Thursday, May 14, 2015

Shaa Khan - 1977 - The World Will End On Friday

Shaa Khan
The World Will End On Friday

01. White Room (8:22)
02. World Will End On Friday (4:47)
03. Graveyard (7:53)
04. Ocean (7:42)
05. Seasons (9:16)

- Roland Soltysiak / guitar
- Jochen Gutermuth / bass
- Horst Schlechtriemen / keyboards, backing vocals
- Walter Kaulhausen / drums, backing vocals
- Heiner Waldmann / vocals, acoustic guitar
- Klaus Grandt / vocals, percussion

SHAA KHAN are a german heavy prog rock band which produced two LPs and two singles. Drummer Walter Kaulhausen and guitarist Roland Soltysiak started at the beginning of 1970 to play hard rock songs from Led Zeppelin and Deep Purple. The band name has no common sense - just a pun which pleased the musicians. After some line-up changes Jochen Gutermut (bass) became a permanent member. Because they were participating at courses of the Akademie Remscheid their style changed to a jazz rock direction more and more. During the years 1973/74 they played gigs as the supporting act for Earth & Fire, Sweet, Smokie, UFO und Nektar.

To reach for a better endurance in 1974 Heiner Waldmann (vocals, guitar), Horst "Schröder" Schlechtriemen (keyboards) and Klaus Grandt (vocals, percussion) joined in and they rounded up the line-up to prepare for the first studio recordings. SHAA KHAN developed a rock concept based on two vocalists with self composed songs and simultaneously they made gigs in the neighbourhood of Duisburg to check out the feedback.

1976 the order to compose theater stage music followed and they gave lessons to talented musicians. The fee was intended for the first LP production. In summer 1977 the band entered the Dierks Studio and produced 'The World Will End On Friday' which was released 1978 by the german label Sky Records. The same year SHAA KHAN won a rock festival contest where 40 bands from germany took part. In may 1979 the second LP 'Anything Wrong?' was finished. An effort which is more diversified and balanced. The band could evolve the concept - german heavy rock with english lyrics influenced by Genesis and Yes.

At the beginning of the 80s the band managed to produce two new singles for the Bellaphone label. 'Someone's Calling/Running' got relatively famous with 12 weeks in the WDR radio charts and brought them a lot of gigs in clubs and on festivals. The second single 'Radio/Rock Mafia' had less success. With the arising 'Neue Deutsche Welle' SHAA KHAN got less important and under the alias SK2 they produced some songs with german titles which finally no company wanted to release. But the band went on - with a tour in Lithuania as one highlight. SHAA KHAN could be seen on the stage for the last time in the year 1993 during a concert together with Bröselmaschine and Sheevon in Duisburg.

This is a mysterious, enigmatic and highly achieved progressive rock album from Germany Underground. Due to the omnipresence of a lyrical sense of the melody, we can not consider Shaa Khan as a krautrock band, nevertheless this is an efficient evocative musical adventure throw higher "cosmic" spheres. Their style is an original intrication between the musically expressive / fantaisist dreamworld of Genesis, the spacey-rockin waves of Pink Floyd and Eloy connected to explosive, furiously trippy & heavy guitar leads. With obvious influences taken from progressive rock classics, this band successed to describe their own musical world, really original and powerfuly emotional, passionate with a large range of atmospheres and moods, describing different states of human sensibility, from pain, fear and anger to love and spiritual illumination. Beyond the "kosmische" rock, this album is a top class standard of progressive rock, reaching the pinnacle of this specific musical universe. White room opens this ravishing musical trip with a cosmic- like symphony for gorgeous instrumental sections, tragical & theatrical lyrics and majestic heavy-rockin' melodies (closed to things written by the germans of Dschinn). The self title track is an other imaginative travel exploring human subconsciousness and the multi-facets of his personality thanks to a great dose of mysterious, fragile, moody, epic, atmospheric ambiences for synth / e-guitar duo and beautifully immersive lyrics. Graveyard is a subliminal evocative, tormented introspective proggy-piece that reminds me Jane or Novalis at their darkest moments. The melodies are deeply expressive, pefectly composed for intense organ chords, impressively emotional, crying vocals, heavy & floating guitar leads. Almost lost in time, this album remains an ulimate masterpiece and highly recommended for all prog-heads.

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