Embryo ~ Germany

Bremen 1971 (2003)

Back into my Embryo archival collection. Bremen 1971 comes at a time when Embryo was arguably at their rock band peak. Notice I didn't say group peak in general. As noted below, Embryo's Rache remains my favorite album by the collective, which is an impressive feat considering just how many great albums they've released. And you'll also notice the album sits near the top of My Top 25 Most Important Albums list (see page above on this website).

It is this deep well that the Bremen show draws their repertoire from. The ten and a half minute opener 'Try To Be' starts off in improvisation mode, and appears to be unique to this release. We immediately hear Edgar Hofmann's violin, Hansi Fischer's flute, with Ralph Fischer's driving bass and Burchard's scattered jazz drum style. The end of the song reveals that this is an extended version of 'Sittin' at the Moon', a two minute piece on Rache. This leads, with no break, into a rip roaring and heavily percussive version of the two parter 'Time', each section renamed slightly. Jazz veteran Hofmann then shows his considerable chops on the saxophone. Once again a straight segue leads us to 'Tausendfüßler', the brilliant flute driven opener of Rache. Ralph Fisher's bass is especially prominent in driving the track in an exciting way. The mystery player on the album is guitarist Al Jones. He was the original guitarist for Sinto, a band that took the Latin leanings of Embryo towards a Santana type sound. He is also the guitarist on the lengthy bonus track found on the CD of Father, Son and Holy Ghosts described below. The one key instrument that is missing, however, is organ. Or keyboards in general. These were played expertly by Jimmy Jackson on Rache.

A small drum interlude takes us to the album's centerpiece, a 26 minute improvised version of 'Spain, Yes, Franco Finished' (translated from the original Spanish). No surprise, then, that Embryo was banned from Spain for the next few years, especially after calling for revolution. Fortunately that wasn't needed and Spain eventually assimilated into Europe naturally and peacefully. As for the track itself, the familiar themes are augmented by solos from each of the members. A riveting version.

Hard to imagine, but this concert was played at a high school. Can you imagine Embryo playing at your high school? Such were the times.

Ownership: 2003 Garden of Delights (CD). Booklet with a complete history of the event and the group assembled at that time.

10//03 (acquired); 11/17/25 (review)

  

Wiesbaden 1972 (2008)

Along with an incredible studio legacy, Embryo also has an impressive amount of live archival material available. I would imagine there's probably even more in the vaults, but who knows. Like with Tangerine Dream or Klaus Schulze, a live album from Embryo might as well be considered a new release, there's so much fresh material to consider. From the beginning of this live set, it's clear that the Steig Aus era is on display. Which is primo Embryo, mixing improvised jazz rock and world music seamlessly. It starts off mostly with individual solos, and somewhere during 'Sunrising' they are in full blown Krautrock mode with Roman Bunka playing his saz wildly and Christian Burchard going crazy on the drum kit. Missing Link's Dieter Miekautsch makes his Embryo debut with his distorted electric piano, starting with, naturally enough, 'Dieter Plays'. Bunka switches to electric guitar giving off a psychedelic feel. And so it goes, with each 'song' segueing into the next without introduction.

Essentially the album plays as a long improvised jam session with underlying tunes sprinkled intermittently from Opal, Rache, Steig Aus, Rocksession, and We Keep On. As a whole, Wiesbaden 1972 is arguably their most psychedelic Krautrock album to surface. Roman Bunka is absolutely on fire throughout.

The last song of the disc is not from Embryo but rather Aus dem Nichts, a related group who followed them on this night. Featuring ex-Embryo member Hansi Fischer along with Xhol Caravan legend Tim Belbe, Aus dem Nichts is considerably more from the jazz school than Embryo at this point. At times sounding like the Lloyd McNeill Quartet given the soft flute opening, the music has a spiritual jazz quality especially once Belbe gets cooking on the saxophone. This is the only known recording from the band, who lasted a couple of years at least. Pity that.

Ownership: 2008 Garden of Delights (CD). Booklet contains a full history and many photographs.

4/11/11 (acquired); 9/22/25 (review)
 

Rocksession (1973)

---Jun 2005

Does this catch a deep groove and not let go – or what? This can stay at 4.5, but the final piece ‘Dirge’, with what sounds like an electric sitar gone mad, could persuade me to take this to the full 5 stars. Ah, what the hey, it’s free right?

