestic & melodic anyway!!

Tracklisting:

1. Get Your Personality Together
2. Light Of Day
3. Sunlights Beautiful Daughter
4. Tell Me What You Want (Tell Tale)
5. Blue Flashing Circle
6. Snow White And Blue
7. Human Bondage
8. Gipsy Man - Bonus Track
9. That's What I Do - Bonus Track
10. Stehaufmadchen (Trailer) - Bonus Track

Swamp

Analogy -Analogy (1972) Psych/Space Prog (Germany/Italy)

(Review from vintageprog.com, progarchives.com)

Analogy wasn't a child of Germany in a strict sense. The members were German (with one exception) but never had an appearance there as a band. They worked together in Italy since 1968 using different names. The band's eponymous debut was released in 1972.

The album consists of seven songs with a krautrock attitude, an impressive mix of psychedelic, symphonic, jazz and blues rock. There is a lot of great hammond appearances to point out and the vocals are very unique -- she could take her voice up in a high soprano on the beautiful "Weeping My Endure" and then in a "lower" tone in the rocking "The Years at the Spring".

The title-track is with its nine minutes the longest and most complex one, going from energetic riffs to quiet parts where the organ and guitar creates some really mystical and haunting atmospheres. The opening track "Dark Reflections" is with its dramatic vocals, excellent melodic chorus and swirling organ-passages one of the very best tracks on the album. "Indian Meditation" features wordless vocals and some flute that fits well to the title of the track.

In September 1972 Pankoff left the band because of some disagreements about the musical direction. 1973 it came to a new collaboration with flute player Rocco Abate who was searching for new experiences. Thurn and Schoene composed a 30 minute set of thematically-linked musical pieces simply entitled "The Suite". In this work the classical music of the Renaissance-period was combined with progressive rock. Analogy played this suite several times live and received good reviews. With the growing money problems the group disbanded in November. "The Suite" was later completed and recorded in 1980.

Line-up :
- H. J. "Mops" Nienhaus / drums
- Jutta Nienhaus / lead vocals
- Nicola Pankoff / keyboards
- Wolfgang Schoene / bass
- Martin Thurn / 12 strings acoustic & electric guitars, flute, bongo, piano

Enjoy!

Eroc - Changing Skies (1987)

01 Changing Skies
02 Zauberwald
03 Wanderzirkus
04 Back To The Mountains
05 Seitenwind
06 Space Shuffle
07 Pressed Rat And Warthog
08 Nachtfahrt
09 Happy Burstday
10 Ich hasse Dich
11 Greenhouse Effect
12 Remscheid
13 Danger Keep Out
14 Burstday in Peuscherswerth
15 Changing Skies
16 Space Shuffle
17 Nachtfahrt
18 Der fröhliche Wecker
19 ALBW

Sorry! Had to remove link!

Epsilon -Epsilon (1971 Krautrock progressive)

Formed by members of Orange Peel and Nosferatu (the vocalist / guitarist Michael Winzkowski), the band Epsilon published three LPs between 1971 and 1974. Their self title can be considered as their best, a nicely varied and achieved combination between heavy blues rockin' sections and coherent progressive skills. Their second "Move on" (1971) represents a more mainstream rock album with a few enjoyable moments. With the album "Epsilon off" (1975) the band turn to a straight heavy rockin' trip in a typical 70s style.

Michael Winzkowski/vocals,guitars,percussion
Michael Ertl/bass
Hartmut Pfannmuller/drums,
Walter Ortel/organ,pianos,vocals,percussion

1.2 four 4(7:30)
2.Before(3:19)
3.Between Midnight(2:45)
4.Everyday's pain(2:56)
5.Hurry up(2:48)
6.Paint it black or white(6:22)
7.II(8:11)

GET IT HERE

Wallenstein -Blitzkrieg (1972) Krautrock

"This is the debut-album (’71) from WALLENSTEIN, a kind of international formation. From the very first second WALLENSTEIN will carry you away with their mind blowing sound on the four dynamic compositions (running time between 7 and 14 minutes): beautiful mellow moments but in general lots of propulsive rhythms and sumptuous outbursts with biting and blistering guitar work (from USA man Bill Barone), supported by sparkling piano, majestic Mellotron waves (by Jurgen Dollase) and a very dynamic rhythm-section, featuring the known Harold Grosskopf (Klaus Schulze) on drums and the Dutch Jerry Berkers on bass. An album with a unique sound, a bit raw but very exciting.

