Wednesday, November 5, 2014

The Flock - 2014 - Heaven Bound (The Lost Album)

The Flock 
Heaven Bound (The Lost Album)

01. Heaven Bound (4:11)
02. The Bells (0:45)
03. Reasons (4:14)
04. Crying Out / The Voice (1:16)
05. Don't You Know (Who I Am) (3:07)
06. Makes It All Worthwhile (3:39)
07. Noise Boys (4:21)
08. Mama (3:37)
09. Rolling with the Clones (3:14)
10. Love Away (3:54)
11. C'mon Let's Walk (4:28)
12. Be Strong and Survive (3:09)
13. The Christos Jig (4:01)
14. The Test (4:54)
15. Outroduction (2:34)

- Fred Glickstein / vocals, guitar
- Ron Karpman / drums
- Jerry Smith / bass

Nearly lost to the sands of time, a recently discovered set of vintage ‘70s recordings from Chicago-based jazz-rock ensemble The Flock. These never-before-released recordings feature founding Flock members on what could have been the band’s magnificent fourth album.

The Flock - 2004 - Live In Europe

The Flock
Live In Europe

01. Intro (8:43)
02. Clown  (11:26)
03. Truth  (24:58)

Bass – Jerry Smith
Drums – Ron Karpman
Guitar, Vocals, Synthesizer – Fred Glickstein
Violin – Michael Zydowsky

Recorded live in Friedburg Germany, November 9, 1973.

"This CD was digitally mastered from a cassette tape and has a number of sonic imperfections. The fidelity has been improved as much as possible without altering or affecting the ambience of the original historic live performance."

The Flock - 1993 - Flock Rock - The Best Of The Flock

The Flock 
Flock Rock - The Best Of The Flock

01. Introduction (4:50)
02. Clown (7:43)
03. I Am the Tall Tree (5:36)
04. Tired of Waiting for You (4:37)
05. What Would You Do If the Sun Died? (2:46)
06. Lollipops and Rainbows (4:03)
07. Green Slice (2:03)
08. Big Bird (5:50)
09. Hornschmeyer's Island (7:26)
10. Crabfoot (8:14)
11. Mermaid (4:54)
12. Chanja (2:36)
13. Atlantians Truckin' Home (4:49)
14. Afrika (4:33)
15. Just Do It (6:34)

- Jerry Goodman / guitar, violin, vocals
- Jerry Smith / bass, guitar, vocals
- Rick Canoff / saxophone, vocals
- Jonathan Gerber / banjo, flute, saxophone
- Fred Glickstein / organ, guitar, organ (Hammond), vocals
- Ron Karpman / drums, vocals
- Frank Posa / trumpet
- Tom Webb / flute, saxophone, vocals

This is a sort of compilation, containing the shorter tracks of both The Flock albums, plus unreleased songs from the album's respective sessions plus a few that were originally foreseen for the group's third album, which never saw the light of day. No-one except blues purists will criticize the label for not selecting the 15- mins Truth track, because of limited space, but lack real interest as well. The unreleased track from their debut album's session track coming comes after the debut album's first side (the flipside being completely ignored) and came out as a single between the two album's releases. From the same session comes Lollipops track that sounds quite different, Eastern European-feeling with a jazzy bass and a rarer flute (as opposed to the sax).

Then pacing through a big part of Dinosaur Swamps, the group's follow-up album, some of the most- representative tracks. The last four tracks of this compilation album being from a Dec 70 session that was to be the group's third album, which would never see the day until this "best of". But if these previously unreleased tracks are to be representative of their third album, then it's a real shame TF broke up, because they were finally about to make a real worthy album for its PA inclusion. Most likely this would've been a live album, named Flock Rock, the name of this compilation and the recordings do not have the same quality as the studio stuff, these being slightly muddy. The short Chanja seems to be an outtake from a killer blues track and features some excellent jazzy jammy moments. Atlantians Trucking Home has the same jam feeling, this time the group having a slight Allman Bros Band, especially on the double guitars (Goodman and Glickstein) with Webb's flute getting some cool licks in. Afrika is yet another jam good jam where the brass section pulls some excellent call and responses. Closing up this "third album" session is the superb Just Do It, with a Coltrane swing, mostly induced by Glichstein's piano, evidently inspired on the awesome McCoy Tyner and as you could guess Canoff and Gerber's sax lines.

The Flock - 1975 - Inside Out

The Flock 
Inside Out

01. Music for Our Friends
02. Back to You
03. Metamorphosis
04. Hang On
05. My Ok Today
06. Straight Home

- Jerry Smith / bass, vocals
- Fred Glickstein / guitar, vocals
- James L. Hirsen / keyboards, vocals
- Ron Karpman / drums, vocals
- Felix Pappalardi / vocals
- Mike Zydowsky / violin

Jerry Goodman had been plucked away by Columbia Records to join Mahavishnu Orchestra after the Flock's second album, leading to the group dissolving and being dropped by the label. Too bad, because the promise showed on those first two records would never be completely realized thanks to the creative vacuum left in the wake of Goodman's departure.

The back cover of 'Inside Out' tells the story of a band that just couldn't stay down, one whose music was crying to get out and led to a metamorphosis of the group with the unknown Mike Zydowsky taking Goodman's place on violin and Mercury replacing Columbia as the bankroll behind the outfit. That's the story as the band told it anyway; the music on this third and final studio effort tells a slightly different story. There are minor flashes of the grand and progressive sound, particularly on the instrumental "Metamorphosis" that features plenty of bent and wandering violin work along with tempo shifts and driving percussion, albeit in a decidedly more rocking vein than their brass- driven earlier work. But that song seems to be the best they could muster on what is otherwise a fairly brief effort consisting of three pedestrian and indistinctive rockers in "Music for our Friends", "Hang On" and "Back to You", along with another violin-dominated number ("My O.K. Today") that tries too hard to be a sort of resurrection anthem for a group that has clearly lost its magic.

The album closes with "Straight Home", a wandering, mostly instrumental tune that displays the talents of the other new member, keyboardist James Hirsen. In fact, Hirsen's presence is felt much more on this record than any of the brass section or violin sounds that so defined the band's sound in their earlier lineup. The abrupt and unimaginative ending ("Music for our Friends" also faded out like a studio track that ran out of tape), showed that the band had little left in the tank as far as creative energy.

