The World Of Krautrock Vol. 1 (1997). Once upon a time, all fairy tales start. And gave the recollections of the time as it still Kreidler motorbikes and wild music also 'Krautrock' called. The artists on the CD are represented, also at that time for good tones there provided Birth Control from Berlin and Guru Guru from the Heidelberg area. They have become legends for us at least. On the CD are found beside the already mentioned groups also Witthüser & Westrup with wonderful ballads.
The World Of Krautrock Vol. 2 (2006). Two CD's, with a total of eighteen tracks, bringing to you some quite diverse artists like some of the better known acts, Birth Control, Guru Guru, Mythos and Floh De Cologne. Then there are several lesser known / more obscure bands like Emtidi, Walpurgis (two cuts by them), Holderin and Annexus Quam…

This is the japanese version of Kraftwerk - Concert Classics. Various versions seem to exist. With transparent and with black jewelcases. On the back and front of the case a blue sticker is attached. Therefore transparent jewelcase have another cover with the Autobahn logo in blue on black. When the CD was released in 1998 a Japanese press release is said to state that the concert was recorded in Dallas Broncos Bowl on 1/5/1975. However latest investigations to a series of recordings from Denver clearly indicate this recording coming from a 20/05/1975 gig in Denver.

The Roland Kovac New Set released several instrumental LPs on the Selected Sound label from Hamburg, the second and third of which, "The master said" (1971) and "Love that" (1972), are good progressive rock with a clear emphasis on jazz. The line-up on "The master said" consisted of top musicians: Master Roland Kovac himself had obtained his doctorate in music as early as 1952 and written numerous classical works and soundtracks. Guitarist Siegfried Schwab had just become famous at that time by working with Et Cetera and other groups and shows his brilliance on this LP with his fuzz guitar. Drummer Charly Antolini ("Knock out") had already been in business for many years and is still first choice on the jazz scene today. The fourth member was Franz Löffler on bass, who had already released several guitar LPs in the 1960s.

This set contains all of Sand's one and only album, Golem, from 1974, as well as whole lot of additional Golem-era tracks and three cuts from Born at Dawn, an unreleased solo effort by Sand vocalist Johannes Vester recorded shortly after Sand's demise. Golem is a strange blend of dark, off-kilter folk music with a very heavy dose of electronic effects. In fact, "Helicopter" starts off with several minutes of rotor-blade-sounding electronic pulses and other effects before heavily processed vocals and guitar strums take over. The music moves from abstract soundscapes to surreal songs, and all of it is filtered through a special artificial head recording system to make for particularly good headphone listening. With Klaus Schulze at the controls, many of the songs have a similar cosmic trippiness to his early solo stuff and Ash Ra Tempel, with lots of electronic swooshes and washes…

After several vain attempts in many bands, the brothers Rolf and Klaus Fichter finally found in 1973 their own musical identity. At this time the band original name Brontosaurus changes to Yatha Sidhra, a musical name which is really suitable for the new musical orientation taken by the two musicians. Particularly attentive to ethnic and meditative influences in popular music, they began to work on a long & epic piece called "A Meditation Mass" (under the influence of the famous Achim Reichel, the virtual member of the band who produces the album in 1974).
The first intention was to create a dreamy musical landscape where the Moog synth, the flute & traditional "percussive" instruments play an important part…

Tago Mago (1971). With the band in full artistic flower and Damo Suzuki's sometimes moody, sometimes frenetic speak/sing/shrieking in full effect, Can released not merely one of the best Krautrock albums of all time, but one of the best albums ever, period. Tago Mago is that rarity of the early '70s, a double album without a wasted note, ranging from sweetly gentle float to full-on monster grooves. "Paperhouse" starts things brilliantly, beginning with a low-key chime and beat, before amping up into a rumbling roll in the midsection, then calming down again before one last blast. Both "Mushroom" and "Oh Yeah," the latter with Schmidt filling out the quicker pace with nicely spooky keyboards, continue the fine vibe. After that, though, come the huge highlights - three long examples of Can at its absolute best…

