German Oak ~ Germany

German Oak (1972 / 198?)

---Aug 2005

One can imagine a wood paneled, smoky basement bar, deep in the labyrinths of Dusseldorf with half empty silver platters of wienerschnitzel and potato pancakes, old copies of Mein Kampf laying about, a semi-destroyed photograph of the worst mustachioed man in history hanging crooked on the wall over the beer steins lined up over the mantlepiece... the bartender still trying desperately to look fit in his brown suit. 

Completely stoned out of their frickin' minds, German Oak blast away non-stop on fuzz guitar, bass and drums with introductions from none other than the Fuhrer himself. Only with Guru Guru circa 1970 do we get this kind of zonked sound out of Germany, yet they were already accomplished jazz musicians trying to create psychedelic free rock. With German Oak, you get the real deal of earnestness mixed with incompetence, one of the only truly pent-up anger releases of World War II you'll ever get from the mother country. I had expected there would be more albums like this from Germany, but they were not to be found. Rather the Cold War represented the required tension, as best exemplified by the Berlin based Ash Ra Tempel on their first couple of brain scorching albums. 

The album is dedicated to their parents "who had a bad time during the war". Seriously? How understated is that?

---10/27/26

And that was the last time I heard German Oak. Time for a revisit and enter into UMR. What I didn't mention above is that the CD front loads the bonus tracks, which is where you hear Hitler's insanity speeches. One can understand why this album isn't overly popular. It is simply guitar based jamming, though they do still add a melody in there every once in a while. It's the imagery, sound, amateurism, era, and enthusiasm that makes the album work. It's not necessarily accomplished Krautrock, as noted in my initial review, but rather a unique slice of German rock history. Take it for what it is, not for what it isn't.

According to many sources, this album was not released in 1972, but later in the 70s or even the 80s. I believe that to be true. When I started receiving my first mail order lists in the late 1980s, German Oak was readily available. Always expensive (too much for me at the time), but copies were around back then. That would be typical of a later pressing.

Though the CD label is notorious for pirate editions, this isn't one of them. Band member Manfred Uhr was responsible for its release.

---

Please see Spyros' remarks in the Comment section, which clears up the situation more.

Ownership: 1990 Witch & Warlock (CD). Booklet with some history notes. Numbered edition (mine is #536). Acquired in 1991.

1991; 8//05; 10/27/26 (review)

Previously owned: Nibelungenlied

10/28/26 (new entry)

ORS (Orlando Riva Sound) ~ Germany

Body to Body Boogie (1978)

---10/30/13

Despite what it may appear if reviewing my collection, I'm not one to find the disco genre inherently insipid. Actually, a good disco album requires quite a bit of effort. Today, an album such as this could be made by one person with modern technology. Body to Body Boogie features no less than 17 musicians and singers. Plenty of great keyboards (including two well known underground names* on Moog), a five piece horn section, five vocalists, strings, electric guitar, bass, and drums. So there are plenty of great sounds here created by the Moog, as well as tight horn charts, and intriguing (often wordless) vocals. The problem with disco, of course, is what makes it disco: The limitations of the fat 4/4 dance beat. You take that beat element out of this recording, and you'd have a very interesting French styled avant garde electronique album that was popular in Paris during the late 70s.

* - Krautrock veterans Kristian Schultze (Passport, The Bridge) and Stefan Zauner (Amon Duul II) are listed on Moog (not keyboards, but Moog alone). Perhaps it was a "paycheck" album, but their playing here is of a high quality. Plus they wrote or co-wrote most of the material.

Personally, I also find the album cover highly appealing (Salsoul edition that is). Overall, a keeper I think. You just never know what you might find in a neighbor's collection ;-)

---10/25/26

And that's exactly how I obtained this - a neighbor gave me his record collection. Mostly junk, but this gem was among the better titles. I've already documented Silver Convention and Tender Aggression, two other German disco gems that featured underground Krautrock artists from the early 70s. For me, though, this was first up in the order (at least from a full album perspective). I think Dieter Reith wins the prize, but ORS is damn good fun.

Not quite sure why Discogs separated the German release from the Salsoul version. Best I can tell is that it contains one extra track (and different artwork), not that it's a completely separate recording. 

Ownership: 1979 Salsoul (LP). Acquired in 2013.

10/30/13 (review); 10/25/26 (update / new entry)

Sirius ~ Germany

Running to Paradise (1982)

---2/23/10

Sirius' debut is one of the better Genesis inspired albums out there and compares favorably to other German bands like M.L. Bongers Project, Ivory, or Neuschwanstein. As far as these kind of albums go, Sirius is better than most of their contemporaries. In fact, had they been part of the UK new wave of progressive rock, then I could imagine them having the same kind of success as IQ did.

---10/18/26

That was my CDRWL entry, so time for a relisten and to add to the UMR. What's interesting about Sirius is that their music is very much similar to the upcoming neo prog movement out of England. And yet their instrumentation is analog in the 70s tradition, including organ, flute, and violin. The latter trait recalls Hoelderlin at the time of Clowns and Clouds, which Running to Paradise perhaps resembles the most.

If classic Genesis is your bag, hard to imagine Running to Paradise not satisfying on some level. It's my bag, so yea.

No reissues exist as of 10/18/26.

Ownership: 1982 Brutkasten (LP). Gatefold with lyrics in the interior. Acquired in 2010.

1996; 2008; 2/23/10 (review); 10/18/26 (update)

Three Bushes review here.

10/18/26 (new entry)

Hoelderlin ~ Germany

Hoelderlin (1975)

Hoelderlin's second album came three years later after their debut, and is quite a departure in sound. Opening up with a mellotron drenched prog rock instrumental, it's clear they've moved on from their Krautrock inspired folk sound. While the second track is folk based, it's more Jethro Tull than Emtidi or Broselmaschine. There are elements of Traum on A3 with its dark folky presence, though most of the composition is of a symphonic prog nature. A4 has a Genesis flavor due to the vocals, though it's a relatively straightforward song. This leads to the side long 'Deathwatchbeetle'. If there's any doubt where Hoelderlin's heart is, then this track underscores the point that they are ensconced into the prog world. Genesis remains a strong presence in their style at this stage.

Ownership: 1977 Spiegelei (LP). Acquired in 1993.

1993; 1995; 1998; 7/8/06; 10/3/26 (review)
 

Rare Birds (1977)

Rare Birds follows the unique Genesis meets cosmic / space rock hybrid of Clowns and Clouds, with yet another difficult-to-pin-down progressive rock album. The compositions are increasingly more accessible, with a certain soft lens focus coloring their sound. Viola is clearly their defining instrument at this point. Vocals are airy and melodic. The songwriting is excellent, and given the right commercial backing, Hoelderlin would have been household names. From a prog fans standpoint, the album's highlight is the driving instrumental 'Necronomicon'. This is an album that has grown on me tremendously over the near 30 years I've been acquainted with it. Definitely not an "immediate" release, so something to consider if you're encountering the music for the first time.

Ownership: 1977 Spiegelei (LP). Acquired in 1987.