The Flock - 1970 - Dinosaur Swamps

The Flock 
Dinosaur Swamps

01. Green Slice (2:03)
02. Big Bird (5:50)
03. Hornschmeyer's Island (7:26)
04. Lighthouse (5:17)
05. Crabfoot (8:14)
06. Mermaid (4:54)

- Jerry Goodman / guitar, violin, vocals
- Jerry Smith / bass, vocals
- Rick Canoff / saxophone, saxophone (Tenor)
- Fred Glickstein / guitar, organ (Hammond), vocals
- Ron Karpman / drums, vocals
- Frank Posa / trumpet
- Tom Webb / saxophone (Tenor)

 The Flock made a rather remarkable transformation on their second album. The lineup is the same including violin impresario Jerry Goodman, but rather than the big brass and jazzy sound that dominated the first record, this one features copious amounts of multi- tracked vocals, an almost country-rock mood and violin work that sometimes borders on what can only be described as 'fiddling'. All in all I have to say I like this album very much, especially since the production quality is noticeably improved over their debut. Still, the significant shift in sound is quite surprising and must have been a bit of a shock to whatever fans they had in the early seventies. Rather than sounding like Chicago or BS&T, comparisons to the Grateful Dead are quite a bit more apropos this time around.

The opening "Green Slice" sounds like Steve Howe setting in on a session with Jerry Garcia, while "Big Bird" retains that country-fried rock sound but adds in the discordant brass that distinguished the middle part of their first album.

"Hornschmeyer's Island" would qualify these guys as a progressive band even if none of their other music had. The shifting tempos and moods along with a blast of vocals followed by a series of contrasting saxophones and trumpet make for a complex and engaging song all by themselves, but the shift midway to a torrid bass rhythm and dissonant violin solo is simply too cool for 1971, and something that impresses even today. Only a real turd of a filler track would have taken away from this, and fortunately the band managed to avoid including such a track which ultimately saves the record as a whole.

I think the oddest tune in the band's entire discography comes next on this record, a bluesy and driving version of James Taylor's laconic "Lighthouse" that apparently only salvages a few of the original lyrics and a heavily amped-up version of Taylor's guitar chord progression. Otherwise this is a heavy rock number that bears almost no resemblance to the original, but does trot out the same sort of harmonized vocals their debut album features, but that sound much better this time around thanks to the improved engineering.

"Crabfoot" is mostly an instrumental track with plenty of trumpet and saxophone (three of them if I hear correctly), a blazing number that shows the band members had managed to gel as a unit after a couple years of touring and studio work together. The scat-like vocals toward the end are unnecessary but don't take much away from the groove.

I'm not sure what the group was trying to accomplish with "Mermaid", a sort of British folk- sounding minstrelly thing that I probably would have appreciated more had it come out on a Dulcimer or Incredible String Album rather than a Flock record. Still, I like the song and give the group some credit for being willing to experiment.

Finally "Uranian Sircus" starts off sounding like something Principal Edward's Magic Theatre would have done, but morphs into a funky and almost psych number with a hippy version of white rap and a frenetic guitar riff that is as annoying as it is intriguing. A truly weird tune that could have only been recorded in 1971 or by Ozric Tentacles, and probably nowhere in between. Very cool.

I actually like this album better than the band's debut, although in the end I can't give it anymore than the three stars I gave that one simply because it is good but not outstanding. Three stars in a five star rating system is just too broad a range I guess. Anyway if you are curious at all about the band I would recommend this one first, followed by their debut record if you're still interested. And there's a CD reissue that combines both of them if you're feeling frisky and want to check them both out.

The Flock - 1969 - The Flock

The Flock 
The Flock

01. Introduction (4:50)
02. Clown (7:42)
03. I Am the Tall Tree (5:37)
04. Tired of Waiting (4:35)
05. Store Bought - Store Thought (7:00)
06. Truth (15:25)

- Fred Glickstein / guitar, lead vocals
- Jerry Goodman / violin
- Jerry Smith / bass
- Ron Karpman / drums
- Rick Canoff / tenor saxophone
- Tom Webb / tenor saxophone
- Frank Posa / trumpet

This is a classic album featuring violin master Jerry Goodman whom later joined Mahavishnu Orchestra. I also owned his solo album "Ariel" that sounded differently than The Flock. One thing that triggered me to purchased this album was the use of violin, especially in progressive rock. This album may favor those who like or can appreciate fusion music and may NOT favor those who like progressive metal or even symphonic progressive. The music of The FLOCK reminds me to bands like CHAZE, CHICAGO TRANSIT AUTHORITY (before it later became CHICAGO only) or BLOOD, SWEAT and TEARS. They are not closely alike but they same to be in the same family, I think. So, if you only love Genesis like or Dream Theater like, forget about this CD - it will be a waste for you. But, if you like brass rock or fusion or bands like I mentioned above, yeah man . this one is for you!

The album kicks off with "Introduction" (4:50) that basically introduces you to the sort of music they play - well, not really because it contains an exploration of violin solo and guitar fills in quiet passage. It flows to "Clown" (7:42) in exactly the same vein like CHAZE - the band whom all the members died tragically in a plane crash - or CHICAGO TRANSIT AUTHORITY. Oh man, this track is so powerful in compositions: solid bass lines, excellent improvisations, great solos and good melody that projects an image of classic rock tunes. The third track "I Am the Tall Tree "(5:37) continues with a mellow style vocal and guitar / violin at opening part and it flows with some influence of blues and jazz music. It reminds me to the music of BLOOD, SWEAT and TEARS.

"Tired of Waiting" (4:35) gives an opportunity for violin to do long solo during opening part. It flows to classic rock style with great violin and guitar solo. The fifth track "Store Bought - Store Thought" (7:00) is one of my favorite as it has stunning guitar solo - relatively long - during opening part accompanied with excellent brass section and seventies singing style.

"Truth" (15:25) concludes the album with some blues touch - nice one - that reminds us to blues-based rock bands like BLIND FAITH, CUBY + THE BLIZZARD, LIVIN' BLUES, KEEF HARTLEY band PLUS great violin and brass section. I love the singing style as well as the combination between violin, guitar solo and brass section that make up this excellent composition. The exploration of trumpet and tenor saxophone in the middle of this track is truly excellent.

Recommended! (for those who like Chaze, Chicago Transit Authority, BS&T and sort of jazz/blues music. For those who like only music like Dream Theater or only Genesis, forget this album!). After all ..keep on proggin'!!!!

Fresh Air - 1970 - A Breath Of Fresh Air

Fresh Air 
A Breath Of Fresh Air

01. For What It's Worth - 00:00
02. Faces In The Fire - 03:54
03. December - 04:57
04. Somewhere A Mountain Is Moving - 02:33
05. Get Away Car Car - 02:42
06. I've Lost My Faith - 00:00
07. Baby Lady - 03:13
08. Sleeping In Sunshine - 02:34
09. Sailor Man - 03:22
10. I Finally Found A Friend - 03:24

This one's surprisingly hard to find, let alone in good condition.  Similarly, finding information on the band is a challenge.