---8/18/25 

Even though I had acquired the LP near the beginning of my magical 1988 deep dive European underground experience (along with some of the other Embryo albums below), it wasn't an initial favorite. There was a time back in 2000 to 2002 that albums like Rocksession really began to click with me. I was writing my best reviews then as I was feeling the music more than ever before. I'm guessing I added the Repertoire CD as a supplement not long after being released (1998), and that's the only reason it didn't get a full blown Semiramis type review from me. Essentially it's a long form jam album. But there's so much more at play here, and you can tell by the interaction of the musicians. It has that same vibe as a Miles Davis album from this era, and the musicianship is very high compared to other bands from Germany at this time. What really makes this album special is that it brings the Krautrock sound and culture to the deep groove Miles style. It's almost pointless comparing Embryo albums of this era as they are all 5 star masterpieces. I'll probably always put Rache first, but Rocksession is as highly ranked in my mind as any other.

Ownership: 

1973 Brain (LP). Gatefold. First press green label with Metronome.

1998 Repertoire (CD). Historical liner notes in German and English.

1988 (acquired); 6//05 (notes); 8/18/25 (review) 
 

Embryo's Reise (1979)

A very important album from my collection. This was the very first Embryo album for me to own, with Embryo's Rache, and Bad Heads and Bad Cats to shortly follow within the same month (from the same store). It was January of 1988, and I'm fresh out of college and hungry for European prog. Of all their albums, this is the one that best blends their future world music excursions with their past jazz rock tendencies. And barn burning opener 'Strasse Nach Asien' may very well be the single best track that blends the two. The two minute 'Paki Funk' is one of those tracks you wished would extend to 15 minutes. 'Lost Scooters' is stunning - one of Roman Bunka's finest contributions. He was truly a gifted songwriter (and singer). The noisy punk rock of 'Es Ist, Wie's Ist' is so anti-Embryo that its placement here is nothing short of brilliant. 'Kurdistan' is another jazz funk piece that I can only hope to hear a 20 minute version of one day. The rest - more or less - goes under the heading of "World Music", though to be fair, it's regionalized. I particularly enjoy the Afghanistan pieces. Hard to imagine what that country once was versus what it was to become. Embryo got there just in the nick of time before the Soviets wreaked complete havoc. The gatefold cover with the libretto is also stunning. So many stories and details. Whatever anyone says about Embryo, no group of people can ever claim to be as committed to a non-commercial stance as these guys. I think they're crazy, and wouldn't put myself through what they did, but my admiration is off the charts. Most everyone else who makes a similar claim is a phony. 54 years of Embryo proves that one can maintain conviction of a virtuous principle without swaying, even though band leader Christian Burchard is no longer with us. I will treasure this LP until the end.

Ownership: 1979 Schneeball (2xLP). Gatefold with booklet. 

1//88 (acquired); 2/3/23 (review)

Umsonst und Draussen - Vlotho 1977 (2017)

Over 12 years ago I wrote the following, while covering the Vlotho 1977 album proper: "'Getalongwithasong' is the requisite Embryo appearance. They are certainly the "name" band in these festivals and they let absolutely no one down. This is a track that would show up on Apo Calypso but in an extended 14 minutes form at that point. Garden of Delights has announced their intention to release Embryo's entire Umsonst concert on CD."

Seven years after I posted that, Garden of Delights came through with that release. And five years after that I finally got around to purchasing it - primarily because the label's product is notoriously difficult to source here in the States. And what of the full concert - did it live up to expectations? Absolutely. You have to be predisposed to like this stage of the band though. The 1975 to '78 era of Embryo is definitely the most user friendly and, dare I say, commercial period for the legendary group. A major reason Embryo are so listenable during this stage lays with guitarist Roman Bunka. He has a good voice - much warmer than the usual English singing from Germans back in those days. And his guitar playing and tone is perfect for this set up. The music is jazz funk - Krautrock style. There's always an edge to their instrumentation. No extreme highs here, just an album that is easy to listen to. Comfort food for established fans. And the music is mostly unique to this release, offering up the same kind of thrill one gets from an archival Tangerine Dream release for example.

Ownership: 2017 Garden of Delights (CD). Booklet with history and photos.

12/9/22 (acquired / review)

Embryo's Rache (1971)

Embryo's second album demonstrates a great leap forward from their more psychedelic debut. I do feel it's an album that remains unheralded, as to me it represents the perfect meeting of Krautrock angst, edgy jazz rock, and thought-out progressive rock composition. Embryo were clearly moving the valve from rock to jazz, and Embryo's Rache captures the band in transition, and it's absolutely perfect. I think any band would have a tough time recreating a sound like this, because it represents an evolution verse a greenfield. The opener 'Tausendfüßler' pretty much sums up the contents within considering it's staccato flute, driving bass, and wild keyboard solos. The latter is featured often, mostly from American jazz veteran Jimmy Jackson. Xhol Caravan alumni Hansi Fischer provides the flute, and long time Embryo collaborator Edgar Hoffman adds violin and sax. It's here that Roman Bunka and Christian Burchard layout the blueprint for Embryo's future. Every single note here is perfect for my tastes. 

