Unzip password: tdats
Firstly, happy forthcoming new year to you all! Volume 82 is the third German collection I have made, after the krautrock special Vol19 and the Deutsch special Vol33. It has a bit of everything, 60's psych, hard rock/blues, krautrock and even some metallic gallop at the end. There is such a depth of quality music from this period in Germany's history you could spend a life-time looking for it all!
01. Apocalypse - Life Is Your Profession (1969)
from album 'apocalypse'
02. Subject ESQ. - Alone (1972)
from album 'subject esq.'
03. The Uncertain Midnight - Leaving The World (1969)
04. GÄA - Gäa (1974)
from album 'auf der bahn zum uranus'
05. Brother T. & Family - Oh Love (1970)
from album 'drillin' of the rock'
06. Frob - Spheres (1976)
from album 'frob'
07. The Petards - Flame Missing Light (1971)
from album 'pet arts'
08. Die Anderen - Neurotic Reaction (1968)
from album 'kannibal komix'
09. Nine Days Wonder - Frustration (1974)
from album 'only the dancers'
10. Elfenbein - Lost Son (1977)
from album 'made in rock'
11. Elegy - No Direction (1969)
12. Schloss - Neighbourhood (1975)
from album 'Weltschmerz'
13. Désirée - Woman (1976)
from album 'make it with a smile'
Track 3 is a thick slice of deeply lysergic psych from a mystery band apparently called 'The Uncertain Midnight'. It first appeared in the great obscure Krautrock series of comps called 'Kraut! Demons! Kraut!' and all that's known is it's an acetate that was made in Ludwigsburg, 1969.
Vol70. They only made one album, 1974's 'Auf der Bahn zum Uranus' (trans: On the train to Uranus) and it's a shame that's all there is as it's one of the best-kept secrets in krautrock. As you can tell from the track I used here 'GÄA', they perfected long, emotive, spacey jams with ethereal guitar and flute. A one of a kind album.
Vol2) related bands that popped up, along with Asterix (Vol5), Electric Food (Vol13) and Pink Mice (not heard yet). Apparently BT&F were the original LF lineup minus John Lawton, and Peter Hesslein on guitar/vox. Completing them was Dieter Horns (bass, vocals), Peter Hecht (keyboards) and Joachin Reitenbach (drums). Brother T. was the bluesiest of the bunch, it would seem that these guys' multiple bands would put them into the 'exploitation' bracket, they seem to have been attempting almost every brand of rock there was around that time and Lucifer's Friend was the one that won through with the most notoriety.
|Nine Days Wonder|
Mannheim's 'Nine Days Wonder' have a few connections to bands I have already used. It is actually the latter name of Maternal Joy, who's excellent, tooth-rattlingly groovy b-side 'Fat' was used on the extra-heavy Vol70. They also included saxofonist/keyboardist Freddie Münster, who played on one of my all-time fave records, Night Sun's 'Mournin' (1972), an album of such mind-blowing heaviosity that, if you have not heard it yet, I recommend you stop reading this blog right now and go listen. They started in 1966, but by the time of their later albums, N.D.W. were leaving the sixties/early seventies far behind with their own unique sound. By then they had adopted elements of Bowie and Roxy Music's glam, and a certain amount of jarring, almost proto-punk attitude. Equally, they could drift off into space with tracks like Moment. No individual track from 1975's 'Only The Dancers' can really define them, from which I have taken 'Frustration', so I recommend listening to the whole thing. There is a great Nine Days Wonder interview here.
Elegy left England in order to find fame and fortune on the continent. They toured extensively around Switzerland, Bavaria and Austria, where they recorded this single for the Atom label in 1969. After this amazing mixture of Brit Prog and KRAUT the band vanished without trace. Another great UK group that never recorded at home." This story reminds a little of Universe who I used back on Vol40.
My Solid Ground, who show up on Vol3, Vol16 and Vol42 - as you can see I like them rather a lot. These guys sound nothing like M.S.G. however, they are Germany's answer to Status Quo. So, what you get is no-nonsense, heads-down mid-paced blusey hard rock, with a hint of southern rock here and there. An interesting example of a style that was not common over there at the time. The band comprised Klaus Luley (guitar, vocals), Roger Käschner (bass) and Willi Waid (drums). The name of the album 'Weltschmerz' translates to 'world-weariness', but there seems to be some confusion about what the intended album name actually is, I have also read that the album was self-titled as 'Schloss', let me know if you can clarify this! According to RobotsForRonnie, "...the band's self-titled debut was released in the US but went virtually unnoticed. The band fizzled by the next year, with Luley later reappearing in Tokyo, Craaft and Douglas. The post-split activities of Kaeschner and Waid are unknown."
Make It With A Smile back
Make It With A Smile front
Thanks for listening! Rich