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2CD
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MIG 3452CD
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"Founded in 1969 by Düde Dürst, Hardy Hepp, Walty Anselmo, Terry Stevens, and Mojo Weideli, Swiss rock band Krokodil was not only one of the first of its kind, but also influenced numerous subsequent Swiss rock bands with its unique, progressive, and psychedelic-tinged musical style. 'We didn't want to emulate our Anglo-American idols, but play our own music right from the start,' recalls drummer Düde Dürst. 'Everything was possible for us, there were no limits.' After three albums for the international record company Liberty/United Artists, Krokodil changed labels in 1972. On Getting Up For The Morning, they worked with producer Peter Hauke (Nektar and Omega, among others) for the first time. The LP was recorded in Dieter Dierks' studio in Stommeln, Germany. Like its successor Sweat And Swim, the album was released on the Bacillus label of Frankfurt's Bellaphon. Then it was over. After six intense years, the band split up. Düde Dürst said: 'I think we were in top form at that time -- musically and compositionally. And we had turned more towards rhythm & blues again.'"
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3CD
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MIG 130CD
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"Re-launch of the successful and famous La Vie Electronique series by Klaus Schulze. Each volume contains three CDs and an extended booklet with photos and extended liner notes. MIG will gradually make the out-of-print volumes available again. La Vie Electonique Vol. 4 contains music from Schulzes 'golden era' in the mid '70 -- the peak of German electronic music in the 20th century."
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MIG 3432CD
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"Formed in 1972 as a quintet, Dzyan recorded their self-titled debut album after only two months and released it on Aronda, a small Bad Homburg label owned by producer Günther Müller. The original line-up, which never performed live, broke up after a few months. Bassist Reinhard Karwatky soon formed a trio that took the band's name. Karwatky, guitarist Eddy Marron and drummer Peter Giger signed a contract with Bacillus/Bellaphon, Peter Hauke (Omega, Nektar, Jeronimo, etc.) produced and Dieter Dierks was the studio engineer. On Time Machine (1973), the first album for Bacillus, Dzyan plays virtuoso jazz-rock that occasionally, especially on the 18-minute title track, reminds one of John McLaughlin's Mahavishnu Orchestra. At the same time, the trio does not lack a certain herbaceous rawness. On their second Bacillus album, Electric Silence (1974), the trio celebrates their Kraut-Jazzrock to perfection. In its review of the album, the leading German jazz magazine Jazz Podium concluded that Electric Silence would establish Dzyan as 'probably the best German band' in the field of jazz rock. Achim Breiling of the online magazine Babyblaue Seiten said: 'Electric Silence is certainly one of the strangest, but also one of the most impressive and independent of what has been produced in Germany in the border area between jazz and rock.'"
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MIG 3472CD
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"Guitarist Ax Genrich began his career in 1970 with a brief stint with German prog-kraut rockers Agitation Free. There he was able to develop his improvisational style, but was soon poached by Mani Neumeier to join Guru Guru. Together with bassist Uli Trepte, Genrich and Neumeier enjoyed their first major successes and were soon regarded as the new figureheads of Krautrock, releasing Känguru in 1972, a milestone in the genre. After four years and four albums, Ax Genrich left Guru Guru because the string wizard had new plans. The first of these was called Highdelberg and became a kind of Krautrock supergroup project: Guru Guru's Mani Neumeier sat at the drums, supported by Kraan bassist Helmuth Hattler, guitarist Peter Wollbrandt and drummer Jan Friede, as well as the two keyboardists and electronic specialists Dieter Moebius and Hans-Joachim Roedelius (both also of Cluster and Harmonia). Conny Plank was on the mixing desk. Musically, Ax Genrich explored new frontiers, moving away from the improvisational style of the gurus and devoting himself more to a well-dosed mixture of progressive rock, pop and Kraut. It was not until 1994 that Genrich released his second solo album, Psychedelic Guitar, and he is still active today."