Not too many people would claim Embryo's Rache to be the band's best effort (Steig Aus will generally stake that claim), but it certainly is mine. And to take it further - it's one of my all time favorite albums, period.

The gatefold cover is also super, with the jester and violin overlooking what one presumes to be a Spanish landscape (referring to the controversial anti-Franco track that opens side 2).

Ownership: 

1971 United Artists (LP). Gatefold. 

1993 Materli Sonori (CD). Includes a reunion effort from 1991 (that sounds every bit like some lost recording from 1971). 

1//88 (acquired); 10/11/19 (review)

Bad Heads and Bad Cats (1975)

Bad Heads and Bad Cats is the 8th studio album from Embryo, and the second of which bandleader Christian Burchard later referred to as their "commercial years". For Embryo perhaps that is an accurate assessment, for anyone else commercial is not the first word to enter one's mind. More accessible, maybe. I would like for someone to hear 'Nina Kupenda', 'After the Rain', or 'Klondyke Netti' and claim it's somehow music for the masses.

The mid 70s saw Embryo move from being Germany's number #1 export of Krautrock mixed with jazz, to that of pioneering jazz fusion with a bit of funk - while never forgetting their Krautrock roots. As is often the case with Embryo, they were the leaders not the followers. And plenty went down this road in Germany during the next few years, but few - if any - were as accomplished as the almighty Embryo. And even on the more traditional songs, no one could pen a meaner tune than guitarist / vocalist Roman Bunka. The soulful female vocals of Ghana born Maria Archer only adds to the exotic vibe. And how about that deep bass groove on 'Klondyke Netti'? Both of the CD versions contain a 16+ minute excellent period jam called 'Human Contact' that recalls the archival 'Invisible Documents' and shows Embryo in looser form.

For my tastes, Bad Heads and Bad Cats is essential Embryo. Those calling it "ordinary" seem to lack the context from which it was delivered.

Ownership: 

1977 April (LP)

1999 Disconforme (CD). Has an essay from the label founder along with the family tree and an extracted review from noted Embryo expert Alan Freeman.

1//88 (acquired); 6/2/06; 9//09; 5/4/19 (review)

Turn Peace (1989)

Turn Peace is a serious world fusion work from Embryo, who by now had long shed their Krautrock past (though there are a couple of clear embedded reminders here of just that) and were completely engrossed in the hybrid of hardcore jazz and various cultures' indigenous folk tradition (mainly Middle Eastern, Indian, and African). Not an album to buy / hear if coming to it after absorbing Embryo's 1970s Krautrock classics. But if looking to see the logical conclusion of Embryo's Reise - both literally and figuratively, then this album was the end of the rainbow, as it were.

Interesting to note that I bought the LP in Munich in 1990! Dragged it all around Europe. My thinking was that I would never see it back home in the USA. Given the era, not an unreasonable thought. It actually held true for many years. In today's "global economy", with hundreds of distribution channels at the ready, that seems a silly notion. How times have changed.

Ownership: 

1989 Schneeball (LP). Gatefold. 

1990 Schneeball (CD). One bonus track.

5/6/90 (acquired); 10/26/16 (review)

Live (1977)

Really fine set from Embryo, recorded in a town near Munich sometime in February, 1976. Very much a product of their jazz rock phase, Live will appeal to fans of We Keep On, Surfin', Bad Heads and Bad Cats, Apo-Calypso, and their contributions to the Umsonst and Draussen festivals. It's a bit more laid back than their intense Krautrock workouts of the early 70s, while pointing toward the earnest world fusion music that was to follow ('Bambule' in particular). Roman Bunka once again lights it up with his Eastern tinged psychedelic guitar, whereas Charlie Mariano burns on the saxophone and nagasuram, and Dieter Miekautsch gives us a splendid performance on the Fender Rhodes. Uve Mullrich and Christian Burchard lay down the energetic backbone. Maria Archer provides her usual sultry blues based female vocals on selected tracks, while Bunka brings his unique voice to the fore on occasion. Only three tracks will be recognized from their studio albums: 'Roadsong' and 'After the Rain' from Bad Heads (in truncated form), along with an extended version of 'You Can Turn Me On' from Surfin'. The CD adds the 16 minute 'Just Arrived', from a concert a few weeks later. As you might imagine, given the length, Embryo stretch out a bit more here. A fine album, that improves with age.