Apparently based in Southern California (Ventura County), the line up consisted of  Allen Carey, non-performing member Louie Caridi, Mick Jones, lead vocalist Marc Piscitelli, Peter Plumeri and Tim Whitcanack.  Originally known as California Grassfield, they started out playing local clubs and talent contests before being signed by the Minnesota-based Amaret label.  Recorded in Hollywood's Sunset Studios, 1969's "Fresh Air" teamed the group with producer Clancy B. Grass.  Showcasing a largely original set, the album wasn't exactly the year's most creative offering.  That said, the mix of pop, hard rock and psych was actually quite good.  Piscitelli had a great voice that was versatile enough to handle everything from blue-eyed soul to straight ahead rock, while the rest of the band played with a nice sense of enthusiasm.  Ironically, the album opened with one of the band's worst selections - a horrid speed-of-sound cover of The Buffalo Springfield's 'For What It's Worth' ...  From there on things improved markedly.  Highlights included the taunt rockers 'Faces In The Fire', 'Get Away Car Car' and the psych-ish ballad 'December'.

As far as I can tell Whitcanack is still in California and remains an active musician.  Piscitelli branched into engineering and also appears to have remained active in the business, working with a wide range of acts including Tommy James, Juice Newton and Spirit.

Frob - 1976 - Frob


01. Wassertropfen (4:52)
02. Spaces (6:00)
03. Calypso (5:19)
04. Spheres (3:46)
05. Flash (4:12)
06. Locomotive (4:44)
07. Hektik (4:16)
08. La Sieste (6:28)

- Philippe Gaillant / guitar
- Peter Meuffels / drums
- K.-D. Richter / bass
- Peter Schmits / keyboards

FROB were a GERMAN band who in my opinion played a straight-up Jazz / Fusion style with nothing in their music that I can hear that would be considered Krautrock.This is highly energetic, uptempo music with no Psychedelic flavour at all.The Spanish band ICEBERG came to mind quite often while listening to this. It''s an all instrumental affair as well. It really all came together for the band when Philippe Caillat moved to their town from France to be a music teacher. Philippe was a classically trained musician who played lead guitar and his addition can't be over-estimated. In fact because of his connections the band was able to record this album in France at a studio owned by a friend of his. We get organ and electric piano, prominant bass and some wicked guitar lines. My favourite though is the drummer.This guy is relentless and holds everything together. He's a fantastic player.

"Wassertropfen" kicks in fairly quickly to an uptempo mode. It sounds like a jazzier CAMEL right here for a minute. Check out the drumming before 2 minutes then the organ floats in.The guitar and electric piano follow as the drums continue.The guitar is ripping it up before 3 minutes then the electric piano comes to the fore. "Spaces" has this killer drum / bass intro then a full sound comes in before a minute. Love the drumming before 3 minutes and the organ is ripping it up a minute later. Some nice bass here too.

"Calypso" is organ and drum led early then the electric piano joins in before 2 minutes. It's the guitar's turn a minute later. "Spheres" opens with some brief atmosphere then the drums and organ take over as the guitar starts to play over top. "Flash" is uptempo and the drums are relentless.The guitar is putting on a show as the electric piano and organ come and go.

"Locomotive" has some aggressive guitar as the drums and organ also standout. It settles back around 3 1/2 minutes with the organ leading. "Hektik" is uptempo with drums and organ out front.The guitar lights it up after 1 1/2 minutes right to the end. Nice. "La Sieste" is such a nice change as it's more mid-tempo and it sounds great with the electric piano, drums, organ and guitar. I wish they had done more of these tracks to mix it up a bit.

An excellent Jazz / Fusion album that would appeal to anyone who's a fan of that style.

Freak Out - 1971 - Life

Freak Out

01. Evil Ways
02. See My Way
03. Sing Me A Song That I Know
04. Leaping Beauties For Rudy
05. Jamming Brother
06. Son Of Mr Green Genes
07. Fresh Garbage
08. Everybody Needs Somebody To Love
09. Ramadhan (Part III)
10. Jaming Brother (Bonus Track)
11. Crazy Colours Of Life (Bonus Track)

Robert Musenbichler - guitar, backing vocals
Peter Musenbichler – guitar and lead vocals)
Max Wei?enba;ck – sax
Charly Dienes – drums
Mike Gartner – bass
Ivan Miholić - percussion

Freak Out were a relatively short-lived German rock band and were Robert Musenbichler on guitar and background vocals, Peter Musenbichler on guitar and lead vocals, Max Wei?enback on sax, Charly Dienes on drums, Mike Gartner on bass, and Ivan Miholić on percussion.

This, their live release, is also their only album released. Filled mostly with covers, Life does feature two pieces that the band composed, "Jamming Brother" and "Crazy Colours Of Life." "Jamming Brother" appeared on the band's 7" single, as "Jaming Brothers," and is included as a bonus track here along side the single's flip, the above mentioned "Crazy Colours…." The first of these is an energetic piece with a distinctive, funky bass riff, though it's the guitar that stands out.

It may be the Ike & Tina Turner version of "Proud Mary" that I'm thinking of with that bass riff. The second of these originals is a dreamy, upbeat piece that recalls "Traces" by Classics IV, a 1969 soft-rock hit, which almost makes it seem like another cover. Gentle vocals, light sound… quite unlike the jam-rock of the rest of the album.

The set, performed before an audience of 1000 at Klangenfurt Concert Hall, April 24, 1971, opened with the Santana classic "Evil Ways." Interestingly, the set featured many Blodwyn Pig tunes, though only two were included on the actual release. In fact, only half of the band's set is included here, and now the other 9 tracks are lost (having been recorded over). A Rolling Stones tune in the form of "Everybody Needs Somebody To Love" is also featured, and it's here that Dienes gets his drum solo spot, and does quite well with it. They do become a bit possessed in a psychedelic kind of way, but you do suddenly think that maybe you've stepped into the Twilight Zone.

The set did include a cover of "Paint It Black," too, but it's one of the lost tracks. We get some neat guitar interplay during the jam section of "Fresh Garbage," a piece that recalls Santana though it was originally recorded by Spirit. And then there's sax, which can be heard all over this release, most notably in a lead role on the Zappa piece "Son Of Mr. Green Genes." The band took their name from a Zappa album, so it's fitting that a Zappa track appears here.

There is no quest this is a live recording, the sound alone tells you that. The GoD reissue is clean as the original masters were used, so this reissue of a rarity doesn't suffer from being taken from a secondary source. The two bonuses were, however, taken from well-preserved LP and de-noised using the Cedar NoNoise system;The original production was only slightly muddy at times… in other words, don't expect a "modern" live sound, it is very much a product of the 70s. What the album does demonstrate is that this band could play. My favourite aspects are the sax and guitar playing here, which do come across very clear. In the broad sense, more of interest to collectors, given the rarity of the original LP (only about 200 were pressed), but it's pretty good release besides.