Tracks:
1. Lunatic (11:55)
2. The theme (9:37)
3. Manhatten Project (13:47)
4. Audiences (7:38)

HERE IT IS!!

***Pell Mell -Only a Star (1978)***

1. Count Down
2. Daydreamer
3. Only A Star
4. Across The Universe
5. Disillusion
6. Trailors In Movie Halls
7. Phoebius Is Dead

Wolfgang Claus - drums, vocals
Gotz Draeger - bass
Cherry Hochdorfer - keyboards
Ralph Lipmann - guitar, keyboards, vocals
Thomas Schmitt - flute, violin, keyboards, vocals
Rudolph Schon - percussion, vocals

Only a Star

****Pell Mell -Rhapsody (1975) MORE FAB STUFF FROM THIS GREAT KRAUT BAND!****

Few countries took the idea of “classical rock” more seriously than Germany in the 1970s, as anyone will tell you who was exposed at the time to the music of WALLENSTEIN, TRIUMVIRAT, or this all but forgotten outfit. PELL MELL was one of many groups following in the well-trod footsteps of Keith Emerson, updating the classics in a modern rock format, in this case the work of Rachmaninoff and Franz Liszt (both duly credited: these guys weren’t grave robbers).
Unlike ELP however, the instrumentation was more traditional (for the ‘70s, at any rate), with a big ensemble sound divided between the sextet of musicians. Keyboards were dominant, of course: the grand piano, crunchy Hammond organ, lush string synths (no Mellotrons here) and ubiquitous clavinet were shared between three featured keyboard players, one of them also doubling on flutes and violin. Guitars are less evident, and are mostly in the classical/acoustic vein, although there’s some funky electric stuff happening on the final tracks. The highlight of this 1975 album is the 16-minute title track, a retooling of Liszt’s popular "Hungarian Rhapsody No. 2", with interpolated material written by the band and, like a lot of Continental Prog acts sung in what sounds like phonetic English. There’s certainly a lot of variety here: a quiet acoustic ballad with recorder accompaniment (recalling the "Stairway to Heaven" intro), a burning organ solo in a honky-tonk blues mood, and lots of playful violin, straight from a gypsy café in post- war Vienna. The finale is a hoot: a Loony Tune Saturday morning cartoon soundtrack with everything but Daffy and Bugs, including a brief nod to the local Bavarian beer hall. So why is it called "Can Can"? There’s no relation to the familiar Offenbach Folies Bergere thing, memorably covered a few years later by (of course) the crafty Krautrockers of CAN. The original compositions that round out the rest of the disc are a little less fun and therefore less immediately attractive, but still show a flair for romantic melodies and memorable hooks. It’s not surprising that the band fell into obscurity: they were very much a product of their age, and need to be heard as such. Less forgiving listeners might dismiss the album as a time-capsule of mid ‘70s clichés, but in retrospect there’s a genuine innocence to such lofty middle-brow ambitions toward the rarified strata of high art. Look at the cover, with its cheesy proscenium arch framing laughably amateur pencil- sketch portraits of each band member. You can’t find such disarming naiveté in today’s corporate controlled, mass-produced entertainment industry. The music is still worth a listen too, and not only for nostalgia value. It’s a very minor slice of unjustly forgotten pop culture, but my guess is that the album might even surprise a few jaded Progheads who think they’ve heard it all. - Review by Neu!mann (Michael Neumann)

1. Rhapsody Frost of an alien darkness (9:24)
2. Rhapsody Wanderer (2:31)
3. Rhapsody Can Can (3:38)
4. Prelude (3:18)
5. Desert in your mind (6:18)
6. The riot (6:06)
7. Paris the past (8:10)
Total Time: 39:25

Line-up/Musicians-
Gotz Draeger / bass-
Cherry Hochdorfer / keyboards-
Bruno Kniesmeijer / percussion, drums-
Ralph Lipmann / guitar, keyboards, vocals-
Thomas Schmitt / flute, violin, guitar (electric), keyboards, vocals-
Rudolph Schon / percussion, vocals

Releases information LP Venus 761PMAB (1976) / CD Spalax 97689 (1998)

RAPTUROUS!