I think the most surprising tidbit out of these liners, for me at least, is the 1999 LP repress. Supposedly 1000 more (legit) copies spilled into the open market from a record dealer in Frankfurt. But I don't recall ever seeing Live available back then for new purchase? Must have been a Germany-only thing. Discogs corroborates this evidence.

8/14/16 update: So reader Eric had noticed on Discogs that Alan Freeman has just provided us with more data regarding this reissue, which explains the discrepancy of this title verse the others. Copying directly from the site: "The reason this LP remained un-reissued and un-issued on CD for so long is multi-fold. Firstly, the original mixed and edited tapes had been lost and/or damaged ("unusable" I was told). Also, the original LP had been mastered wrongly, with thin (narrow bandwidth) sound, which isn't what was intended. So, when it came down to Garden Of Delights doing a reissue they had to resort to transcribing from vinyl. During the course of doing that I was contacted as they were having problems with some noises in the vinyl (they were using the Nexus pressed issue from 1999). I sent them a copy of my remaster which I'd de-clicked from the original issue suggesting they re-EQ as per my clean-up due to the original vinyl mastering error. So, although the release doesn't so much as say it remastered, it is, and considerably so! How much they used of their remaster and mine it's hard to say, although it does sound rather good, with some frequency range detail added by some trickery I hadn't been able to do. The bonus is nice too, taken from the same tour of Italy as the Era Ora LP."

Ownership:

1977 April (LP)
2015 Garden of Delights (CD). Liner notes, photos, and the one aforementioned bonus track.

2//88 (acquired); 7/26/15 (review)

Opal (1970)

Opal is very different from the later works by this excellent long running band. Indeed it is an embryonic version of the group. It's mostly psych rock with jazz elements and is fairly straightforward and harmless overall. Two distinguishing songs take it higher: 'Revolution' is a fun instrumental and danceable jazz rock track, that you actually see more in the TV / films of the day (with "wild dancing teenagers" and hair flailing about) than what you would hear on album. 'People From Out the Space' is definitely the highlight - brilliant in fact - not only foreshadowing the sublime Embryo's Rache album, but it also fully captures the zeitgeist of the early Krautrock movement. On the other hand 'Glockenspiel' is an annoying attempt at the era's free jazz movement, and is completely at odds with the musical approach of Opal.

While I wouldn't want a reissue without the two bonus tracks, I don't personally consider them enhancements to the overall package. 'Lauft' is a loose 26 minute sax, bass, and drums jam with no peak moments. Excellent archival material that tells the whole story, but not necessarily good music. 

Ownership: 2013 Belle Antique (CD). Bonus track as noted above.

1990 (first acquired); 9/27/13 (review)

Father Son and Holy Ghosts (1972)

---1/6/10

It's a well known tale now, but Father Son and Holy Ghosts was in reality the 5th album by Embryo, and the 3rd attempt to appease United Artists as a followup to Embryo's Rache. The label wanted a more commercial release, and thus rejected both Steig Aus and Rocksession, both later purchased by Metronome and released on their Brain imprint (in 1973). Father Son and Holy Ghosts is by no means commercial, and one suspects the label gave up at this point - and released Embryo out of their contractual obligation afterwards. One of the highlights of this release, in particular, is the contribution of Sigi Schwab on guitar and other stringed instruments, including many from the far east. 'King Insano' represents the track that defines the album best. Moody and introspective with flute and Schwab's exotic electric stringed instruments (veena, tarang). Edgar Hoffman adds some amplified sax while the band grooves hard (and wonderfully phased I might add). At close to five minutes, it's Embryo concentrate - just add water. 'The Sun Song' is another wonder as it displays Embryo enjoying their early ventures towards Asian world fusion. Nine minute closer 'Forgotten Sea' is a classic laid back Krautrock jam, and reminds me why I love the genre so much. No rules or expectations. It just was.

---7/9/24

The CD adds a 20 minute live version of 'You Don't Know What's Happening' from their Opal album. This track was performed at the 3rd Essener Pop and Blues Festival in 1970. While the recording is a bit rough, the music is nothing short of phenomenal. Long jams with guitar, violin, and flute all played in that Krautrock manner, which is unorthodox and awesome. Tribal and raw.

Ownership: 

1972 United Artists (LP). Gatefold. 

2022 Garden of Delights (CD). Booklet with historical liners and photos. 

1988 (acquired); 1/6/10 (review); 7/9/24 (update)

---

Other albums I own and still need to review: Steig Aus; We Keep On; Surfin'; Apo-Calypso; Zack Gluck; Invisible Documents

Other albums once owned: Anthology; Yoruba Dun Dun Orchestra

1/6/10 (new entry)