1987; 7/10/07; 8/14/12; 10/11/15 (review); 2/7/23

Clowns & Clouds (1976)

Clowns and Clouds, Hoelderlin's third album, is a diverse work from this classic 70s German symphonic progressive rock band. No doubt Genesis is a major influence here, especially on the 'Clowns' side (tracks 1 to 3). 'Madhouse' could easily have been lifted from Genesis' Trick of the Tail, but with the addition of viola and squealing sax, which gives it an entirely unique sound. 'Your Eyes' is interesting to me, because it sounds like something you'd hear on a late 70s / early 80s Alan Parsons Project album, though the instrumental sections are much more progressive rock oriented. The 'Clouds' side is considerably more unique and is what makes this album special. Here, Hoelderlin offer up a more laid back and cosmic rock music. Violin, flute, sax, Rhodes, synthesizers, acoustic + electric guitar, and a steady rhythm section make for a serene and beautiful experience. Difficult to find comparisons for this side of their music, but perhaps the instrumental sections of Novalis' second album and Dawn-era Eloy can provide some context. The cover features a nice water painting.

Ownership: 1976 Spiegelei (LP). Acquired in 1993.

1993; 1995; 5/8/12 (review)

Also own: Holderlins Traum; Live Traumstadt

5/8/12 (new entry)

Ash Ra Tempel / Ashra (& related) ~ Germany ~ Berlin

The Making Of (1978) 

The Making Of is the jam sessions leading up to what ultimately was released as Correlations. As was Manuel Gottsching's protocol back then, he recorded everything as they went. And we're now the fortunate receivers of this great gift. These three CDs are exactly as stated: Jam sessions. Not professionally recorded, just simply an old Revox A77 with a single mic in the room. Some of the songs are recognizable from the album, others really are just loose jams.Worth having as bonus tracks for certain.

Ownership: 2008 MG.ART (5xCD). Correlations Complete. Box set with booklet. Acquired in 2026.

9/4/26 (review)

Phantasus (1978)

Phantasus was the original name for what ultimately became Correlations (see below for review of the album). It's also a different recording. Though largely the same compositions, you'll hear a rawer, more intimate sound with various tempo changes from what was issued. And a different track order. Had Phantasus been released instead, I most assuredly would have been just as happy with the finished product upon first hearing it. One could argue that Correlations is better produced and adds more studio effects, but the performance is similar. While not a necessary buy on its own, it's a fantastic bonus disc as presented on this 5xCD set. Apparently some folks aren't taking the time to hear it, as 'Springtime' gets called out as a unique track. No, it was simply renamed as 'Oasis' on Correlations.

Ownership: 2008 MG.ART (5xCD). Correlations Complete. Box set with booklet. Acquired in 2026.

8/27/26 (review)

Schwingungen (1972)

Here is the last of the classic Ash Ra Tempel albums that I hadn't added to UMR prior. 

---2/9/01 

Schwingungen, Ash Ra Tempel's second effort, is a vastly underrated album even by ardent fans of the band. Perhaps it's due to the absence of Klaus Schulze? The controversy here surrounds John L., Ash Ra Tempel's one and only vocalizer (singer just isn't an appropriate term here). He is, to say the least, the Krautrock movement's supreme example of a paranoid schizophrenic. For those who are familiar with the LSD ramblings of Dawn on Brainticket's Cottonwood Hill, then John L. is her male equivalent. 'Darkness: Flowers Must Die' just about says it all. And boy does John L. say it all! While a steady rhythm section chugs along (not near the intensity Schulze brought on the debut however) - there are sax bursts, fuzz guitar flashes, tribal drums, and other phased sounds and noises creating a very edgy atmosphere. Through the chaos, John L. is screaming and anguishing (through electronic effects) about the decay of cities and the Earth. Flowers must die, flowers must die", "Die, die, die, die ,die..." and all hell breaks loose. Here, Manuel Göttsching pulls off the most angry and concise guitar solo of his career, and at the end, if the listener is not left in a heap in the middle of the floor - well, they're just not getting involved! In keeping with Ash Ra Tempel's wild side/mellow side theme introduced on the first album, the flip 19 minute composition is an exercise in choral, tranquil electronic beauty - recalling Pink Floyd's Saucerful Of Secrets at their most cosmic and trippy. An album that should leave one emotionally exhausted if paying careful attention.

---12/31/23

All these years later, and I still get a charge out of this album. The album itself perfectly represents a time and place (early 70s Germany). And my personal history created another time and place experience with the album (this would be the later 1980s for me). Timeless.

Ownership: 

1972 Ohr (LP). Gatefold. Acquired in 1988. 

2004 Arcangelo (CD). Papersleeve edition as part of the Ash Ra Tempel promo box set. Acquired in 2004.

1//88; 1992; 2/9/01 (review); 2004; 12/31/23 (update)

Join Inn (1973)

---8/21/99

On Ash Ra Tempel's third album Join Inn we're introduced to Manuel Göttsching's longtime lovely girlfriend Rosi Mueller (who previously only had cameos on Schwingungen and Seven Up). And we get to hear the pleasure of Klaus Schulze back in the drumkit saddle. On this album he provides less drums and more keyboards than on the debut. 'Freak N' Roll' opens the album in typical heavy fashion. Schulze's trademark machine gun drumming technique comes to the fore very early this time - and one would almost expect them to outdo the phenomenal 'Amboss' from the first album. But they climaxed a bit too early and had to settle for Göttsching's unique guitar rambling combined with the Enke/Schulze energetic rhythm section to make it until the finish. 'Jenseits', however, is Ash Ra Tempel's crowning spatial moment. Here, Schulze shows his brilliance with electronics, laying down a tranced out locust-at-night sound while Hartmut Enke defines what a bass guitar can do for space music. Göttsching's guitar just shimmers and flows. But the highlight on this song for me is Rosi's seductive yet fragile and innocent voice whispering on top. I have absolutely no idea what she's going on about, which adds to the exoticism and mystery for non-German speakers.

---11/30/23

Like with Sandrose and East of Eden's Mercator Projected, I'm not sure I'm going to get more peak moments out of Join Inn. Even though it's been 12 years since my last listen, it's as if I knew every note when hearing it last night. I've played this album a ton over the years. That being said, it also maintains its 5 star rating. One of my all-time favorites.

Ownership: 

1973 Ohr (LP). Acquired in 1999.

1973 PDU (LP). This version has Klaus Schulze's name in the marquee. Acquired in 1987.

2010 Belle Antique / MG.ART (CD). Papersleeve. Acquired in 2011.

1987; 8/21/99 (review); 2/2/01; 12/9/11; 11/30/23 (update)

Belle Alliance / Belle Alliance Plus (1980)

Belle Alliance is the second and final album by the trio of Gottsching, Ulbrich, and Grosskopf. There are many similarities to their previous effort Correlations, though there are some exceptions to be noted. 'Screamer' is very much rooted in the New Wave 80s sound, but with some fine psychedelic guitar soloing providing a great contrast of styles. 'Boomerang' tries for a reggae sound, with mixed results, but once again the guitar saves the day. 'Aerogen' gives one an idea of what happens when sequencer based electronic meets a power trio. 'Sausalito' could also be considered an instrumental progressive rock track, similar to maybe fellow countrymen Rousseau. 'Code Blue' goes deep into electronic space, not that dissimilar to Klaus Schulze's late 70s works. 'Mistral' takes us back to the glorious spacey electronics + guitar of the Blackouts album, and is just gorgeous. Overall an excellent, and diverse, album from veterans who were still exploring music in an exciting way. Unfortunately this album concluded the Virgin era for Ashra, as well as the trio itself.