Kollektiv had connections with the much better known Kraftwerk, and its self-titled album sounds a bit like early Kraftwerk, back in that group's jazzier days before it invented techno-pop. Kollektiv's album fuses free-form jazz and rock in typical underground Krautrock fashion, with long, loose improvisations and plenty of solos on guitar, flute, and sax. The music is entirely instrumental except for some weird spoken word on the shortest track, "Forsterlied." "Rambo Zambo" begins the album with some heavily processed flute soloing before jumping into high-energy avant funk with more flute. "Baldrian" is slightly more tame, but on the three-part "Gageg," which dominates side two, Kollektiv turns the energy up even more. Like "Rambo Zambo," this one begins slowly before building into another intense avant jazz-funk workout with the tight rhythm section, and in the last section, "Pressluft," some blistering electric guitar riffing.

Can - Monster Movie (1969). Though Monster Movie was the first full-length album in what would become a sprawling and often genre-defining discography, Can were on a level well ahead of the curve even in their most formative days. Recorded and released in 1969, Monster Movie bears many of the trademarks that Can would explore as they went on, as well as elements that would set the scene for the burgeoning Krautrock movement. This would be the only album Can's first singer Malcolm Mooney would sing the entirety of, as he was replaced by Damo Suzuki by the time of 1970's Soundtracks, leaving the band after going through a highly unstable time. Mooney was known for his erratic ways, and some of that mania undoubtedly comes through here, with his caterwauling howls on the unexpectedly garage-influenced "Outside My Door"…

Rockpalast was a WDR (Cologne) show produced between 1974 and 1986, and revived again in 1995. The show was originally produced by Peter Rüchel and directed by Christan Wagner, and was famous for staging gigs with the leading bands of the day. The three concerts preceding Epitaph's first Rockpalast appearance were with Todd Rundgren's Utopia, Leo Kottke, and Ry Cooder. Epitaph first hit the Rockpalast stage on February 2nd 1997, and were followed that year by artists like Kate & Anna McGarrigle, Chicago, Harry Chapin, Tom Waits, Tom Petty, Rory Gallagher, Little Feat and Roger McGuinn's Thunderbird. Although two of the founder members, Cliff Jackson and Jim McGillivray, were Brits, and the lyrics were English, Epitaph was definitely a German band. As such it was quite amazing that Epitaph made it onto what was in effect Germany's answer to The Old Grey Whistle Test…

Sada is the second studio collaboration between Spanish guitarist Ángel Ontalva and beloved Russian space-prog-jazz-psych geniuses Vespero. The two previously broke ground on 2018’s ‘Carta Marina,’ which in turn led to the live album ‘Sea Orm Liventure’ before this latest work. Clearly, they have a good thing going, and they bring out the best in each other. I strongly recommend ALL of these albums. Ontalva and Vespero make a superb combination. Their works - all instrumental - remind me a great deal of Mahavishnu Orchestra. So kindle your inner mounting flame and come along for the ride.

The quartet comprised Wolf-Rodiger Uhlig (organ, piano, vocals), Wolfgang Rumler (guitar, vocals), Andreas Scholz (bass) and Schim Schmidt (drums, vocals) and were responsible for recording one of the finest albums for the Kuckuck label. Incorporating jazz and classical influences, the album was dominated by Uhlig's organ playing and was arguably the hardest album released by Kuckuck. Murphy blend was a short lived group with first loss being their sole recorded legacy. This re-mastered edition of First Loss is an essential release for all lovers of so called Krautrock.

Eroc (Joachim Heinz Ehrig) started his solo career in 1975 while he was currently the drummer of Grobschnitt. His self titled album can be considered as a cross between Gorbschnitt's typical symphonic amazing music and electronic/synthscapes dominated by numerous original sound manipulations. Despite that he was originally recognised as a drummer, here Eroc is the man behind the machines, controlling solid essays in synth experimentations and electronic collages. His first album is an absolute must in Kraut/ electronic genre, very abstract, emotional and a mix of different moods. This album is an opponent worthy of Klaus Schulze's first realisations in space/"kosmische" electronic music.