Franz K. - 1978 - Geh Zum Teufel

Franz K. 
Geh Zum Teufel

01. Geh Zum Teufel
02. Samstag Um Halb Vier
03. Rock Lady
04. Rock In Scheeßel
05. Blues
06. Denn Sie War Ein Mann
07. Fernsehstar

Franz K. - 1977 - Wir haben Bock auf Rock

Franz K.
Wir haben Bock auf Rock

01. Wir Haben Bock Auf Rock
02. Bye Bye, Johnny
03. Eh, Mann!
04. Der König
05. Tiger
06. Halt Mich Fest
07. Halt Mich Fest Teil II (Boogie)
08. Condor (Instrumental)

Franz K. - 1973 - Rock in Deutsch

Franz K. 
Rock in Deutsch

01. Schiess und marschier 4:01
02. Cabora Bassa 2:34
03. Peterlied 11:19
04. Räder 4:20
05. Big Boss 7:15
06. Mackie Messer 2:53
07. Rita B. 6:17

 Josefus, Peter (bass, vocals)
Josefus, Stefan (drums)
Hannes, Mick (guitar)
Becker, Werner (piano, organ*)

 Another great german rarity from their super PYSCH era..... absolutely great..The legendary hearse album on CD with bonus track!
"We make rock music with German lyrics." With these words the trio of FRANZ K.( Mick Hannas (guitar), Peter Josefus (bass, vocals) and Stefan Josefus (drums) ) brought it to the point and earned a loyal fan base in Germany. On the road since 1969 the power trio made evey concert into a happening. "We want to ensure that you listen to us, thinking about our lyrics and maybe do something." These were the Seventies!

Following to the debut album "Senseman", "Rock in Deutsch" (Rock in German) was published in 1973 by Zebra. With the hearse, which adorns the front cover of the album, Franz K. was constantly on the road in the Germany. Similar to its British counterpart, the Edgar Broughton Band, social criticism was packed in German texts. The band shot agains militarism, consumer greed, injustice in the workplace and met precisely the taste of students and apprentices then. Today you have to smile quietly over the choice of words, then the band was so far forward and was one of the most popular live bands.

Franz K. - 1972 - Sensemann

Franz K.

01. Das goldene Reich (20:00)
02. Sensemann (18:11)

Josefus, Peter (bass, vocals)
Josefus, Stefan (drums)
Hannes, Mick (guitar)

Sensemann is the first album by the German band Franz K.. The band plays in a guitar-bass-drums trio set-up. Formed in Witten in 1969 as Franz Kafka, in their early days they were one of those very Teutonic underground rock bands, akin to Ton Steine Scherben or Lokomotive Kreuzberg, with a hard-edged agit-rock style.
Their strong anti-capitalist lyrics more or less place them in the German polit-rock scene. By the time of their debut (becoming just Franz K.) they had matured their sound from the early days of Fugs and Mothers style theatre in German. SENSEMANN featured just two side-long tracks offering a great deal of freedom for invention, with aggressive German lyrics and similarly angular freaky guitars characterising their sound.

The first track is mostly bluesy rock with some jazzy elements. The music is played in an energetic way and has this great Rolling Stones "Midnight Rambler" vibe. The second track is quite a monster. Within one minute you go from The Guess Who-type rock to "21th Century Schizoid Man" mayhem. After a few minutes the sky has cleared and an almost Black Sabbath-ian grunge riff sets in. There are a few guitar lines vaguely recalling the German band Vita Nova. Next, a razor-edged guitar assault pops up which reminds me of Guru Guru, T2 and Black Sabbath all at the same time. After some eight to nine minutes a pedestrian beat announces the arrival of the vocals. The vocals are less in your face and more symbolic this time. The last part of the track is more jamming and repetitive, but still quite cool.

A psychedelic hard-rock twist on Ton Steine Scherben perhaps. Franz K. continued for many years, ROCK IN DEUTSCH is also reputedly good, but on later albums (at least another nine!) the vocals took over and they moved to a more mainstream rock and cabaret mixture, totally lacking the innovation of their debut.

Footch Kapoot - 1977 - Good Clean Fun

Footch Kapoot
Good Clean Fun

01. Don's Mom's Green Boiled Ham (M. Hecker, M. Haupt, R. Last) - 7:46
02. One Day At A Time (Sue Kwiatowski) - 2:53
03. Sleepy Time Day (R. Last, M. Haupt) - 4:28
04. Das Is Wonderful (Ray Last) - 8:32
05. Tall Tale (R. Abell, T. Turner) - 4:18
06. Thee Andes Tune (R. Last) - 8:28
07. Theme From The Pet Dome (M. Hecker, R. Last) - 2:25
08. Versality (R. Last) - 5:26
09. Dreamburst (S. Kwiatowski, M. Hecker) - 9:00

Footch Kapoot
*Paul J. Schneider - Glass Drums
*Ray Last - Electric Guitar, Alto Sax, Flute, Bells, Vocals
*Mike Haupt (Dirty Michael) - Clarinet, Precussion
*Roob (Moon) Abell - Moon Bass, Vocals
*Mark (Blind Lip) Hecker - Electic, Acoustic, Slide Guitars, Blues Harp, Vocals
*Sue Kwiatowski - Piano, Vocals

It's tough sometimes to write about forgotten records. You find them, you love, but there is so little info out there about them that you always feel you may not be speaking with authority about the music therein Footch Kapoot is a case in point. So in lieu of hard facts I am going to make up my own back-story.

Footch Kapoot are six people who really dig challenging progressive music, like Beefheart, King Crimson, and Gentle Giant, but have a soft spot for the pop structure as well. They are all excellent musicians with day jobs, and judging from the name of the band and they cover art they are nerds with no care or worry for commercial success.

When this came out in 1978, the cold cruel world probably scratched its head and moved on. I wish I would have been there to tell them how cool I thought it was.
by Greg Trout

Florian Geyer - 1976 - Beggar's Pride

Florian Geyer 
Beggar's Pride

01. Lady Molly (4:53)
02. King Future (4:43)
03. I'm a Star (6:09)
04. Beggar's Pride (6:38)
05. Town Hill (10:40)
06. Troublemaker (4:15)

Bonus Tracks
07. Candle Of My Burial (4:12)
08. Monday Afternoon (4:29)
09. Morphin (5:25)
10. Whola Lotta Money (4:12)
11. Some Old Place (5:03)
12. Don't You Cry No More (5:53)
13. Late Night Movie (3:27)
14. Don't Send Me A Letter (3:46)

- Jürgen Glüge / drums
- K. Dieter Stieg / bass, vocals
- Manfred Wolf / guitar, lead vocals

German act FLORIAN GEYER, named after a knight who lived in the time of Martin Luther, was formed in Rheinland in 1971 by Jürgen Glüge (drums), K. Dieter Stieg (bass, vocals) and Manfred Wolf (vocals, guitar).