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MIG 3442CD
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"Harald Grosskopf is a living legend of progressive Krautrock and electronic music, known far beyond the borders of Germany. His career, spanning over five decades, ranges from his beginnings with the German progressive Krautrock band Wallenstein, his collaboration with Klaus Schulze and Manuel Göttsching, the release of his seminal solo album Synthesist (1980, Sky Records) to his great live successes in front of audiences of over 30,000, such as at the Metamorphose Festival 2008 (Japan) or most recently in 2024 at the Plain District Festivals in Beijing and Xi'an (China). Harald Grosskopf's music has inspired DJs, producers and artists around the world, including Cologne-based DJ, composer and sound artist Ümit Han. The two have now worked together for the first time in recent months, crossing generational boundaries. The result is the album Magnetfeld. For Harald Grosskopf, it is a further chapter in his impressive career; for the techno musician Ümit Han, it is a step into new musical spheres; and for the listener, it is a new encounter of the electronic kind."
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CD/DVD
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MIG 90510CD
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DVD region code 0. "With their catchy mix of post-punk, funk, and rhythmic spoken vocals, Ian Dury and the Blockheads became pioneers of the new wave scene. Frontman Dury captivated audiences with his mischievous Cockney wit and ecstatic stage show. In the mid-1970s, Ian Dury was the figurehead of the British new wave and pub rock scene. His 1977 debut album New Boots And Panties!!! became a classic shortly after its release: songs like 'Sex And Drugs And Rock'n_Roll' became catchphrases, and the melodic and creative richness of early Ian Dury, coupled with his extravagant stage show, made him a legend. The Rockpalast concert, which has now been released, was recorded just a few months after the release of New Boots And Panties and contains all the highlights of the album, a completely unrestrained Ian Dury and the Blockheads playing brilliantly! A memorable performance, recorded by WDR on February 21, 1978, at WDR Studio-L in Cologne, precisely because Dury was virtually unknown in Germany at the time. His quirky performance is more reminiscent of a staggering drug addict than a musician who doesn't take himself too seriously, but still gives his all and always works professionally. A document of its time, not so metal, but extremely worth seeing and hearing -- a classic!"
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MIG 3352CD
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"Känguru is the third album by Guru Guru, released in 1972 on the Brain label. It was produced by Conny Plank and features the 'classic' Guru Guru line-up of Ax Genrich (guitar), Uli Trepte (bass) and Mani Neumeier (drums, vocals). Känguru is basically made up of the same ingredients as its two predecessors Ufo and Hinten, which were released on Rolf Kaiser's Ohr label in 1970 and 1971. Känguru is pure Krautrock, the album contains 'only' four tracks, all between 10 and 15 minutes long. But the band moves away from the disorganized chaos of the previous two albums and gives the songs more structure, reducing the amount of heaviness. At the same time, the humorous component increases, see for example Mani Neumeier's spoken word in the introduction of 'Immer lustig.' In short, Känguru is a Krautrock gem."
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2CD
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M 1225CD
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"Friedrich Gulda (16 May 1930 -- 27 January 2000) was an Austrian pianist, composer and musical crossover artist. Coming from a classical background, he began playing the piano at the age of seven. At the age of 12, he began his musical education with Bruno Seidlhofer (piano) and Joseph Marx (music theory and composition) at the Vienna Academy of Music, now the University of Music and Performing Arts in Vienna. At the age of 16, he won the Geneva International Music Competition and quickly rose to international fame. Friedrich Gulda was known for his prodigious memory. It took him only a few minutes to memorize a piece of music and then play it from memory. He was one of the few musicians in the world who, in addition to his achievements as a classical pianist, was able to play and improvise on an equal level with the jazz greats of his time. He praised jazz as 'the truly progressive.' In 1956, he played for the first time at Birdland in New York, followed by performances with his friend Joe Zawinul. Gulda's improvisational encounters in the 1980s, including at the Munich Piano Summer with jazz colleague Chick Corea, are legendary. In the 1970s Friedrich Gulda found a congenial partner, not only for life, in the drummer and singer Ursula Anders. With her and an illustrious cast of fellow musicians (including Albert Mangelsdorff, John Surman, and Cecil Taylor), he recorded 'Nachricht Vom Lande' at Schloss Moosham in the Salzburg region (Austria) in the summer of 1976, which was released as a double LP on the Brain label in 1976. This was unusual for the label, which had made a name for itself with progressive rock and Krautrock releases. But Gulda always did what he wanted, an enfant terrible not only in music."