Reviewing the second half separately, since it includes an extra disc of entirely new material. This would be the "Plus" part. There are only three tracks here, of which two make up the majority. 'Flying Turtles' is 11:25, whereas Voices of Heddernheim comes in at a whopping 24:21 ('Urscreamer' is 2:38 for reference). So basically what we have here is the jamming sessions that made up Belle Alliance - though it must be said both of these tracks are entirely unique. With a certain amount of editing, these two would have made a splendid addition to the original LP. Perhaps to be expected, the guitar is more psychedelic here, recalling Gottsching's and Ulbrich's Krautrock past. Personally speaking, I wouldn't want to own this album on CD without this extra disc, which was first introduced on Gottsching's own label in 2008.

Ownership: 

1980 Virgin (LP). Acquired in 1986.

2008 Arcangelo (2xCD). Gatefold papersleeve. Released as Belle Alliance Plus. Extra full album is included. Inside the gatefold are photos of all three in the studio while recording. Acquired in 2018.

1986; 1996; 6/3/18 (review)

John L. and Adamah - Lonesome in Overdrive (1996)

---Dec 2004

A magnificent album that hardly anyone knows about, and it features an original iconic Krautrock freak!

About a couple of times a year, something will arrive that re-lights my collecting fire. Not long ago, it was Del Jones Positive Vibes. Prior to that it had been Berits Halsband that reawakened me. If you saw this CD in the store, you’d pass right over it. The artwork and lettering look like a new age album on the Narada label. It’s dedicated to Greenpeace and half the songs are about whales. It’s subtitled Malinuuga Music, which according to the liner notes is the indigenous rhythm of Europe, unrelated to African and Native American percussion. Yea, well whoopdee doo.

Well boys and girls, the reality is this: Had I sent you a tape and stated "Adamah: Unreleased Ohr album from 1972", you would have had ZERO problem believing me. This is the most authentic slice of Krautrock I’ve heard post 1980. In spirit, sound and intensity. Adamah is not some new age wuss who misses his mommy, but rather a nine piece group that features all sorts of analog synthesizers, flute, clarinet, violin, steel guitar, electric guitar, sitar, various homemade stringed instruments, female vocals and no less than 3 full time percussionists. The production sounds as if Dieter Dirks did a number on it, with loads of phasing and other studio trickery. There is wah-wah, fuzz and all sorts of wild moments found throughout. There’s even the female narration in German ala Ash Ra Tempel's Join Inn. And there’s not even a HINT this is done for a retro market or that it’s the 1990s. This is truly organic, time has completely stood still. And if you are paying close attention, yes, this is THE John L. of Ash Ra Tempel's Schwingungen fame! Here he’s dressed in full-blown traditional Jewish attire, complete with flat brimmed hat, long beard and side curls. And he’s holding one of those aforementioned homemade electric stringed instruments with the Star of David on it. And he sounds pretty much the same as he did on the ART album, with chanting, yelling, semi-singing. Most of the album is instrumental, so his vocals are once again a curious, but fascinating, addition. With a 24 year separation between albums, and both masterpieces, John L. has proven he's one of the true creative freaks of our era.

Ownership: 1996 Green Tree (CD)

12//04 (review); 9/19/17 (update)

Hoenig / Gottsching - Early Water (1976)

Early Water sounds exactly what you expect from Michael Hoenig and Manuel Gottsching circa 1976. Somewhat like New Age of Earth meets Departure From the Northern Wasteland, with sequencers raging and Gottsching letting loose on the electric guitar - more so than he did on New Age of Earth. Apparently this recording was made in the studio just before the duo were to embark on a tour of France, which was cancelled at the last minute. Fortunately Gottsching kept the tapes and sent to Hoenig (nearly 20 years later) who was then residing in Los Angeles as a studio producer. So the whole thing sounds magnificent. If all this resonates with you, this CD is a must own. Otherwise, maybe not the best place to start with either artist, as a 48 minute continuous track may be a bit much to open with.

Ownership: 1997 Spalax (CD). Digipak. Acquired in 1997.

9/23/97; 12/22/15 (review)

 

Starring Rosi (1973)

---2/9/01

Starring Rosi is Ash Ra Tempel's 5th album, and a departure from the intensity of the previous three studio albums, as well as the drugged out live Seven Up outing. Gottsching recruited Dieter Dierks (Scorpions, a million others) not only for his usual superb production ability, but also for bass guitar duty. As well, Kosmische Kourier / Wallenstein standby drummer Harald Grosskopf makes his presence felt (and would later join Manuel in his Ashra trio format of the late 70s and early 80s). As stated in the premise, the album's contents are completely different from the emotional workouts of their previous studio offerings. The mood is light and carefree. And it appears as if Manuel and Rosi are just having a fun date here (she does glow radiantly on the album cover, one must admit). The guitar style shown on the latter half of Join Inn's 'Freak N' Roll' makes its presence on 'Interplay of Forces' and 'Laughter Loving'. 'Schizo' recalls the intensity of the earlier albums, but is sadly all too short. Through it all we have Rosi's lovely spoken voice (in English verse the German of Join Inn) and a bit of ill-advised singing from Manuel (something he fortunately gave up quickly). Overall a very pleasant and unique album. If the proper expectations are set, you will likely be rewarded here.

Ownership: 

1973 Kosmische Musik (LP). Acquired in 2000.

2010 Belle Antique (CD). Papersleeve. Acquired in 2011.

First copy: 1983 Pop Import (LP). Acquired in 1985.

1985; 2/9/01 (review); 12/29/11; 3/8/15 (update)

Seven Up (1973)

---2/9/01

During this period, Ash Ra Tempel were contributors to a kind of cosmic circus, touring around with others of a similar mindset concerning philosophical thought, lifestyles, and music. Seven Up, is the recorded document of this time while in Switzerland. The fame the album has achieved is due in part to two elements: (1) The involvement of drug culture icon Timothy Leary, and (2) the dropping of acid into the band members' 7-Up. While that might sound radical up front, Seven Up is quite tame compared to the first two masterpieces. The first side long montage is a medley of electronics and drugged reworks of pop hits from the 50's and 60's. Unique? Yes. Satisfying? Perhaps not. Side two is a rework of the spacey 'Suche and Liebe' from Schwingungen. This version, called 'Time' and which contains a slightly different opening, is quite good - but not overly moving - and you get the impression the band's ready for bed after partaking in too much alternative nutrition. A much better version of Seven Up can be found in the outtakes and studio reworks found on Gilles Zeitschiff's Sternenmadchen album.

Ownership:

1973 Kosmische Musik (LP). Gatefold. Comes with a small detailed insert. Die Kosmischen Kuriere was the original name for what became known as Kosmische Musik - and this is the debut album for the imprint. Acquired in 1997.

2010 Belle Antique / MG.ART (CD). Papersleeve gatefold. Acquired in 2011.

First copy: 1983 Pop Import (LP). They used the alternate cover as found on the Italian PDU release. Acquired in 1985.

1985; 1995; 1997; 2/9/01 (review); 12/17/11; 3/7/15 (update)

Correlations (1979)

In 1979, Manuel Göttsching once again changed directions for his alter ego Ashra project. Reuniting with former colleagues Lutz Ulbricht (guitar and synthesizers), and Harald Grosskopf (drums and synthesizers), Ashra presented their unique variation of the power trio. Correlations was the first of two releases by the lineup. Once again the mood is light, with bouncy almost funky / disco styled rhythms, heavy use of sequencers, and of course, Manuel's spirited but rambling guitar. And yes it does get psychedelic at times. No doubt Ashra caught the breezy tropical fusion bug that had invaded Germany at this time. One of optimism and good times, if not a bit misguided. An album that has aged incredibly well for me, though I had reservations initially when I first bought the LP. 