It took the band five years to produce their one and only album, "Beggar's Pride", a curious collection of glam-inspired songs heavily spiced with psychedelic musical elements.

The band recorded some material for a sophomore effort planned to be issued in 1980, but for some reason or other this project was shelved. In 1982 they changed their name to Hurrican, and isued one single under that name before dissolving.

The original album is power-trio driven garage/psych-hard rock, mostly of excellent quality. Included in this reissue are 8 bonus tracks - 2 recorded before the LP, which are both good, and 6 recorded later in the 80's. All but one of these are imminently forgettable. As usual for G.O.D. releases, includes Germ/Eng. booklet. Recommended

F.G. Experimental Laboratory - 1975 - Journey Into A Dream

F.G. Experimental Laboratory 
Journey Into A Dream

01. Journey Into A Dream  
02. 2335  
03. Happiness
04. Church

- Frédy Guye / All electronics and effects

Fredy Guye is an obscure swiss keyboardist whose music is specialised in vertiginous spacey synthesised pieces. It includes a taste for concrete-neurotic sounds and church-like organs. The music delivers some astonishing lysergic moments, playing with ambiguous-liminal states created by multi textural dronescapes. It can easily be compared to Cyborg (Klaus Schulze) and to Sternzeit (Adelbert Von Deyen) with much more emphasis on religiously classical music themes. He published his first album "Journey into a dream" in 1974. One piece will be re-worked and used for the movie "Coma" (1976)directed by M. Lenherr. In 1980 is published his second and last LP. In 1993 his first album is re-issued on CD by the German label Thors Hammer. A must to re-discover.

F. G. Experimental Laboratory means Frédy Guye, an artist from the French speaking part of Switzerland who fiddles with sound. Every instrument is played by himself: the organ, the synthesizer with its additional gadgets, and the electric guitar. Yet, he doesn't sound like Mike Oldfield at all, but sometimes rather like Klaus Schulze. F. G. Experimental Laboratory plays a musical mix of electronic and classic which is as unusual as exceptional. In 1975 he released an LP on his own edition Frédy Guye with only one track on each side but each of 20 min. length. On CD you can find additionally the tracks of his one and only 7" single (released in 1976 in a number of 500 copies) which cost, like the LP, quite a fortune today. The detailed booklet contains on 32 pages the artist's story in German, English, and French, a discography, and a lot of pictures of covers, labels and more.

Exmagma - 2006 - Exmagma 3

Exmagma 3

01. Box 25 - 3:35
02. My baby's gone I'm out of tune blues - 2:07
03. Torpedo tits - 3:58
04. Fred Braceful is talkin' to Bread Faithful - 1:13
05. It's so nice - 6:05
06. Rock & Roll - 7:45
07. Weltstar - 0:17
08. The pope - 5:49
09. Überm Beutental - 3:16
10. Dr. phil. S.H. - 7:34
11. Qu'est-ce que c'est? - 1:19
12. Da da too - 2:28
13. Stoned chicken - 5:22
14. In Arkansas steht'n Atomkraftwerk - 1:10
15. Full moon again - 12:06
16. Walkin' on ice - 4:27
17. If I could - 0:18

- Andy Goldner - vocals, guitars, fender jazz bass, alto sax, waterhoe, bongos
- Thommy Balluff - hammond, fender rhodes, synthesizer, clavinet, grand piano, dwarf piano, toys, vocals
- Fred Braceful - very big sonor drumset, percussion, flute, vocals

This is the previously unreleased third Exmagma album, recorded in 1975.

This band's third album from 1975, was intended as a double-LP and it's generally agreed on that this is their most mature and representative release. While all the influences, from Hendrix via Soft Machine to 'Bitches Brew'-Miles Davis, remained intact, the band at this stage had clearly developed a great ability in songwriting and singing. Which made a difference compared to their first two -strictly instrumental- LP's, which didn't always make things easier for the average rock fan. But as said, '3' is Exmagma's finest piece of work. It's not Kraut, it's not rock, it's not jazz, it's not avantgarde. It's all of that in perfect balance! And the result is much bigger than the sum of the parts.

Exmagma - 1974 - Goldball


01. Marilyn F. Kennedy - 2:27
02. Da da - 3:34
03. Adventures With Long S.tea - 2:50
04. 25 Two Seconds Before Sunrise - 4:50
05. Groove - Tango Wolperaiso - 2:33
06. Jam Factory (For People Insane) - 4:02
07. Habits - 5:55
08. Dance Of The Crabs - 0:51
09. Greetings To The Maroccan Farmers - 6:34
10. Last But One Train To Amsterdam - 0:55

- Thomas Balluff - organ, electric piano, clavinet
- Fred Braceful - sonor drums, percussion
- Andy Goldner - fretless electric bass, electric guitar, alto sax, tape recorder

 In their sophomore release, the Exmagma guys tend to slow down their penchant for fiery experimental jazz-rock as exposed on their debut album and move to a somewhat different strategy focused on varying demonstrations of energy ? this is "Goldball" in a nutshell. All in all, the creativity and dynamics remain unchanged, since Exmagma remains a solid ensemble where each piece of sound finds its proper place in an overall scheme. Sometimes I find myself regretting that the musical ideas don't get enough room for wider expansion, especially when enjoying the power delivered on tracks 2 and 3: I find myself wishing that the promising climaxes would eventually lead to frantic explosions of sound a- la Dzyan or Agitation Free... but well, what you hear is what you get and Exmagma is a band that on should not have anything to complain about. Additionally, band members have said in interviews that they were not too keen on showing off too much, so I guess that the time constrictions posed on this album's repertoire make sense. So, now let's take a look to the repertoire itself. The half-funky jam that makes up the basis for 'Marilyn F. Kennedy' starts the album on a joyful mood before the progressive element gets augmented by the controlled mood shifts and polyrhythms delivered on the next two tracks, 'Da Da' and 'Adventures with Long S. Tea 25 Two Seconds Before Sunrise', in this way exploring the band's ability to provide density and sonic defiance. If the opener showed the band leaning toward the Canterbury factor, the other two numbers state a closeness to the avant- garde jazz ventures of Weather Report and Return to Forever, naturally ornamented with free-form sounds that were not rare in the overall krautrock scene. Oh, by the way, Long S. Tea 25 was a nickname for good old LSD. 'Groove', while bearing a simpler framework, continues to retain the dense climate of the previous track, this time on a semi-slow soul tempo. 'Tango Wolperaiso' is a curious piece: all three musicians alternate their inputs through any turns, gradually making them fuller, in a sequence wrapped up by a funny chorale. 'Jam Factory (For People Insane)' returns to the complexity of tracks 2-3, only this time with a heavy emphasis on the psychedelic tradition (somewhere between early PF and early Gong), in this way becoming genuinely intense despite its not too frantic pace ? anyway, the percussive input is amazing. 'Habits' rounds like a mixture of "Yeti"/ "Tanz der Lemminge"-era Amon Düül II and Agitation Free, while 'Dance of the Crabs' brings a brief exercise on exciting jazz-rock. 'Greetings to the Maroccan Farmers' picks up the pieces of pure krautrock that 'Habits' had left scattered on the floor, glues them back in a clever utilization of improvised chaos, which clearly states a reference to the wildest side of experimental prog: Balluff's finesse on piano is outstanding, and so is Braceful's endeavor of tribal and cosmic cadences on his drum kit and other percussive resources. 'Last but One Train to Amsterdam' is another little jazzy piece that closes down the album on a Canterbury-friendly note: it wouldn't have felt out of place in a Hatfield or Caravan album, but in this case, it is an entertaining closure for yet another great Exmagma album. So, here we have "Goldball", a lovely example of the best legacy of jazz-oriented krautrock from the 70s.