****Pell Mell -From the New World (1973) -MORE BRILLIANT KRAUTROCK PROG FROM THIS BAND WITH CLASSICAL ELEMENTS****

Tracks:
1. From The New World - 16:10
2. Toccata - 4:05
3. Suite I - 8:03
4. Suite II - 11:33

BRILLIANT KRAUT PROG!!

Pell Mell -Marburg (1972)

Not to be confused with a 1980s American band of the same name, Pell Mell was a symphonic band from Marburg, Germany(Marburg is also the name of the debut album). The band was formed in 1971 by keyboard player Otto Pusch, bass player Jorg Gotzfried, Rudolf Schon on vocals, recorder, and guitar, drummer Mitch Kniesmeijer, and Thomas Schmitt on violin, guitar, and vocals. The first album is characterized by a rough edge, especially in the vocals. Subsequent albums would smooth out the edges. However, there are aspects reminiscent of Hawkwind, HP Lovecraft, The Nice, and even ELP. Mellotron and classical themes are abundant. It also should be pleasing to fans Krautrock Over the next releases they would explore the realm of Mike Oldfield, and then settle into keyboard dominated symphonic The old psychedelic sounds completely gone. Much of the music is considered some of the best German symphonic ever recorded The usual lineup changes occurred over time, and the band began to disintegrate after 1978's "Only a Star." Thomas Schmitt formed the '80s style rock band Skyrider, with former band mate Otto Pusch. They released one self-titled album, and then took back the name Pell Mell. This incarnation released "Moldau" in 1981 However, the old magic was gone, and that is where the Pell Mell story ends. H.T. Riekels (bhikkhu) - http:// www.progarchives.com/artist.asp

pm-Marburg.rar

REPOST (@ 256) -Brave new World-Impressions on Reading Aldous Huxley (Vertigo Krautrock)

This band emerged from Hamburg and lasted only a few years. It included a mixture of loca musicians and two “foreigners”. The German musicians were Reinhart Firchow (recorders flutes, ocarina, stylophone, percussion, vocals), Lucas Lindholm (bass, bass fiddle, organ piano), Dicky Tarrach (drums, percussion), Herb Geller (flutes, cor anglais, alto/soprano/tenor saxes, organ), the Irishman John O'Brien-Docker (guitars, organ, percussion, vocals, wind chimes) and Esther Daniels (vocals). As you can tell from the name of the band and one album title, their coming together was to make their instrumental interpretation of Aldous Huxley’s novel – A Brave New World. Being almost entirely an instrumental band (apart from some occasional voices) they created a most unique sound which combined together successfully different styles such as folk, psychedelic rock and electronics. Their use of wind nstruments (woodwinds), peculiar percussion patterns, flute, saxophones and a stylopohone gives their music a special otherworldly sound. A possible sound-alike would be Annexus Quam (in the psychedelic rock approach) and Between (in the ethereal, atmospheric sound) Sadly, after they released Impressions on Reading Aldous Huxley in 1972 and then dissolved. It is commonly referred to as an essential album in any krautrock album collection.(Progarchives.com)

Interesting weird meanderings

Toto Blanke -Tales of Tomorow (Brilliant jazzy electronic proggy Krautrock)

Trust me, this is FAB!!