Ownership: 

1979 Virgin UK (LP). Acquired in 1985.

2008 MG.ART (5xCD). Correlations Complete. Box set with booklet. Includes four other discs taken from the same sessions. Acquired in 2026.

1985; 1996; 1//04; 2010; 2/7/15 (review); 5/23/18; 8/18/26

Blackouts (1978)

---2/9/01

On Blackouts, Manuel Gottsching returned to the guitar once more to release his masterwork of the Virgin era. His blend of soulful electric guitar with whooshing synthesizers and sequencers has never been matched to this day. The set of tracks 'Midnight on Mars', 'Don't Trust the Kids', and 'Blackouts' is simply astounding, and Manuel's guitar playing here is hotter than anywhere since the early Ash Ra Tempel days. The title track is absolutely on fire by the end of the piece. 'Shuttle Cock' possesses the sound on sound guitar of Inventions For Electric Guitar.

---1/22/15

The original LP states that Gottsching plays "Sequencer, Keyboards, and a lot of guitar" and he thanks Udo Arndt for the "lonely guitar sound". As well as "This record should be heard comfortably". I cannot for the life of me understand the criticism this album gets. I've had this on LP for over 30 years, and there is an amazing vibe here that I never tire of. I've spent many hours closing my eyes and listening intently to it visualizing the imaginary movie it projects. A brilliant masterwork for my tastes.

Ownership: 

1978 Virgin Netherlands (LP). Single sleeve. Acquired in 1985. 

2008 Arcangelo (CD). Papersleeve. Has Manuel Gottsching's name on it instead of Ashra. Acquired in 2018.

1985; 2/9/01 (Gnosis); 1/22/15 (update); 6/17/18

The Private Tapes Vol. 3 (1971-1974 / 1996)

---7/28/96

There are three Gottsching solo guitar tracks from 1973. These were all in preparation for the Starring Rosi album and predate the concept he'd use eventually on Inventions for Electric Guitar.

There's one lengthy 27 minute track from 1974 with Lutz Ulbrich from Agitation Free and later a member of the Ashra trio with drummer Harald Grosskopf. It's a long spacey track focused on keyboards, but with some fine guitar work as well. Relates closest to Le Berceau Du Cristal, another archival release from Manuel Gottsching.

The final track is a 32 minute freakout jam from 1971 along the lines of the debut album ('Le Bruit des Origines').

---3/1/10

This is one of the legendary six volumes that Manikin unleashed on the public in 1996. They came out in the late spring while I was backpacking through Spain in 1996. When I arrived home, I was told about it. The retail price was $100, and I was a bit short on cash from my trip. I went ahead and got them anyway, at the encouragement of some friends, who all knew I was a big fan of the band. Thank goodness, as this set is known to go for ten times the price I paid. Manikin reissued a 2xCD compilation, but for some reason these 6 CDs remain without another reissue.

Ownership: 1996 Manikin (CD). Acquired in 1996.

7/28/96 (review); 3/1/10 (update)

 

Le Berceau de Cristal (1975 / 1994)

1975's Le Berceau de Cristal (not released until 1994) is a soundtrack to a French film, which displays the logical development between the Ash Ra Tempel and Ashra albums. Manuel Gottsching lined up with friend, and former Agitation Free guitarist, Lutz Ulbricht to continue his exploration of cyclical guitar sounds and electronics. It's truly a successor to Inventions for Electric Guitar, with sound on sound electric guitar at its core. This coupled with some sequencers, Farfisa, and other synthesizers added on top. Wonderful late night listening that has that cosmic Berlin School sound.

Ownership: 1994 Spalax (CD). Brief liner notes in French with a vintage photo. Acquired in 1996.

1996; 1/16/10 (review); 12/30/21

Inventions For Electric Guitar (1974)

---2/9/01

Here's where Manuel Göttsching began his solo career, though he maintained the Ash Ra Tempel moniker for one more album. Inventions for Electric Guitar was a revolutionary album for the day and is still forward-looking over 35 years later. Creating a sound-on-sound electronic vibe using only guitars and tape loops, Manuel weaves a wonderful tapestry of music that is at once intense and yet beautiful. He adds color with vicious solos while the guitar loops are bouncing in the background. Yet another brilliant work - and something entirely different for his past works.

---1/10/10

It's been said this is the first electronic album performed entirely on electric guitar. And while Achim Reichel employed a similar tactic, his albums were group efforts. Gunther Schickert, another follower of this technique, also first released his landmark Samtvogel in 1974.

Ownership:

1974 Kosmische Musik (LP). Acquired in 2020. 

CD: 2004 Arcangelo (Japan). Papersleeve edition as part of a box set that includes Ash Ra Tempel's first 2 albums.

First copy: 1983 Pop Import (LP). Acquired in 1985.

1985; 1995; 2/9/01 (review); 4//05; 1/10/10 (update)

Ash Ra Tempel (1971)

---2/9/01

Germany. 1971. Underground. Those three terms evoke images of the Berlin Wall, intensity, angst, freedom.

Very rarely is a moment so well captured just through music. Yet this is just what happened on Ash Ra Tempel's self-titled debut. The opening piece 'Amboss' (Anvil), is one for the ages. Starting with dark sounds that seem like shadows, created only with primitive electronics and guitar, the piece seems on the verge of falling into a black abyss to never return. Slowly the tension builds to a deafening crescendo, and without warning, Klaus Schulze begins his definitive piledriver drumming pattern. What could be possibly more intense and more chaotic? The listener is pounded into submission. Only to be equally mutilated by Göttsching's furious jamming, certainly the most intense, psychedelic, heavy guitar ever recorded. After a few minutes of this sort of violent cosmic blues jamming, there is a sequence of free-jazz drumming and electric guitar polka-dots that just burst into another firestorm, and along comes Schulze even more furious than before with Göttsching and Enke trying to subdue the entire German nation with their blistering guitar work. The Berlin Wall must fall! It doesn't - but certainly the musicians must have. One gets exhausted just listening to it! This 19 minute opus is followed by the exquisite 25 minute 'Traummaschine' (Dream Machine). Again, the mood is somber but slowly the sound gets louder. The band manages to achieve an electronic cadence while the guitars and electronics swirl. Hand percussion enters in and Göttsching turns up the fuzz for another biting solo. There is a period of rest and again the rollercoaster begins for yet one more jam. To this day, there has never been an album of music that sustained this kind of intensity for 40 minutes. How they were able to so without a moment of wasted time is a testament to the brilliance of one of the greatest albums of all time.

---1/9/10

This album had been my Holy Grail for about three to four years. I first discovered Ashra / Ash Ra Tempel back in 1985 from a store called The Record Gallery in Dallas when I was midway through college. The odd thing about Ash Ra Tempel, is that all of their albums starting with Seven Up were reissued by Pop Import in the early 1980s. Those are the copies this store had. In Dallas, in 1985, I can assure you no one else did, not even Metamorphosis by then (locals will know what I mean). So with that, finding the first three albums became my determined quest. I found the PDU copy of Join Inn in 1987 as I was wrapping up my degree. And scored Schwingungen in early 1988. And finally, after years of searching, I scored the PDU version of the debut in late 1988. From the late great Jeff Baker. It was $55. Where the hell did I get $55 for a record? I have no idea. But I did and never regretted a second of it. My first listen was an unforgettable experience. Right around Christmas in fact.