Exmagma - 1973 - Exmagma


01. The First Tune (7:37)
02. Tönjès Dream Interruption (4:17)
03. Interessante Olè (2:50)
04. Two Times (2:25)
05. Trippin With Birds / Kudu / Horny (18:48)

- Thomas Balluff / organ, electric piano, clavinett-c effects
- Fred Braceful / sonor drums, percussion extraordinaire
- Andy Goldner / fretless electric bass, electric guitar, alto sax, tape recorder

Track 1 recorded by Himbi at Jankoeski 1972
Tracks 2-4 recorded at home 1973
Track 5 recorded live by D. Lindauer 1973

The EXMAGMA LPs usually get filed under Krautrock, but there's nothing typically German in the way they develop their freeform experiments, that turn out to be well structured on the third hearing. No AMON DÜÜL freakouts, no metric rhythms à la CAN, and two albums that - though mostly instrumental - sound totally different. They've been often described as Jazz Rock, Fusion, or even Electronic Avant-Garde, but none of these pigeonholes could ever do them justice. Bored with YES, GENESIS, SUPERTRAMP and all the crap they nowadays try to sell you under "Symphonic-Prog", they dropped some acid and set sail for new shores, weaponed only with sticks, strings and keys.

The two German members of the group were Thomas BALLUFF from MULI & THE MISFITS (a '60s Mod-Soul band that depended on his Hammond B-3 grooves rather than on brass) and guitar and bass player Andy GOLDNER, who came from FIVE FOLD SHADE, Stuttgart's premier R&B band in the PRETTY THINGS / YARDBIRDS category. Fred BRACEFUL, the late drummer, was born in Detroit and came to Germany with the US Army in the late '50s. He was a well-paid free-lancer in the early '60s, but never quite your standard jazz drummer who'd be content to build the backbone of a rhythm section. With like-minded keyboarder Wolgang DAUNER, he formed ET CETERA in 1970, a group that released one of the few real necessary and satisfying albums of a genre that we now know as Krautrock. (Back then we didn't call it Kraut, and Rock without Roll is a four letter word anyway.) When DAUNER started flirting with the eight letter word (jazzrock, dummy!), BRACEFUL joined MAGMA, the band that changed to EXMAGMA after finding out about the French outfit of the same name. (The fact that EXMAGMA's second LP was only released in France caused a lot of "who's who" guessing among collectors, especially as the French MAGMA sound a lot more Teutonic than EXMAGMA.)

Right on, what about the music? The eponymous first LP, recorded in 72, reminds me a lot of the late '60s SOFT MACHINE, taking a direction that probably wouldn't have caused Robert WYATT to quit. There's no sign of bombastic or pathetic ingredients, which makes comparisons with PINK FLOYD misleading (unless you saw them after "Ummagumma" but before "Atom Heart Mother"). One side live, one side studio, EXMAGMA are pouring it all out and leave it up to you. Recommended to open minded explorers or acid eaters. Budweisers won't do the trick.
In early '73 EXMAGMA toured France, where their sound experiments were well received (though they always devided an audience to pro and contra factions) and stayed there for about two years. "Goldball" was recorded in Conny PLANK's sudio near Cologne, but only released on the tiny French label Urus.

While the debut was floating like a raft on sometimes stormy sea, this one grooves like HENDRIX jamming with Miles DAVIS, teaching each other "Dolly Dagger" and "Bitches Brew". (If you've ever heard Miles DAVIS play the organ instead of the trumpet, you'll know what I mean.) The second LP definitely is the more accessible record, but still a well deserved shock to those who associate groove with jazzrock. The spirit is Rock'n'Roll, the approach is improvisation. If you expect fusion, prepare for confusion. It's the kind of record that makes me curse myself for not arranging my collection alphabetically, I don't know where to put it thematically.
Even harder times are ahead: I received a promo copy of a third, previously unreleased EXMAGMA LP recorded in 1975.

It's yet another bundle of joy with lots of good vocals and weird as they are, songs that sometimes rock like hell. This, their most aggressive and mature epic, stayed in the can because their record company insisted on stripping the double album concept to a single LP. The band refused back then, but the two remaining members found a keen little company (sic!) 26 years later and "Exmagma3" will be out on Daily Records in the near future. Till then, have a whiff of their drug rock fusion, if you dare. If you need a taster, go to the CD compilation of German underground bands, "Obscured By Krauts".