Eroc 4 (1982)

Eroc (Joachim Heinz Ehrig) started his solo career in 1975 while he was currently the drummer of Grobschnitt. His self titled album can be considered as a cross between Grobschnitt’s typical symphonic amazing music and electronic/ synthscapes dominated by numerous original sound manipulations. Despite that he was originally recognised as a drummer, here Eroc is the man behind the machines,controlling solid essays in synth experimentations and electronic collages. His first album is an absolute must have in Kraut- electronic genre, very abstract, emotional and a mix of different moods. His following album Zwei continues to process by a combination between rock and electronic but focused on short, efficient sketches.
Humour and derision are clearly exposed in the lyrics and recitations.
Zwei is a reminiscence of Grobschnitt’s theatrical universe with lot of gags, but the atmosphere is much more introspective, sometimes delivering deliciously melancholic melodies. After this two first very recommended efforts, Eroc pursues his solo career notably providing a kind of reunion, family album Eroc 3 with others Grobschnitt members.

In parallel he also started a professional career as music producer, recently published albums of Jane, Grobschnitt among others.

DISCOGRAPHY:
1975 Eroc - Eroc
1976 Eroc - Zwei
1979 Eroc - Eroc 3
1982 Eroc - Eroc 4
1987 Eroc - Changing Skies
1997 Eroc & Hans Reichel - The Return Of Onkel Boskopp
1998 Eroc - Eroc's Wolkenreisen
*************************************************************************************Tracks:

01 Piratensender Kolibri
02 Hundertwasser
03 Zimperlein
04 Vogelfrei
05 Javea
06 Tausendwasser
07 Krieg der Zwerge
08 Von der Insel
09 Brauntöne
10 Hagener Wellenreiter
11 Let's gläntz
12 Wer rettet die Welt
13 Alles Inordnung
14 Detlef ist weg
15 Die Kinder ziehen fort
16 Der Prophet
17 Sonntagsfahrt
18 Fantastico
19 Radio Puschkino
20 Auf Widder Hörn

***

Wallenstein -Cosmic Century (1973)

**Psychelatte says: His voice is so fragile on this album I find it really quite beautiful and it chokes me up...**

Wallenstein were one of Germany's best known "space rock" bands, clearly indebted to Pink Floyd but also developing a personal style of their own. Jurgen Dollase founded the group Blitzkrieg as an international group with Bill Barone (from the USA), Jerry Berkers (from the Netherlands) and Harald Grosskopf (from Germany!). Dollase had previously studied art and classical music. In late Autumn 1971 Blitzkrieg had the repertoire ready for an album, but as a British group already was using the name "Blitzkrieg", the German group changed their name to Wallenstein and kept Blitzkrieg as the title of their first album. This featured four very long tracks in a symphonic progressive rock style (all written by Dollase) and almost completely instrumental. Dense, complex and powerful stuff!
Mother Universe (1972) pictured Dollase's grandma on the sleeve acting as the grandmother of our universe. Musically this was a more dynamic album, introducing some quieter, folky passages with acoustic guitar between the more usual powerful and pompous electric guitar and organ outbursts. Jerry Berkers wanted to do more of these folky things, and quit Wallenstein to record his own solo album Unterwegs - which musically I find it to be in a rather dull singer & songwriter tradition. After Dollase and Grosskopf had taken part in the large scale projects Lord Krishna von Goloka (Sergius Golowin), Tarot (Walter Wegmuller) and the Cosmic Jokers-sessions, they recorded Cosmic Century (1973) in September 1973. This album brought another change of style, clearly influenced by Dollase's recent "cosmic" experiences. It was marketed as the first album by the 'symphonic rock orchestra Wallenstein' (text on the sleeve). It consisted of five refined symphonic rock tracks and a short piano piece. Dollase's strained vocal parts lowered the overall standard of this album, but apart from this the music was good! Sadly this was to be their last great album...
Stories, Songs & Symphonies (1975) attempted to bring in more conventional rock and jazz styles for a kind of extended fusion, but was largely an artistic failure. Only their adaptation of Bartok's music on "Symphaty for Bela Bartok" was of much interest. The rest represented Dollase's failed attempts to be a serious singer-songwriter. Wallenstein split in 1975 and Bill Barone returned to the USA. Harald Grosskopf was engaged as the drummer for Klaus Schulze, Ashra and more recently Central Europe Performance.

THIS IS DARLING!!