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CD
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MIG 1590CD
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"Re-issue of the classic Klaus Schulze album Body Love, original released in 1977. Klaus Schulze about the origins of Body Love: 'I received a call from a movie producer named Manfred Menz and I wound up becoming his principal composer for a period of time. Amongst others, I composed the Barracuda soundtrack for him. This led to a friendship which lasts till today. He called me and asked if I would compose the score to a porn movie. I said: 'Porn? Nah, I don't do that kind of thing.' As it turned out, the director of the movie, Lasse Braun, had already shot it and had used my albums Timewind [1975] and Moondawn [1976] as a kind of 'working soundtrack.' This was obvious because the couples in the film were moving in time to my grooves! They were almost done with the film, and they were now looking for the final music. First they tried it with normal pop music but that didn't work out. So Lasse said to Manfred 'Let's simply ask Schulze to compose a soundtrack that's similar to Moondawn! Besides, there wasn't too much dialogue in it so you could let the music run through it all the way. Therefore I didn't need to write two minutes here, three minutes there until the next piece of dialogue or sound effect occurred. I had the opportunity of delivering a genuine composition."
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3CD
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MIG 160CD
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"La Vie Electronique 7 is once again a rich and enormously exciting journey through time. Klaus Schulze's music, which this time is somewhat more rhythmically oriented, has hardly aged at all and once again shows where most modern electronic musicians have learned. For fans who grew up with the music and who could wonderfully customize the soundtrack to their own taste, H.P. Lovecraft's Mountains of Madness once again looms large, allowing you to travel to Algernon Blackwood's magical places and Montague R. James' enchanted places in your mind. Schulze's sound cosmos is still captivating -- even on the side tracks."
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3CD
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MIG 173CD
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"Re-release of the successful and partly out-of-print series La Vie Electronique by Klaus Schulze. Between 1977 and 1983 Klaus Schulze recorded some of his more contemplative works. The albums Mirage, Dune, or Dig It show a significant change in his way of playing and composing. Finally, Schulze's renewal and expansion of his instrumentation also had an impact on the music and the possibilities of playing and recording it in an even more sophisticated way. The track 'Synthasy' from Dig It, for example, shows how far Schulze has come since Timewind or Moondawn. This eighth Volume of La Vie Electronique contains a selection of tracks that were created during these years outside of the official albums. A significant part of the 3CD set consists of concert recordings from the 1979 tour with guest vocalist Arthur Brown, recorded with a standard cassette recorder of the time -- in stereo. In addition to three tracks that had already been released in 1980, there are several other recordings from this tour in fall '79. For example, the concert on October 24th in the Audimax of the TU Brussels, which reveals the energy and passion of this unusual duo, for example 'Faster Than Lightning,' the second title of the concert evening. Before the break, Schulze is undoubtedly in a good mood during 'Dans un jardin,' creating a musical landscape, playing soulful solos on his Minimoog, then drumming on electronic 'bongos' to create a darker mood in the last part of the piece."
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CD
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MIG 3402CD
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"For more than two years, Zeus B. Held has been the keyboardist for the German kraut rock institution Guru Guru. However, his long-standing international career as a musician, producer, songwriter and arranger began in 1972 with his kraut rock colleagues from Birth Control. Six years and six BC albums later, after the release of his solo album Zeus' Amusement, he parted ways with the band. He explored new and interesting possibilities for himself with the use of a vocoder, especially in vocal phrasing. Together with drummer Manni von Bohr (Bröselmaschine), bassist Horst Stachelhaus (Birth Control, Message) and Helmut Fichtner from the Düsseldorf band Message as another keyboarder, he also brought the concept of Zeus' Amusement to the stage. The album itself was released in 1978 on Brain; the cover design by Berlin underground artist Gil Funccius caused a sensation and sold very well, but unfortunately it was somewhat forgotten over time. This was also due to the fact that Zeus concentrated more on writing, producing and arranging and provided the right sound for artists like Nina Hagen, Dead Or Alive, Men Without Hats, and especially Gina X Performance. After almost 47 years, Zeus' Amusement is now available on CD and digitally for the first time. As a bonus, there are four new arrangements and remixes by Zeus."