Ownership: 

1972 Ohr (LP). 56 label / 556 cover. Comes in an extraordinary fold-out-of-the-middle gimmix cover. Acquired in 2004.

2004 Arcangelo (CD). Papersleeve that replicates the original gimmix cover.. Comes in a box set, that -opens up to three mini-LPs, which also includes Schwingungen and Inventions for Electric Guitar. Acquired in 2004.

First copy: 1976 PDU (LP). Acquired in 1988.

1988; 2/9/01 (review); 1/9/10 (update)

Other albums I own: New Age of Earth; Friendship; The Private Tapes Vol. 1-2, 4-6

Albums previously owned: Walkin' The Desert

1/9/10 (new entry)

Carol Of Harvest ~ Germany

---8/21/01

Carol of Harvest are one of the legends of the progressive rock collecting world. Released on the ultra-private Brutkasten label, Carol of Harvest were destined to be a big collectors item. Frequently praised as the “best prog folk group ever”, the foundation was laid for dealers to fetch four-figure sums. “Acid guitar, long tracks and gorgeous female vocals”. All things considered, Carol of Harvest are a competent late 1970’s German progressive rock band with a slight folk edge. I hear similarities to fellow-countrymen like Rebekka and Werwolf, both considerably less expensive in the day before the CD reissue. Basically, Carol of Harvest blend female vocal-led folk melodies with drawn out prog rock arrangements featuring Moog synthesizer and some complex meters. Throw in some loud acid guitar solos and you have the makings for a super-imaginative record dealer to hype this puppy through the roof. This is no lemon mind you. Plenty of good ideas and original playing to entice the most cynical prog rock fan.

---8/22/26

Ha - look at that, I'm hearing this album again almost 25 years to the day of that review. Totally random. There was another listen mixed in there, as noted on the bottom line. You can sense from my original review a bit of the cynicism of my view of the record collecting world at that time. To correct one thing I said above, Brutkasten wasn't really a label, but one of those DIY imprints like Century, Rite, FLVM, and others. Essentially a private release from a known pressing plant. I'm also dialing back the prog rock tag towards folk rock.

For the music itself, one can appreciate the enthusiasm it garnered back in the day, as the music fit the UK psychedelic folk rock genre like a glove. And the additional synthesizers only add to the allure. For whatever reason that particular strain of folk was extremely popular with record collectors back then. In particular Trees was a leading light. And Carol of Harvest "avoids" the Krautrock sounds of the Pilz era bands like Emtidi and Broselmaschine. The music is very much what one would expect to hear in England from 1972. So the original date puts it out of time and place, yet another bit of excitement for collectors.

For my tastes, it's a rather basic folk rock album with shrill female vocals, excellent psychedelic guitars, and fine synthesizers. Brass tacks I realize, but I never derived much out of the album. I could probably "force" myself to love it, but I could do that with many albums if I tried hard enough. If your tastes run towards folk rock, I would highly suggest you consider hearing this album. It is a cut above the norm.

As for its rarity, it's truly scarce. Discogs alleges that 69 people own it. That's nonsense. Most of those are the 1994 reissue for certain. Even the copies that sold were either that reissue, or missing the record altogether. The guy who has the $11,000 copy, while high, isn't crazy. So yes, buy the reissue. I'll probably let this go, but I just realized I never added to UMR, so here it is.

Ownership: 2001 Second Battle (CD). Digipak. Booklet with lyrics and photos. Acquired in 2001.

First copy: 1994 Brutkasten (LP). Acquired in 1994.

1994; 8/21/01 (review); 5/23/18; 8/22/26 (update / new entry)

Tonic ~ Germany

This Way (1980)

---Dec 2004

For the late date, this has a remarkably sophisticated sound – similar more to the classic early 1970s Italian prog scene, than anything typically associated with German rock. Complete with choir mellotron, organ, bells, speedy guitar solos, flute, sax and complex meters. When the vocals kick in, I'm reminded of Grobschnitt's Rockpommel's Land era. 

---6/11/26

Since that first review, taken from a cassette dub sent to me in the 90s, I'd acquired the LP and squeezed in a couple of listens. A mainstay of the CDRWL (reissued only a couple of years ago), it now makes its debut on UMR. 

A2 has a few incongruous Italian styled breaks, with ripping guitar, which comes as a surprise to the listener, as the lengthy A1 is mostly subdued melodic prog with sax. Same with the second half of A2. 

B1 and B2 have been mislabeled for years apparently, as no one took the time to look at the record (or listen to the music). The flute solo is clearly on the opening of the flip, and is noted as such on the label itself. The back cover has it listed incorrectly. No idea if the reissues fixed the placement of tracks. To add, B1 is a great jazz fusion number with plenty of twists and turns. B2 has acoustic guitars and Mini-Moog in the spirit of classic Yes. Lots of sophisticated rhythms here. And yea, the vocals have more in common with Grobschnitt than Jon Anderson.

The title track seemingly gets us back to the laid back opener. But then the mellotron and woody bass enters, while the rhythms go oft kilter. The closer is more Genesis than Yes, with melancholic acoustic guitars and a heavy dose of mellotron. Features a fine guitar solo, though he's more in line with a hard rocker than Steve Hackett.

Overall a fine progressive rock album, not at the highest level, but certainly a solid effort worthy of your time.

Ownership: 1980 Peak (LP). B1 and B2 are reversed on the back cover. Acquired in 2015.

1997; 12//04; 2008; 3/1/15; 6/11/26 (update / new entry)

Klaus Schulze (& related) (1980s and beyond) ~ Germany

Dreams (1986)

Though I was very much tempted to keep on buying new Klaus Schulze product, I did stop after Inter*Face in 1985. I felt I owned enough already and was exploring many other albums and styles in my later years of college. Dreams would have come along in that final year before I was unleashed into the workforce, and newly armed with paychecks to spend. But I was done accumulating Schulze albums then as well.

It's only in the last ten years that I picked up Dreams to see what I missed. On my initial listen, I enjoyed it enough to keep, but didn't get any words down. So let's do that now on my second go round.

As Schulze admits in the liner notes, this album is very much an orchestral effort. Much of his work during this era is as much classical as it is electronic, though the latter most certainly represents the instrumentation. He was also conscientious about listing all his gear around this time, stating it distracted from he wanted to accomplish with his "electronic orchestra". Much of the music here sounds very familiar. Too much so honestly. The title track, though, was a refreshing ambient break. The final lengthy piece does feature vocals, usually not a positive for electronic albums, and this is no exception.

Now the bonus track is worth noting. It was originally a promotional only CD single (released in a quantity of 300) to advertise the Andromeda analog synthesizer in 2003. It was, and still is, an incredibly rare piece changing hands for hundreds of dollars. That won't likely change, but not only do you get the full "song" (as Schulze calls it), but apparently the full version was 40 minutes long. So he added a few minutes for the bonus to fill up the CD. Though the synthesizer is unique, his demonstration of its abilities sounds similar to many other synthesizers he has in his possession. All the same, it's the highlight of the disc. Enough so for me to keep. To my ears, the Andromeda doesn't really sound all that analog. In reading about it, apparently it is state of the art and is now highly sought after. Today it goes for a small fortune.

Ownership: 2005 Revisited (CD). Tri-fold digipak. Booklet with a bio of Schulze and an article about Dreams. Also includes the bonus track as noted above. Acquired in 2016.