Hoelderlin -Clowns & Clouds (1976) *****

"Germany is well known in the US for its acidic, experimental/electronic prog a la Ash Ra Tempel, early Tangerine Dream, Faust, and Can. A lesser-known or spoken-of oeuvre seems to be that country's symphonic progressive music scene, which, like the predominant Anglo- American bands, flourished in the 1970's. While Eloy headed in a Floydian direction, maintained a metallic edge, added symphonic overtones and made some headway, other bands were likely much more obscure to stateside listeners.

Hoelderlin were one such band; imbued with a keen sense of melody, interplay, and craftsmanship, and possessing a once-in-a-lifetime chemistry, they made a handful of under-the-radar classics of symphonic progressive rock In early 1976 the band along with producer Karlheinz Borchert found themselves at work in Conny Planck's Neunkirchen studio, recording and mixing Clowns And Clouds. The album is divided into a "clown" side and . . . . . you guessed it . . . . . a "cloud" side. Written by keyboardist time changes and exquisitely blended instrumentation, accented by guest Büdi Seibert's saxophone. "Your Eyes" follows and continues to demonstrate Jochen Grumbkow's considerable abilities as a keyboardist The use of cello and viola was a hallmark of Hoelderlin's sound, highlighted in the opening tango section of the three-part "Circus." There is also some fantastic acoustic guitar work in the second section "Marching" before the band quickens the pace for the closing bit entitled"Sensations." Nops Noppeney's viola is therein accented but all of the musicians deliver stellar performances. The "Cloud" side features two cuts. Bassist/guitarist Hans Bäär wrote "Streaming," and besides being a showcase for guitar orchestration, it gives Seibert another chance to contribute nicely on sax and flute. Jochen Grumbkow paired with Baar to write "Phasing," a 12:12 instrumenta piece that superbly blends every instrument. Viola, cello, and guitar all soar upon another graceful bed of keyboards, given rhythmic life by Bäär's galloping bass work and Michael Bruchmann's nimble, solid drumming. All of the vocals on Clowns And Clouds were sung in English by Jochen Grumbkow and Nops Noppeny. Their accents are present but never a distraction; this is an extremely well-engineered album and no instrument or voice overwhelms the mix at any time If you love the warm tones and instrumental blends that were unique to the 1970's symphonic progressive bands, then dig up this largely forgotten gem TODAY. Perhaps fans of Moonmadness or Rain Dances-era Camel or "classic 7" Moody Blues would be at home here. Although they were not without peers or precedent, Hoelderlin were the rarest of bands that for a time made all the right compositional and nstrumental moves. Every musician shines but none of them disturb the perfect balance of the whole, and Clowns And Clouds gets my most urgent recommendation." (Review from off the web somewhere.)

Tracks:
1. Mad House (C.Grumbkow/J.Grumbkow) - 6:47
2. Your Eyes (J.Grumbkow) - 6:10
3. Circus (C.Grumbkow/J.Grumbkow) - 10:05 including a) Tango Mil b) Marching c) Sensations
4. Streaming (H.Bäär) - 7:10
5. Phasing (J.Grumbkow/H.Bäär) - 12:08

Personnel- Christian Grumbkow - lead guitar-
Joachim Grumbkow - keyboards, cello, vocals-
Hans Bäär - bass, guitars-
Michael Bruchmann - drums, percussion-
Joachim Käseberg - live sound-
Christoph "Nops" Noppeney - viola, acoustic guitar, vocals-
Jörg-Peter Siebert - saxophones, flutes, percussion

another great album by this band! Check out the others also!

Coupla Prog -Sprite (1970-71 Fantastic German Heavy Prog-Psych)

Coupla Prog from Baden-Baden/Germany is known for a melange of kraut and heavy bluesrock, full of suspense, theatrical in parts, with a derivative sense of professionality. The new band name results from a shortened version of "A Couple Of Progs".Though they were active between 1969-1975; the band's complete material is live played, pure, without reworking and overdubbing, the result of sessions recorded at studio U1 of Radio Südwestfunk between 1970 and 1972. Heavy blues rock, blues, electronic music, free style, occassional classical music references and echoes of post Syd Barrett-era Pink Floyd, Vanilla Fudge but also Procol Harum distinguished the sound of the band.