 With two young veterans from Germany's R'n'B scene who happened to be talented musicians and an extraordinary African American drummer who seemed to have the swing right there under his skins and all over his muscles and bones, it is no wonder that Exmagma came to be one of the greatest acts in the jazzy trend of krautrock. All it needed was a proper cohesion that could bring together Braceful's infinite dynamics, Balluff's avant-garde sensible creativity and Goldner's vigor and refinement for Exmagma to fulfill its inherent promise. and boy, did they achieve it dearly!! The 1973 eponymous debut album is an outstanding example of experimental jazz-rock with a high degree of psychedelic heat and a lucid progressive-oriented awareness. Funny how the band's name makes a straight allusion to the trio's resignation of its original name - this sort of humor that is evident in the album covers is also present in the music itself, among the obvious cleverness provided on the articulated jams, improvisational moves and strategic variations. 'The First Tune' is the first tune in the album, although more exactly it is a conglomerated series of various tunes. With a basis of organ, bass and drum kit, the band first indulges on a slow-tempo 3 minute jam full of psychedelic vibe; the second section is a brief interlude that states a denser aura, featuring distorted clavinet and a more distorted bass guitar (pretty much like Soft Machine at its noisiest), while the drummer brings complex adornments to his steady funky rhythm pace; the third and last section turns down the density a bit while retaining the power and the funk-oriented foundation. 'Tönjés Dream Interruption' further enhances the SM connection ("Third" and "Fourh" eras) in a very robust fashion, while 'Interessante Olé' travels to the North American territory of free jazz, featuring sustained flows on organ and bass conveniently supported by Braceful's precise swing and soaring rolls. Too bad that the fade-out arrives so soon!... Anyway, 'Two Times' follows with its 2-part sequence: the first one is very soul-oriented, led by the bass guitar's pounding line, while the second one shifts to an extroverted jazz-rock climax. Again, the "too early fade-out" syndrome settles in to destroy the hope of an expanded jam of epic proportions, but well, that's OK I guess. The album's second half is occupied by the gigantic piece 'Trippin With Birds / Kudu / Horny', a convincing manifesto of Exmagma's pretentious of explosive experimental jazz-rock. The artistic goal encompassed in this 19- minute musical journey is so challenging that it really has to be a crowning moment in the history of krautrock, rivalling with the quintaessential weirdness of Faust, the exquisite dynamics of Agitation Free or the Dadaist spirit of Amon Düül II. Rivalling with the commonly acknowledged greatest, I mean. The 'Trippin' with Birds'section is a deconstructive full of electrifying tension and surreal landscapes that include ultra- spacey organ effects, tortured sax improvisations and calibrated dramatic percussive interventions. The 'Kudu' section enters a gradual transition to a jazz-rock jam partially structured under a "free form" guise, plus some extra Hendrixian ingredients (on organ, not guitar). In moments like this I can feel a close relatedness between Exmagma and other jazz-krautrock heroes such as Embryo and Dzyan. Finally, the 'Horny' section finds Goldner switching to guitar, somehow emulating Guru Guru while the whole ensemble aims at a moment of solid dispersion. Well, then the fade-out arrives too soon to let us enjoy a prolonged elaboration of this motif, but by now the attentive listener is convinced that this monster track is the perfect closure for this spectacularly abrasive gem of krautrock.

Tyll - 1975 - Sexphonie


01. Tim
02. Sexphonie
03. Asiatische Liebeserklärung
04. Paranoia Eines Verliebten
05. Nervenzusammenbruch Einer Gitarrre
06. Siamesische Überraschung
07. Kristinas Traum
08. Delirium Song
09. Grammophon
10. Rita
11. Suzie Steno
12. Für Michael Pfadpfinder
13. Morgenlicht

Michael Scherf (vocals),
Ulrike Schempp (vocals),
Susanne Schempp (vocals),
Det Fonfara (guitar), Achim Bosch (bass),
Günter Klinger (drums)

Truly wonderful and extremely little known krautrock released on the Kerston label (same imprint as the Gaa LP) and with something of their widely variable and fascinating approach. With it's seamless fusions of acid rock fury and amiable folksiness, this project of Eulenspygel's drummer (using the first name of the notable German roguish literary character that Eulenspygel would take their name from) has a definite stylistic carry-over from it's parent project, albeit lacking the wildly over-the-top vocals that make Eulenspygel a no-go proposition for some.

Tyll were one of a handful of groups on the Kerston label (Gaa, Epidermis, Proton 1 concert). Optimistically (that would be VERY optimistically) you could almost call this the Hatfield and the North of Krautrock. Maybe Zappa is closer - but not in the same way as the first Nine Days Wonder. Each track is different, some are fiery fusion workouts, others are German folk, while still others are straight hard rock. The German vocals make it unique and thus remind me of groups like Drosselbart, Professor Wolff and Franz K (circa "Sensemann"). The latter gets a further comparison due to the cool use of heavily affected electric guitar. It is this element that makes Tyll attractive for multiple re-listens. On the spacier tracks, label mates Gaa are a fair comparison. And in many places I also hear the weird composition style of Lily's "V.C.U.".

Royal Servants - 1971 - We

Royal Servants

01. Work Part II 5:20
02. We 9:15
03. Someone to Be With Me 2:48
04. Latin Underground 12:40
05. Here's Where I'm Gonna Stay 2:57
06. Private Man 2:43
07. Doomsday Up to Date 1:57

Bonus Tracks
08. Burnin' Region 3:48
09. Help Me Please 4:14
10. Still I Belong 3:50
11. The Blues Comin' My Way 5:00

    Bass – Ronald Libal (Ronny)*
    Drums, Percussion – Günther Klinger*
    Lead Guitar, Rhythm Guitar – James (Matthias Thurow)*
    Organ – Reinhard*
    Vocals – Manfred Maier
    Vocals, Lead Guitar, Rhythm Guitar – Detlev Nottrodt

Group from Reichenbach, Swabia, Germany. Formed in 1965 as a beat-group, then went from bluesrock to progressive rock. From 1971 they started writing songs in German and consequently changed their name to Eulenspygel.

Actually the first Eulenspygel album, from 1970, this is fairly "American" sounding psych with prog influences, and featuring fuzz guitar and English vocals.

Eulenspygel - 2004 - Staub auf Deinem Haar

Staub auf Deinem Haar

01. Der Fremde (6:23)
02. Staub Auf Deinem Haar (10:50)
03. Menschenmacher (7:07)
04. Untertanenfabrik (3:47)
05. Ring Frei (Medley) (10:12)
06. Kinderlied (5:09)
07. Konsumgewäsche (8:15)
08. Teufelskreis (5:44)

- Matthias Thurow / bass
- Rainer 'Mulo' Maulbetsch / vocals, acoustic guitar
- Nic Nicoll / soprano sax, clarinet
- Günter Klinger/ drums, vocals
- Detlev Nottrodt / electric and acoustic guitar, clarinet, vocals