1/31/16; 5/20/26 (review)
 

Michael Shrieve with Kevin Shrieve and Klaus Schulze - Transfer Station Blue (1984)

---10/2004

‘Communique Approach Spiral’ is out-of-the-box early 80’s Schulze with all sorts of overlaid live percussion, with actual human hands, by Shrieve. Of course, this latter element gives it the life it craves for so desperately on those tired Schulze albums of the era. ‘Nucleotide’ is a five minute experimental ambience and electronic percussion work. The title track is similar to the opener, but a little faster, creating the image of a modern world caught up in fast transportation – perfect for the IMAX theater. Though they throw in a curveball smack dab in the middle of the song - an 80’s style funk groove ala Level 42 (it repeats near the end of the song as well). It’s hilarious in its incongruity. It’s the closer that separated this from the masses. ‘View From the Window’ is an aptly named piece, beautiful in its execution of electronics and rhythmic, yet melodic, cyclical guitar. A great way to end an album. I find it funny the back cover uses the 1977 stock photo of Schulze.

---4/11/25

Technically this is a Michael Shrieve album but it has Schulze's fingerprints all over it. Certainly Michael Shrieve has influence here, and it's a percussive driven album after all. But then again, Schulze was a pioneer in using drums and later drum machines in electronic music. The layered sequencers are all vintage Schulze. The title track illustrates this with Shrieve adding all sorts of acoustic percussion on top of the synths. And I like the Alan Parsons Project-styled funky guitar bit. Brother Kevin plays the guitar and electric piano, though his contributions are more subdued. However his most notable presence is the closer 'View From the Window', a beautiful pensive number that does make one want to look out the window on a bleak rainy day and reflect on one's life. I bought this album when it came out, having been a Schulze fan for about a full year. Has the optimistic feel of the early to middle 80s, when technology seemed like an endless dream. A dream that personified over the course of the decade.

I had forgotten about my 2004 review until I finished today's listen, so you can see I have some differing viewpoints from 20 years ago.

Ownership: 1984 Fortuna (LP). With insert. Reacquired in 2024. First purchased in 1984.

1984; 10//04 (review); 4/11/25 (review)

Audentity (1983)

Had some trade credit at a local store to use, and this one came in, so thought I'd check it out again. I say again, as I'm pretty sure I had this exact version in the middle 80s. It's only half the album, as the German pressing is a double. Musically it's precisely what Schulze was up to in 1983, and I was reminded of his live Polish recordings from the same year. His running buddies at the time were all involved: Rainier Bloss, Michael Shrieve, and Wolfgang Tiepold (cello). Nothing groundbreaking here but a great reminder of an optimistic time.

Ownership: 1983 Illuminated (LP). Reacquired in 2023. First purchased in 1985. 

1985; 10/24/23 (review)

Beyond Recall (1991) 

Klaus tells us this is his 23rd solo album. That would be not counting archival releases, otherwise it would be his 2,300th album. There's really nothing at all wrong with these past-his-prime Schulze releases, but they aren't particularly enlightening either. 77 minutes of Schulze at this stage is purely background music. There's a lot of what sounds like acoustic guitar here, but it's just more synths. I don't have any nostalgia towards this title, as it came along way past my initial discovery and enamoration (not a word, but it should be!) for the artist. My electronic collection grew out of control about 17 years ago, and it's time to trim some of that tree. And this is a low hanging branch.

Former ownership: 1991 Venture (CD). Acquired in 2011. Downsized in 2022.

3/31/11; 3/20/18; 3/18/22 (review)

Inter*Face (1985)

I bought this album right after it came out, while still in college. Ten years after that, needing shelf space, I sold it in one of my LP catalogs. And now 20 years later, I have the original CD in my possession for the first time. 

Anyway, the reason I sold the album is I had a boat load of Schulze already (if I only knew then how much he was about to release...), and this one seemed superfluous at the time. Perhaps it still is, I dunno. Sure, there's a bit of Klaus-on-auto-pilot going on here, and the tracks linger for longer than they need to, but doggone if this doesn't set the right mood. And the epic long track recalls Schulze's 70s sequencer works, more so than the proto-chill-out of the first side. Plenty of great (real) percussion adds to the vibe.

Ownership: 1985 Brain (CD). Acquired in 2016.

First copy: 1985 Brain (LP). Acquired in 1985.

1985; 12/4/16 (review); 9/21/26

Albums from this period that I own: Dig It; Dziekuje Poland; In Blue

Previously owned: Drive Inn; Aphrica; Moonlake; The Dome Event

Plus dozens of others will likely flow through here eventually.

12/4/16 (new entry)

Guru Guru (& related) ~ Germany

Guru Guru (1973)

---June 2005

How do you describe this, Guru Guru's 4th album? When I first purchased the LP some 17 years ago, I was very disappointed. Side 1 of the album is pretty much drugged workouts of 50's medleys. Must've been the thing to do in Germany in those days, as Ash Ra Tempel also experimented with this bad idea on Seven Up. But Side 2 more than makes up for it, with two stoned journeys along the lines of Kanguru and Hinten. Some of the fuzz tones Genrich gets are incredible. This closed the chapter on the cosmic acid psych era for Guru Guru, and the reason the band is so highly revered today. 

---5/20/26

And that was my last listen. To be fair, in retrospect, I'm sure these underground Krautrock bands wanted to pay respect to the artists that they themselves enjoyed during their youth. I'm just not sure anyone else was all that interested. Guru Guru covering Eddie Cochran is not a promising proposition. And it certainly hasn't aged well.

As for Side 2, I'm going to dial down my enthusiasm a tad. They're both of the trippy spaced out variety. With some jazz influence and a bit of songcraft. Each of these tracks end with some great guitar from Genrich, leaving a stronger impression than maybe is due. His tone is not that dissimilar from Black Sabbath on 'The Story Of Life' towards the end of the song.

Overall I'm not convinced this is an indispensible album, though it's likely to stick around in the short term.

Ownership: 1973 Brain (LP). Gatefold. Green label with Metronome. Reacquired in 2000. First purchased in 1988.

1988; 1995; 2000; 6//05 (review); 5/20/26 (update)

 

Kanguru (1972)

---June 2005

Closest early era Guru Guru got to mixing song craft with their unique blitzed out acid psych sound. Comes off like a twisted 8th dimension Jimi Hendrix. Pretty hard not to call this a classic, though it would be just as easy to see how this could turn people off.

---12/22/25

For whatever reason, I'm not really all that familiar with Kanguru, Guru Guru's third effort, despite owning the LP for well over 30 years. I had dumped my Brain CD not too long ago, and later thought this title warranted owning in both formats. So this listen was appointed to the top because of the reacquisition of the latest CD, as the LP hasn't been chosen randomly in 20 years. I didn't realize I had any notes until a search came up with the above. Let's see how it goes this time.

For some reason I remember the opening to 'Immer Lustig', not so much the rest. The translated title certainly reflects Mani Neumeier's silliness on the back cover. I'm just as unfamiliar with the predecessor Hinten, and I feel like knowing that album better would help me frame my narrative for Kanguru. And the transition from UFO to here. Kanguru is without a doubt still off the rails in high intensity heavy cosmic acid psych. Which was becoming unusual at that time. Even Amon Duul II had settled by 1972, though groups like Ash Ra Tempel were still climbing that mountain. Having said that, there is a distinct move towards composition here, as loose as they may be. As the music goes off into space and grinds its way through various jams, suddenly a cohesive new rhythm would appear complete with an unheard melody. There's no indication when this may happen, it's completely random. This isn't progressive rock in the slightest, but it does have some similarities in the unpredictability. When reading my short notes from 20 years ago, I managed to distill fairly well what's happening here. I would think Kanguru would be an easier introduction to Guru Guru than UFO, unless you are already predisposed to the insane German psych underground like I was (and documented below).