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LP
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MIG 3391LP
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"Was Drosselbart a Krautrock band just because they came from Munich like Amon Düül, sang in German and released their first and only album on a major German record label in 1971? 'No,' says Monika Vincent-Gunia aka Jemima, Drosselbart's singer. 'We were the first punk band in Germany. The guys in the band could only play three chords, maybe four, but they were burning with enthusiasm.' However, Drosselbart's music on the album of the same name has very little to do with the punk of the mid-seventies. The guys had obviously practiced a bit and managed to get more than four chords down. The whole thing sounds a lot like the 1960s, occasionally reminiscent of harder rock, psychedelic US bands like Iron Butterfly or the music of British blues rockers like Brian Auger and Julie Driscoll. Keyboardist Christian Trachsel contributes some progressive moments and guest musician Ralf Nowy adds a classical touch. As already mentioned, the vocals are sung in German by Jemima and Peter Randl. The latter prefers a more aggressive, agitated, declamatory style, as known from various German political rock bands of the early '70s. The recordings were made at the Union Studios in Munich, where a young sound engineer named Reinhold Mack is said to have assisted the band and provided the mix. From the mid-1970s, Mack went on to make a career as a sound mixer and producer for the likes of ELO, Sparks, Deep Purple and, most notably, Queen."
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CD
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MIG 3382CD
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"In 1971, Guru Guru had already released two LPs on Rolf-Ulrich Kaiser's Ohr label, distributed by Metronome in Hamburg, namely UFO (1970) and Hinten (1971). On September 21, 1971, Guru Guru played in the then line-up of Mani Neumeier (drums, vocals), Uli Trepte (bass) and Ax Genrich (guitar) in the auditorium of the Bremen High School at Leibnizplatz. The sound engineers of Radio Bremen were present and took the opportunity to record the concert. Guru Guru's program that evening consisted of three long pieces with extensive improvisations: the almost 24-minute opener 'LSD Marsch' was taken from the 1970 debut album, followed by 'Bo Diddley' and 'Space Ship' from the then current second album. 'Hinten' had just been released shortly before the Bremen concert and had already caused quite a stir in the press. 'With this recording, sound engineer Conny Plank has created a masterpiece,' wrote the German music magazine Sounds: 'The Gurus have musically changed a lot for the better, their music is no longer so nervous and scattered, the long, free excursions of the three instrumentalists now lie over calm, drawn-out bass lines and a powerfully marching drum set.' The idiosyncratic blend of rock, jazz and funk with African polyrhythms and psychedelic sound cascades is finally available in its full length and revised form in record stores."
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LP
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MIG 3321LP
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"Novalis were formed in 1971 and started singing in German on their second LP Novalis in 1975. Only their debut Banished Bridge (1973) was in English. In addition to romantic lyrics, they also used works from the classical period. 'Impressionen' from the album 'Novalis' is an interesting arrangement of Anton Bruckner's 5th symphony. Vielleicht Bist Du Ein Clown was released in 1978 on the Brain label, produced by Achim Reichel. It was the band's fifth long-player. The cover was designed by Hipgnosis (Storm Thorgerson, Aubrey Powell), who were also responsible for the covers of Pink Floyd and the Alan Parsons Project. On this album, Novalis have once again succeeded in creating a sound in which all instruments interact in a balanced partnership. Timeless music that still works today. The re-release is limited to 500 copies on colored (random) vinyl."
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3CD
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MIG 1080CD
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"Klaus Schulze -- the master of electronic music -- presents La Vie Electronique Vol. 15, recordings from the years 1997 to 2000. On CD 1 is the last of the 25 CDs in the Jubilee Edition set in 1997. Klaus recorded it during April 1997 in his studio. Disc 2: The first two tracks ('L'opera aperta' and 'La tolleranza') are the second part and the encore of Klaus' solo concert in Bologna, Italy, on the 15th of December 1998 at the 'Teatro delle Celebrazioni.' The third track was especially recorded by Klaus for the Ultimate Edition box in late October 1999. Disc 3: These three tracks are a collaboration with an old friend, the cello player Wolfgang Tiepold. Most of the Schulze aficionados know (and love) Schulze's vintage albums with Wolfgang. He visited Klaus in his studio again in summer 1999, twenty years after the two did some good things in concerts and on some albums."