Eulenspygel came from the Swabian area in the south-west of Germany. This album is a live recording that originally came out in 1973 and the lineup is Mulo Maulbetsch vocals and guitar, Detlev Nottrodt guitar and keys, Nic Nicoll sax and clarinet, Matthias Thurow bass and Gunter Klinger drums............DER FREMDE a nice Renaissance Faire intro! Moody prog rock sung in German, not bad! The spoken word section is very nice and then back to the jazzy rockout....This hits closest to a classic "Krautrock" sound than most of the Garden of Delights re-issues I've reviewed so far. STAUB AUF DEINEM HAAR nice uptempo rock, very Soft Machine'esque...some early 70's macho rock vocals! Oh Yeah! Some nice exploratory raga rock with clarinet. This is a pretty badass track, this is the kind of stuff that made them famous!? MENSCHENMACHER uptempo pop rock with a "groovy" lead vocal that sounds pretty outdated, whereas the long improv pieces sound very modern, cutting edge etc! Eulenspygel were a very left wing band which caused problems with their record label and ultimately caused them to not be re-signed. UNTERTANENFABRIK horn section intro and then into the German version of David Clayton Thomas (Blood Sweat and Tears vocalist). The difference between Eulenspygel and Amon Duul II is that Amon Duul II was creating something truly unique in every aspect with no aspirations to top 40 music....Heavy riffage with sax that's ominously wicked! But then back to the goofy vocals! RING FREI (MEDLEY) goofsome intro, then off the hook instrumental, and then back to the vocal! Some nice acoustic guitar strumming!! KINDERLIED more affected male vocals, kinda like the vocals in a musical?!? Along with very reverby murky rock music...KONSUMGEWASCHE more groovy wild and crazy guy vocals along with big wall of standard fare "rock" music! Then goes jazz take five with Gunther and the boys...pretty rockin'...then some harmonica boogie woogie! TEUFELSKREIS nice uptempo rock music! I guess I just don't care for singers that sing "good," just like I don't like "good" writers! What's wrong with me? I guess too many Black Flag shows?!!?!? But I think it's really cool that Garden of Delights has re-issued this!

Eulenspygel - 1978 - Laut und Deutlich

Laut und Deutlich

01. Gib Mir Deine Liebe (4:24)
02. No Future Generation (4:13)
03. Mein Neuer Job (3:21)
04. Elvira (1:31)
05. Heut Wird's Passieren (4:07)
06. Eiszeit (3:53)
07. Dompteur (3:49)
08. Jetzt Han I's Geschafft (3:34)
09. Dr. Fool (3:30)
10. Du Bist So Wunderschön (2:57)

- Detlev Nottrodt / guitar, vocals
- Peter Weber / bass, vocals
- Günter Marek / guitar
- Peter Garattoni / drums

Eulenspygel - 1972 - Ausschus


01. Abfall (22:17)
02. Menschenmacher (2:57)
03. Teufelskreis (6:50)
04. Herzliches Beileid (2:55)
05. Der Fremde (5:45)
06. Untertanenfabrik (3:55)

Bonus Tracks on GOD 042 (2000):
07. Sechs Uhr Aufstehen (2:08)
08. Junge, Was Willste Draußen (2:42)
09. Mich Kotzt Hier Alles An (2:18)
10. Schlafstadt (3:56)
11. Kinderlied (4:28)
12. Freut Euch, Kinder (2:51)
13. Zusammenstehen (6:22)

- Detlev Nottrodt / guitar, vocals
- James Thurow / guitar, violin, Mellotron, sitar
- Cornelius Hauptmann / flute, alto sax
- Karl Heinz Großhans / organ, synth
- Ronnie Libal / bass
- Rainer 'Mulo' Maulbetsch / vocals
- Günter Klinger / drums, percussion
- Peter Weber / bass (10-13)
- Tilmann Fuchs / guitar (7-13)
- Martin Gnädinger / keyboards (10-13)
- Wolfgang Haisch / drums (10-13)
- Benno Schrader / saxophone, flute (7-13)

Eulenspygel deserve their own chapter in the "Best Of Krautrock" handbook! After the success of their first album (titled 2), the recording for their follow up Ausschuss (Trash) would take place inside Abbey Road Studios in London. If you are a fan of Krautrock then you need to own this album! Imagine opening up with a 22 mins epic progressive rock track which ebbs and flows with some of the finest prog I have heard in a long long time. The instrumentation on this album are vast as well with some sitar, lots of mellotron, violin, flute and hand percussison. According to the liner notes during this recording they borrowed Rod Argents keyboards (who was in Abbey Road Studios at the same time)....also explains the heavy and wonderful keyboard work on this album. This is clever ever-changing 70's vintage krautrock which I guarantee will make you smile! This might be just simply one of the best Krautrock albums I have ever heard.

Eulenspygel - 1971 - Eulenspygel 2

Eulenspygel 2

01. Till (3:45)
02. Son My (11:14)
03. Konsumgewäsche (4:03)
04. Staub Auf Deinem Haar (7:58)
05. Die Wunde Bleibt (1:58)
06. Das Lied Vom Ende (10:15)

- Matthias Thurow / guitars, violin
- Cornelius Hauptmann / flute
- Ronnie Libal / bass
- Detlev Nottrodt / guitars, vocals
- Günter Klinger / drums
- Rainer 'Mulo' Maulbetsch / vocals, harmonica
- Karl Heinz Grosshans / organ, vocals

The ROYAL SERVANTS, forerunners of EULENSPYGEL, were formed in 1965 in Swabia/Germany. Starting up with beat music, they gradually turned to Blues Rock, finally Progressive Psychedelic and released one album named "We". In early 1971, they were one of the first bands to write their songs in German. So they changed their name into EULENSPYGEL the same year and the first new release was named "2", recorded at the Maschen studio near Hamburg. The front cover caused a scandal because of a burnt chicken and was later substituted. This album documents the awakening of the german rock music on the way to its own identity.

Musically they played on the same level as foreign bands including long instrumental parts, sometimes psychedelic coloured. Lyrics were full of social criticism. The lineup at this time was: Karl-Heinz Großhans (organ, vocals), Cornelius Hauptmann (flute), Ronnie Libal (bass), Günter Klinger (drums), Rainer 'Mulo' Maulbetsch (vocals, harmonica), Detlev Nottrodt (guitar, vocals) and finally Matthias aka 'James' aka 'Till' Thurow (guitar, violin). Next LP "Ausschuss" was produced 1972 with the same members in London at the famous BEATLES Apple Studios. It succeeds in capturing the early-70's progressive mood, sometimes angular sometimes mellow - in the year 2000 reissued on CD with several blues oriented bonus tracks produced by the reformed band in 1973/74.

From 1975 on and after several lineup changes and unsuccessful attempts to find another record company, the group was a quartet with only one remaining original member Detlev Nottrodt. After years of not much activity their eponymous third album was recorded and released in 1979 with 10 songs, later also offered on two compact discs with several additional tracks. This was followed by "Laut & Deutlich" 4 years later. The last two records changed to mainstream conventional mellow rock with less creativity and none of their radical political lyrics. EULENSPYGEL disbanded for good in late 1983.

Here is an absolutely killer 70's German underground recording you must how come this album is so darn hard to hunt down? Eulenspygel were a wild bunch of music freaks who recorded a fantastic couple of albums with their second in review here. Eulenspygel carried that certain underground German 70's vibe with homemade organ grinds, heavy bass and guitar overlays with heavier vocals, but wow is this album superb. With careful mix of jazz, fusion, prog and rock this album were pretty cleverly arranged and mixed with great imagination, color and tempo shifts. All vocals are sung in German and are done so with great conviction and I understand they are singing about anti-war themes. Fans of Krautrock will need to have this album in their collection..