Ownership: 

1972 Brain (LP). Gatefold. Green Brain Metronome. Acquired in 1992.

2025 Made in Germany (CD). Digisleeve. Booklet with historical liner notes (same notes as the 2009 Revisited reissue). Acquired in 2025.

1992; 1996; 6//05 (notes); 12/22/25 (review)

Dance of the Flames (1974)

This is the odd album out in the Guru Guru canon. Former Eiliff guitarist Houshang Nejadepour took over the reins from Ax Genrich, and it's obvious he took over the musical direction of Guru Guru at this point too. And they needed it, after releasing the halfway stupid (and halfway great) self-titled 4th, and the ridiculous Don't Call Us We Call You albums. Heavily influenced by the McLaughlin / Santana opus Love Devotion and Surrender, Nejadepour gives us an intense guitar centric blast of emotional instrumental rock. Neumeier gets a rare chance to shows his formative jazz percussion chops while special mention should go to jazz bassist Hans Hartmann (AR & Machines, ID Company) who turns in a monster performance. Still, you can just hear Mani in the studio "oh please, please, let me do one goofy thing, pleeeassssssse." And so he gets his fun on the first track with a Donald Duck impersonation and bad vocals throughout (though the music is excellent). "Very nice Mani... now go back to your drum kit and shut up". 'The Girl From Hirschhorn' is a truly remarkable track, an extremely intense emotional and melodic workout, and the song that states this album was going to be a great departure from whatever came before it. 'The Day of Timestop', and 'God's Endless Love for Men' could have been lifted from Mahavishnu Orchestra's "The Inner Mounting Flame" sessions. 'Rallulli' sounds more like acoustic Embryo than Guru Guru.

After one album of spiritual enlightenment, Mani obviously wanted no part of that, and the group went back to being the goofball vehicle it had become, and never again was Guru Guru to release anything of that much interest IMO. Houshang was gone. Neumeier himself, however, did immerse in interesting projects, even today with the UFO styled Neumeier – Genrich - Schmidt and Gurumaniax projects. But Guru Guru as a band never again reached the heights of Dance of the Flames. Whatever happened to Nejadepour? What a talent!

Ownership:

1974 Atlantic Germany (LP). Reacquired in 2013. First purchased in 1989.

2006 Revisited / SPV (CD). Tri-fold digi-pak. The liner notes include a full history of Guru Guru and a separate one for the album itself. Nice photos and an excellent 7+ minute live track round it out. It does sound to my ears that this was mastered from vinyl however. Acquired in 2006.

1989; 1997; 9//06 (review); 8/6/15 (update)

 

Gurumaniax - Psy Valley Hill (2010)

Presumably, the members of Gurumaniax need no introduction, nor does its core group Guru Guru, so off to my notes we go.

Almost everyone I know that is aged 70 tends to be a doddering Grandfather, or someone who fiddles in the yard / garden to pass the day. Some are more active of course - maybe they travel extensively, run a restaurant, or they still immerse themselves in day-to-day corporate business. But absolutely no one I know at age 70 has recorded a KRAUTROCK ACID FREAKOUT album, as has Mr. Neumeier, who was already 30 when the monumental UFO was released in 1970. Joining Mani is the youngster guitarist Ax Genrich who was only 25 when UFO was launched. And Belgian bassist Guy Segers (Univers Zero) fills in ably for Uli Trepte (RIP) - himself no spring chicken. The music squarely fits into the exploratory Ohr years of Guru Guru, with heavy psychedelic jams offset by spacey parts. What an inspiration to see these guys still possess the spirit of their youth. I just hope I still have the excitement of listening to this stuff at 70! Gurumaniax's music make kids in their 20s put on the oxygen masks. I love it.

Ownership: 2010 Bureau B (CD). Acquired in 2013.

4/10/13 (review)

 

UFO (1970)

I knew it was the best album in the stack. It was only a matter of time to when I could get home and hear it. Home to the United States that is. It was London, May of 1987, and I had picked up a pile of records from the Virgin Megastore, plus many others from our swing through Continental Europe. But I knew UFO was going to be the big winner. It was the Pop Import release of course, but even those were extinct in the record stores back home in Dallas. The day-glo gatefold cover of an orange flying saucer against the textured yellow background. The Ohr/ear symbol at the top (perfectly simulated with the new Captain Trip Japanese mini-LP release - right down the exact slickness of the cover). The giant ear on Uli Trepte's profile. Even the birthdates were telling. 1940, 1941 and 1945. To say, at the time of recording, roughly 25, 29 and 30 years old - pointing to the value of experience over youthful naivete. The track names 'Stone In', 'Girl Call', 'Next Time See You at the Dalai Lhama', 'UFO', and 'Der LSD-Marsch'. The liner notes in English: Soon the UFOs will land and mankind will meet much stronger brains and habits. Lets get ready for that. - P. Hinten. There were German notes as well, and they looked cool too. It had to be everything I imagined an unhinged German psychedelic record to be. I had read about it, and now I had it my hands. I could barely wait to fly home. Jet-lag be damned, it was on the home stereo the moment I walked in the door. It was an experience I would never forget.

Blam, blam goes Ax Genrich's massive fuzz guitar. BASH goes Mani Neumeier's gong / cymbals / percussion. Uli Trepte adds a bass line, and we're already in MID JAM form 15 seconds into the recording! And it gets only more intense from there. Brain frying acid guitar as the pace picks up and moaning wordless chants cascade over the mayhem. This isn't a mindless jam ala the Acid Mother's Temple. Everything is coherent, with a purpose, the work of three experienced jazz trained road warriors. They were already masters of their trade, but applied to a new kind of instrumental psychedelic free rock. 'Stone In' is 5:42 of perfection. Maybe the greatest opening sequence in psychedelic history. 'Girl Call' follows and is no less powerful, allowing us a viewpoint in what might have been the first minute of 'Stone In', before launching into another insane jam. The transition from the heightened tensions of 'Girl Call' to the fast paced Eastern oriented jam of 'Next Time See You at the Dalai Lhama' still sends shivers down my spine. By the end of Side 1, I can say with some conviction: It is perfect.

We theoretically flip the record over and visit the lengthy title track. Here Guru Guru shows their abstract side. An exercise in psychedelic decomposition. Rhythmnless. Intense to the point of painful. Out of the abyss rises 'Der LSD-Marsch', and the acid guitar trio is back in form, igniting your stereo in flames. If it went another hour, it would only be better. I can think of less than 10 albums I'd say that about.

21 years after that first encounter, I hear UFO better than ever. A true all-time classic that has transcended time.

Ownership:

1970 Ohr (LP). Gatefold. Original 56 version. Acquired in 2000.

2008 Captain Trip (CD). Gatefold papersleeve. Acquired in 2008.

First copy: 1981 Ohr / Pop Import (LP). Gatefold. Acquired in 1987.

5/17/87; 1996; 8/20/08 (review); 12/4/21 (update)

Also own: Hinten; Hot on Spot / Inbetween; Psychedelic Monsterjam; The Intergalactic Travel Agency

I've owned many other titles in the past, some I need to revisit, others I know can be left at the door.