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CD+DVD
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MIG 3252CD
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DVD is NTSC format, region 0. "Ginger Baker was a member of Hawkwind for a short time in 1980, but left the band already after the album Levitation. However, Ginger Baker's manager Roy Ward had already planned a tour of Italy for March 1981, albeit for Hawkwind. But that didn't stop Ginger from putting together a band to play the concerts himself. He wanted to present a fait accompli to the promoters. The new band was called Ginger Baker's Nutters and included Keith Hale (keyboards, vocals) from Hawkwind, his old friend Riki Legair (bass), as well as Ian Trimmer (sax/vocals) and Billy Jenkins (guitar/vocals), who had previously recorded two great albums with Burlesque on Arista and were touring as an idiosyncratic comedy jazz fusion duo. The band immediately began working on new songs that were difficult to categorize, a mixture of jazz, blues and rock with lyrics that were typically British humor à la Monty Python. Baker decided to continue working with the band. He liked the young musicians. They were fresh, full of ideas and enjoyed jamming. He believed in the success of his new band, especially since the audience was totally enthusiastic at every performance. After a successful tour of Italy, the Nutters worked on new songs and played two shows at the legendary Marquee Club in London on May 18 and 19, 1981, which were recorded by Ian Trimmer's friend Andy Shuttleworth and his camera crew. The original U-Matic tapes, long lost, resurfaced in the fall of 2023 and have since undergone extensive restoration. Now, for the first time, this concert by this great band, which Ginger described in an interview as his most innovative band since "Airforce," is available."
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MIG 3241LP
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"Logically, Omega did not plan to divide their career into genre phases at the time. Music journalists and fans -- and especially statisticians -- did that later. According to their interpretation, the second half of the seventies was the Space Rock era of the Hungarian band. It is represented by the trilogy Time Robber (1976), Skyrover (1978) and finally Gammapolis (1979). Although spherical sounds could already be heard in the work of the Budapest quintet before and after this, Omega only really showed themselves to be so conceptually focused on this triple. If you take the successful LP Time Robber as a measure of quality, Gammapolis could easily keep up. The compositions of the group around singer Jànos Kòbor had become more melancholic, the bittersweet melodies more flattering. This was especially true of the seven-minute opener 'Dawn In The City' ('Hajnal a város felett'), the title track 'Gammapolis' and 'Silver Rain' ('Ezüst eső'). Apart from the vocals and the language, there are some minor differences between the Western European, English-language version and the Hungarian 'original' in the order of the tracks and the length of the songs. Minimally, Omega let the instrumental passages of some songs flow longer on the native language version. For the Western European Omega record buyers, however, these subtle differences were irrelevant, as most of them were not even familiar with the Hungarian songs. Nor would they have noticed that Gammapolis was the best-selling LP of the band's career in Omega's home country, selling almost three quarters of a million copies. However, the German cover artwork differed considerably from the Hungarian version: while the Bacillus/Bellaphon version showed the silhouettes of the musicians against a night sky cut by anti-aircraft searchlights, the Pepita album apparently depicted a futuristic but barren world on an alien planet."
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LP
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MIG 3221LP
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"After four studio albums and one compilation, the Hungarian megastars Omega were still much of an insider tip in the West. However, sales figures were noticeably rising, though far from going through the roof. In addition, the band had evolved, becoming more professional, both in their live performance and in their appearance. Those in charge at Bacillus/Bellaphon definitely meant to hold on to Omega, so in 1976 the contract with the quintet was extended till 1980. And the band, together with producer Peter Hauke, went to the Europasound Studios in Offenbach to record Time Robber. That LP was Omega's breakthrough in the West. To date, the album is said to have sold around two million copies. And this success was well deserved; for the first time, the Hungarians delivered a complex, self-contained work. Hopes were high for Skyrover. Omega came to Offenbach again and self-produced an exquisite successor of Time Robber, which was in no way inferior to its immensely successful predecessor. Quite a few Omega fans even consider Skyrover to be the better record, since the band elegantly merged the styles, which on Time Robber still appeared sometimes a bit stiff and side-by-side. 'Russian Winter' has become a live classic -- titled 'Lena' on the Hungarian LP version. With its Eastern European folklore references, the song stood out from the musical concept, and that's probably why it became a fan favorite."