The music is extremely varied, never commercially oriented, but always homogenous and exciting music, which occasionally diverge from the well travelled tracks of kraut and prog rock. Talented craftsmen, the band captures the zeitgeist of the era.The group played not only in relevant clubs and youth centres but also to large audiences at open-air concerts in Karlsruhe and Heidelberg.Although the group never managed to secure a record company deal they did, thanks to SWF, leave behind an extensive and musically valuable legacy for underground and progressive rock fans. Highly addictive.
"Sprite" contains 7 tracks that were recorded on 26.02.1970 and 16.04.1971.

- from progarchives.com -

Line-up :
- Rolf Peters / guitar, vocals
- Reiner Niketta / bass, piano
- Wolfgang Schindhelm / organ, piano, trumpet, vocals
- Hubert Donauer / drums

Track List :
01. I Wanna Be Free (5:10)
02. Goodbye, Guns, Be By Gones (11:45)
03. The Queen Is Selling Out (9:30)
04. Die Wut Über Den Verlorenen Groschen - The Anger Of The Lost Penny (4:35)
05. Ode To The Vanilla Fudge (7:00)
06. Auf Dass Er Sich Im Grabe Umdrehe - He Would Turn In His Grave (12:00)
07. Dies Irae - De Mortuis (5:00)

Intense awesomeness!!

Wallenstein -Mother Universe (1972)

Wallenstein were one of Germany's best known "space rock" bands, clearly indebted to Pink Floyd but also developing a personal style of their own. Jurgen Dollase founded the group Blitzkrieg as an international group with Bill Barone (from the USA), Jerry Berkers (from the Netherlands) and Harald Grosskopf (from Germany!). Dollase had previously studied art and classical music. In late Autumn 1971 Blitzkrieg had the repertoire ready for an album, but as a British group already was using the name "Blitzkrieg", the German group changed their name to Wallenstein and kept Blitzkrieg as the title of their first album. This featured four very long tracks in a symphonic progressive rock style (all written by Dollase) and almost completely instrumental. Dense, complex and powerful stuff!

Mother Universe (1972) pictured Dollase's grandma on the sleeve acting as the grandmother of our universe. Musically this was a more dynamic album, introducing some quieter, folky passages with acoustic guitar between the more usual powerful and pompous electric guitar and organ outbursts. Jerry Berkers wanted to do more of these folky things, and quit Wallenstein to record his own solo album Unterwegs - which musically I find it to be in a rather dull singer & songwriter tradition. After Dollase and Grosskopf had taken part in the large scale projects Lord Krishna von Goloka (Sergius Golowin), Tarot (Walter Wegmuller) and the Cosmic Jokers-sessions, they recorded Cosmic Century (1973) in September 1973. This album brought another change of style, clearly influenced by Dollase's recent "cosmic" experiences. It was marketed as the first album by the 'symphonic rock orchestra Wallenstein' (text on the sleeve). It consisted of five refined symphonic rock tracks and a short piano piece. Dollase's strained vocal parts lowered the overall standard of this album, but apart from this the music was good! Sadly this was to be their last great album...

Stories, Songs & Symphonies (1975) attempted to bring in more conventional rock and jazz styles for a kind of extended fusion, but was largely an artistic failure. Only their adaptation of Bartok's music on "Symphaty for Bela Bartok" was of much interest. The rest represented Dollase's failed attempts to be a serious singer-songwriter. Wallenstein split in 1975 and Bill Barone returned to the USA. Harald Grosskopf was engaged as the drummer for Klaus Schulze, Ashra and more recently Central Europe Performance.

Tracks:
All music and lyrics by Jürgen Dollase.
1. Mother Universe - 8:38
2. Braintrain - 8:38
3. Shakespearesque - 4:19
4. Dedicated To Mystery Land - 7:56
5. Relics Of Past - 6:24
6. Golden Antenna - 4:18

Personnel:
- Jürgen Dollase - lead vocals, keyboards
- Bill Barone - guitars, vocals
- Jerry Berkers - bass, lead vocals
- Harald Großkopf - drums, percussion

intensely enjoyable!