6/8/09 (new entry)

Eulenspygel ~ Germany

Eulenspygel 2 (1971)

Eulenspygel 2 is known prominently for two things: 1) The German lyrics and 2) The chicken leg cover. Funny that I just finished focusing on the language situation with Novalis, but it was even more dramatic in 1971. Apparently only pop groups used German in those days, and no one would take a rock band seriously unless English was used. Today it almost seems code for the subgenre known as Politrock, and sure enough, that is precisely why they used the native language. According to the liner notes of the CD, the lyrics are a trite type of anti-war messaging, and not very interesting.

Musically, the album follows a heavy blues rock pattern, with some Krautrock atmosphere and production. Lengthy jamming on the organ with flute accompaniment also points to the German underground. Vocals can be dominant when Detlev Nottrodt takes the mic. From a comparison standpoint I was reminded of Franz K. and Hanuman, other early German bands with a native lyrical message.

I'm pretty certain I had this on LP in the late 80s, but it wasn't what I was seeking at the time, and traded it out quickly. Today I enjoy it within an historical context, though certainly not one of the highlights of the early 70s Krautrock scene.

As for the cover, the missing chicken leg in the frying pan apparently set off the mores of the German publik, and the second pressing removed it. According to GoD, this later pressing is actually more scarce than the original.

Even though this is the debut by Eulenspygel, the title indicates differently. From the viewpoint of the group, Eulenspygel was an extension of Royal Servants, who had released an album the year prior. There was also a recorded English version of this album on master tape, though apparently no copies exist today.

Former ownership: 1999 Garden of Delights (CD). Booklet with a full history and archival photos. Acquired in 2011. Downsized in 2026.

11/5/07; 3/14/11; 5/4/26 (review)

Also own: Ausschuss

Once owned: Eulenspygel (1979)

5/4/26 (new entry)

Novalis ~ Germany

Novalis (1975)

---Jun 2005

I always forget how good this record is until I hear it again. What great sounds they managed out of their guitars and fat keyboards. Fantastic and memorable melodies. And, if nothing else, Novalis proved the German language is a fine vehicle for progressive rock. Shame more groups from there didn’t follow suit. The heavily accented English doesn’t always cut it. Maybe the modern groups are better, since they learn the language earlier + many are in the metal camp, where the accent is easier to hide amidst the noise and chaos. Anyway, this one is a classic for sure.

---5/4/26

Well I certainly reference this album enough, including below. So it's about time I'm listening to it again and formally adding it here to UMR. I hold it as a great example of the melodic symphonic prog bands coming from Germany starting in the mid 1970s. This isn't Krautrock, but rather a new type of progressive rock, unique to Germany. Including going back to their native language, something the nation seemed loathe to do only a couple of years prior. Despite the change in language, the album is largely instrumental. Lutz Rahn puts in a splendid performance on both organ and synthesizers. The addition of Carlo Karges (previously of Tomorrow's Gift) on guitar gives Novalis the extra punch they needed.

The opening sentence of my review from 2005 ends up in the gospel truth category at this point. An indispensable album.

Worth noting the beauty of the cover, one I frequently display on my Wall of Albums.

The CD adds an excellent and energetic version of 'Impressionen'.

Ownership: 

1975 Brain (LP). Gatefold. Green label. Acquired in 1989.

2005 Brain Japan (CD). Papersleeve gatefold. English and German booklet with history and archival photos. Contains one bonus track. Acquired in 2005.

1989; 6//05 (review); 5/4/26 (update)
 

Sommerabend (1976)

Recently I finally penetrated the debut Banished Bridge, capturing a drifty Krautrock vibe that I had missed prior. And the second album is the one I'd always held in the highest esteem (another one I need to revisit). As the years go by, I value melodic songwriting more and more, and that's right in the wheelhouse of this era of Novalis. So with all of that as background context, and the fact Sommerabend is typically rated the highest by fans, I figured this would be the listen where the album opened up for me in a big way.

Nope. In fact it took a step back. But at first I was highly engaged. The instrumental 'Aufbruch' is exactly what I was expecting, with memorable melody lines, and creative breaks. It is on 'Wunderschätze' that the albums begins to break down. At first, my positive bias carried it through. But a second listen had me realizing where the problem lies. And that's because the side longer title track doesn't hold up as well, and reveals this material weakness. Now I'm not suggesting it isn't any good - of course it maintains that melodic and spacey vibe Novalis is known for - but it gets a bit... dull on occasion. Whereas Banished Bridge maintains this Dom like downer mysterious vibe, Sommerabend just sounds mopey dopey at times. Perhaps the band is too sober by 1976. It's more like same era Eloy / Pink Floyd verse the more sprightly sound that Novalis seems to have patented, and exploited more on their sophomore effort.

Ownership: 1976 Brain (LP). Green label. Acquired in 1993.

12//93; 1996; 6/3/13; 10/11/17 (review)

Banished Bridge (1973)

Novalis' debut has taken me a long while to digest. When I think of Novalis, I think of a band that is highly melodic, polished, superbly arranged, with sparse vocals in German. Banished Bridge is none of those things. Novalis' debut has about as much in common with the rest of their output as does Eela Craig, Scorpions, and Eloy's opening moves. I've often read that Banished Bridge sounds like early King Crimson, or even other more established UK prog bands of the era. I don't hear it myself. Maybe Wenzel occasionally sounds like Greg Lake, but with a thick German accent.

Still, what is it that we have here? I've owned this album in one form or another since the late 1980s and I couldn't tell you. Time to figure it out.

It's the title track that really throws one off the scent. So finally I decided to listen to Side 2 first. On these three tracks we have a fairly typical organ based Krautrock sound, very much what you would expect to hear in 1971. So from that angle, Novalis are behind the times, but still pleasant. Solid 3.5 material.

But the title track, this is the secret of the album. Basically it's a symphonic prog version of Dom's Edge of Time. What? Well... there are these long stretches of tranquil / drone trip-out music with mumbling downer vocals in English that do in fact recall a mold infested bridge-to-nowhere in the countryside. Out of the depths of depression rise the organ and synthesizers, which provides the perfect contrast. And so it goes between both styles for its 17 minute duration. Awesome. Had this been side 2 instead, I'm sure this album would be more highly regarded today. It sounds like a side 2 honestly.

Personally I think this album is a lot more "true Krautrock" than ever given credit for. After this, Novalis along with Eloy, pretty much defined the German variation of symphonic progressive rock. Almost the antithesis of the raw Krautrock sound we've been accustomed to.

Ownership: 1973 Brain (LP). Gatefold. Green Brain Metronome. Acquired in 1989.

5/23/89; 1997; 3/17/17 (review); 11/9/25

Vielleicht bist du ein Clown? (1978)

Once hearing Vielleicht bist du ein Clown?, you'll realize this is where Novalis has been heading for some time. They were never the most complex and densest of writers, and most of their compositions were rather straightforward. But they had a tendency to drench it heavily in dressing, giving it more of a superficial progressive rock feel. Where Novalis shines is their ability to write beautiful melodies, along with very pleasant instrumentals. So it was only logical the group would eventually trim the tree so to speak, and get down to their core competencies. I'd even argue this is stronger than their last recognized progressive rock album Brandung. Of course, Novalis are now on the slippery slope to commercialism, and have started to become more irrelevant to the average progressive rock fan. But this one is a nice transitional album. Better than most that tried during this era.

Former ownership: 1978 Brain (LP). Acquired in 1990. Downsized in 2019.

1990; 12/11/16 (review)

Other albums I own: Brandung

Other albums once owned: Konzerte

12/11/16 (new entry)