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2CD
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MIG 3112CD
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"After Eric Clapton left Blind Faith in late 1969, Ginger Baker came up with the idea of forming a kind of big band that mixed African music with popular Western music. This innovative concept was ahead of its time and would later be called 'world music.' He brought together an all-star ensemble (Steve Winwood, Ric Grech, Chris Wood, Graham Bond, Denny Lane, etc.) and played two concerts at the Royal Alber Hall in London and the Town Hall in Birmingham. Shortly after the concerts, the live double LP Ginger Baker's Air Force was released in Europe and America. It was a very idiosyncratic mix presented to fans accustomed to rock, but the critics praised this musical excursion and Ginger was surprised by the remarkable sales figures. He decided to continue the project, recruiting new young musicians for his Air Force and entering the studio to record the follow-up album Air Force 2. In October 1970, the band traveled to Germany with the current line-up to play some concerts and made a detour to the north to perform at the TV studio of Radio Bremen on the legendary music show Beat Club. Air Force also drew on Cream classics such as 'Sunshine Of Your Love,' which was rearranged in an African big band sound and flowed seamlessly into 'Toady.' A nine-minute epic by the band with numerous solos and a Ginger Baker bursting with energy, drumming one of his best solos. Now this session is available on audio and video, on CD and DVD, with all the takes recorded that day, not just the ones that were finally broadcast at the Bremen Beat Club in Germany on Saturday afternoon, October 24, 1970." DVD is NTSC format, region 0.
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MIG 3211LP
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"Omega, the most successful Hungarian prog rock band, released their best material in the '70s, and Time Robber is considered the musical highlight of Omega's discography. The heart of the LP is the title track, flanked by 'House Of Cards Part I & II.' The nearly 13-minute work encapsulates exactly what Omega was all about in 1976: progressive space rock mixed with hard rock elements. After four studio albums and one compilation, the Hungarian top stars Omega were still an insider tip in the West. But there was a noticeable upward trend in the sales figures, even if the sales were far from going through the roof. In addition, the band had developed and become more professional both live and in their appearance. Bacillus/Bellaphon wanted to keep Omega at all costs and extended the quintet's contract in 1976 until 1980. The band moved into the Europasound Studios in Offenbach with Peter Hauke and recorded Time Robber there. The LP was Omega's breakthrough in the West. To date, the album is said to have sold around two million copies. And this success was no accident, as the Hungarians delivered a complex, self-contained work for the first time."
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2CD
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MIG 90972CD
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"Two-disc set, with CD and bonus DVD. John Martyn (born Iain David McGeachy on September 11, 1948 in New Malden, Surrey, died January 9, 2009 in Thomastown, County Kilkenny, Ireland) was an exceptional guitarist and accomplished singer/songwriter. He was 'an electrifying guitarist and singer whose music blurred the boundaries between folk, jazz, rock and blues' (The Times). Nick Drake, the melancholy songwriter born in Burma, now Myanmar, was a good friend and flatmate of John's and, like John Martyn, an insider tip on the singer/songwriter scene for years. When Drake died in 1974, John Martyn had just gotten his career off the ground, signed a record deal with Island Records, and celebrated his first chart successes with his 1973 album Solid Air, the title track of which was dedicated to the depressed Drake. In 1977 came the album One World, the final breakthrough for John Martyn. An album with music somewhere between folk and jazz, recorded under the direction of Chris Blackwell with musicians such as Stevie Winwood and the Jamaicans Rico and Lee Perry. On this album, Martyn had already perfected his amazing virtuoso picking technique on the guitar, and he also created a unique sound by often running his acoustic guitar through a fuzzbox, phase shifter and above all Echoplex and other effects devices. John Martyn makes full use of this technique at the concert on March 17, 1978 in Hamburg's Audimax. Alone on stage, John is the solo entertainer, spontaneous, sometimes funny and ironic, unpredictable, fearless and fascinating and all this on a very high musical level. John is the great master of ceremonies who inevitably captivates the audience. And he is not above interacting with and involving his audience, creating a unique live atmosphere. Acoustic, electric, funny, ironic, unpredictable, fearless and fascinating -- all this plus a bonus track from Die Aktuelle Stunde (WDR TV) from October 12, 1989." DVD is NTSC format, region 0.