****Apocalypse -Apocalypse -1969 German Psych.-ESSENTIAL CLASSIC!*****

HERE IS A ME3DLEY I MADE OF ALL THE TRACKS, CLICK PLAY BUTTON BELOW:

apm2mp3

1. Life is your profession.
2. Let it die.
3. Patricia.
4. Milkman.
5. Try to please me.
6. Pictures of my woman
7. Linda jones
8. Blowing in blow
9. Reflections of a summer.

password = sam1957

GET WHOLE ALBUM HERE!!

Anyone's Daughter -Adonis -BLOODY BRILLIANT Symphonic prog. Ignore and you're a loser!

Absolutely incredible German act,formed in mid/late-70's and starting as a DEEP PURPLE cover band.Soon they developed their composition skills to release their debut ''Adonis'' in 1979.At very difficult times for playing progressive rock,ANYONE'S DAUGHTER created an amazing musical treasure.''Adonis'' combines the nventiveness and interplays of GENESIS with the strong melodies of CAMEL and the deep atmosphere of ELOY's works.The result is absolutely fantastic with a sidelong epic dominating this work,filled with intense emotions,melodies and keyboard/guitar solos,and three shorter tracks,yet they follow the same path of space/symphonic music with changing moods and almost jazzy interplays at times.No more to say than ''Adonis'' is so close to a masterpiece of progressive rock and,of course,it comes extremely highly recommended to every prog rock fan,who respects himself!

Band info: http://www.progarchives.com/artist.asp?id=22

Review by greenback SPECIAL COLLABORATOR "Another excellent German progressive rock band. ANYONE'S DAUGHTER's debut was in the late 70's, so that they use slightly more modern keyboards than prog bands of the 70's, but they still keep an old sound. The music is quite complex: the drums are fast, the bass is sophisticated and not timid at all, the numerous guitars solos are extremely melodic & is sophisticated and not timid at all, the numerous guitars solos are extremely melodic & melancholic, and the keyboards are varied, melodic and elaborated. This is their first album, and probably their best one. There is often the presence of rythmic guitar, distortion free, like CAMEL. The electric guitar is never aggressive, despite some solos are near the hard rock style. Actually, the overall sound and style is similar to CAMEL, in a more melancholic way. The keyboards are often floating too, giving some relaxing ambience. The English lead vocals have a strong German accent, like Triumvirat. I would say this record can be quite sentimental. The first track, "Adonis", is a near 25 minutes of delightful prog rock: you can't stop listen it once started: at the very end, there is one of most POIGNANT guitar solos ever recorded: just hear the sustained notes full of tremolos: U-N-B-E-L-I-E-V-A-B-L-E, despite the sound is not at its best! The side 2 contains 3 excellent songs: The "Blue House", an emotional combination of moog solos and electric guitars. The second track, "Sally", is a joyful piano+saxes song, full of punchy elaborated bass; again tons of excellent drums & lead vocals. The third song, "Anyone's Daughter", has beautiful cohesion between keyboards, guitars, bass and drums: organ solos and floating keyboards, fast guitar solos, very fast and complex drums. guitars, bass and drums: organ solos and floating keyboards, fast guitar solos, very fast and complex drums Yes, "Adonis" is a sad album, melancholic, an emotion transporter. IMO, it is one of the most poignant record in the progressive rock history."
Tracklisting / Tracks / Songs / Faixas / Músicas:

1. Adonis (24:09)
Part I: Come Away
Part II: The Disguise
Part III: Adonis
Part IV: The Epitaph
2. Blue House (7:20)
3. Sally (4:20)
4. Anyone´s Daughter (9:10)

Total Time: 45:19

Line-up / Musicians / Musicos / Formação:

- Harald Bareth: bass, lead vocals
- Uwe Karpa: acoustic & electric guitars
- Kono Konopik: drums
- Matthias Ulmer: keyboards, vocals

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