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2CD
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MIG 1880CD
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Klaus Schulze talks about Ballett: "Apart from Ballett 1 & 2 the Contemporary Works boxset also contained Ballett 3 and Ballett 4. All four pieces were originally intended to be one composition in honor to my mother who had been a ballet dancer and had died in 1998. I never assumed that the ballet would be performed with dancing. Then I would have to cut down to about 15 or 20 minutes and would probably have to throw away all my favorite parts, which would be quite difficult! The music could have had another title but since it was the first production I did after the death of my mother, I called it Ballett and just numbered the four parts. Ballett 3 once again features traditional instrumentalists such as Thomas Kagermann (violin, flute), Wolfgang Tiepold (cello), and Tobias Becker (oboe). Obviously, I could have played Tobi's oboe or Tiepold's cello with a sampler but it's really something different when those instruments are played live as there is a wonderful interaction with my electronics. Then, you not only have the instruments but also the musicians' ego. If I play a cello sample then I'll do it the way I play keyboards. However, a cellist or oboist plays the 'real' instrument with all the subtleties that come with playing, which a sample can never reproduce. The pure sound of an instrument is not the crucial thing here however. It's the musician's personality that is important as it determines the character of the music."
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MIG 3141LP
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"The history of Canned Heat is also the history of excesses, drug abuse, mental illness and pill addiction, combined with an affinity for internal band funerals. Drummer Adolfo "Fito" de la Parra said in an interview: 'I'm still with Canned Heat after more than 55 years. To be alive at all is already a triumph here.' After all, Fito had been with the band since their second official album Boogie With Canned Heat, which was released on the US label Liberty in 1968. In 1970, Future Blues was released, the first album with the new guitarist Harvey Mandel. With 'So Sad (The World's in a Tangle),' the album contains the band's first environmental protection song. It is about the constant smog over Los Angeles. 'Let's Work Together,' a cover version of Wilbert Harrison's 'Let's Stick Together' from 1962, became a top ten hit for Canned Heat worldwide. The concert recording ''70 Concert: Recorded Live In Europe' followed in the same year. Recorded at various venues during the tour through Europe (including London's Royal Albert Hall), this is the band's first official live album and also the last audio document of Canned Heat with Alan 'Blind Owl' Wilson, who died of an overdose of pills in September 1970. With 'Final Vinyl,' Canned Heat recently released their last album; Future Blues and '70 Concert: Recorded Live In Europe are among their essential albums, when the band in its key line-up with Al Wilson, Bob Hite, Fito de la Parra, Harvey Mandel, and Larry Taylor had reached the zenith of their work at the end of the 1960s/beginning of the 1970s. Wilson's death left a gap that could no longer be filled, especially as Larry Taylor and Harvey Mandel had also left Canned Heat shortly beforehand to join John Mayall's USA Union band."
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3CD
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MIG 3102CD
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"More than 250 concerts in seven countries (Germany, Austria, Switzerland, Netherlands, Italy, Turkey, Romania) have made the Austrian progressive rock legend Eela Craig an internationally acclaimed band. Their stages range from renowned opera houses such as the Frankfurt Opera and the Hamburg Opera to the Philharmonie Berlin and major venues such as the Konzerthaus Wien, the Stadthalle Wien and the Wiener Festwochen. The diversity of her musical journey is also reflected in international appearances, including Zurich, Istanbul, Bucharest and the renowned 'Sagra Musicale Umbra' festival in Perugia, Italy. From 1971 to 1980, Eela Craig released five studio albums, and in 1978 the band ventured into a 'rock mass' with 'Missa Universalis:' a multilingual high mass in a strict liturgical style with instrumental use of electronics and elements of rock music. The mass includes all parts of the Ordinary of the Mass and uses the prescribed standard texts in Latin, German, English and French. Old chorale and Bruckner motifs can be heard in the compositions. The performance of the 'Missa Universalis' at the 1978 International Bruckner Festival met with an extraordinary response. Die Zeit wrote at the time: 'Pop music conquered the Brucknerfest 1978 with 'Missa Universalis'.' The Münchener Merkur wrote: 'The music of Eela Craig is a perfect mixture of old forms and new sounds. This group goes further than Pink Floyd, their imagination is bigger and more expansive.'"
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