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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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MIG 3121LP
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"Third Ear Band hail from Canterbury and started out as a psychedelic band called The Giant Sun Trolley, playing long, impromptu sets in South London clubs. After one gig, almost all of the band's equipment was stolen. So, by sheer coincidence and obvious necessity, they became an acoustic band and adopted the name Third Ear Band. From 1969 to 1972, the band released three albums on the progressive Harvest label, of which Music From Macbeth (1972) was the best known and most commercially successful. On April 24, 1970, the Third Ear Band performed at the second Essen Pop and Blues Festival. For some reason, they did not appear on the official poster for the event or in the festival program. The line-up was packed with acts like The Flock, Ekseption, Rhinocerous, The Groundhogs, It's A Beautiful Day, and the still unknown Black Sabbath, who had just released their first album. The Essen concert in the quartet line-up with Sweeney on drums, Minns on oboe, Coff on violin and Smith on cello took place just a few weeks before the release of the second album, which fans know as Elements, although it is simply called Third Ear Band and was released in June 1970. Of the four elements, the band played 'Earth' and 'Water' that night, but in a shorter version compared to the album versions. The professional sound recordings of the Third Ear Band's festival performance have only recently resurfaced and have now been restored, edited and mastered."
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2CD
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MIG 1310CD
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"Once again, past master Klaus Schulze appears to be in top shape on his twelfth solo album. There is almost no-one who can hold a candle to him as a live musician performing on the synthesizer. The Meta Musik festival at the National Gallery in Berlin, from which the ?Live? track 'Sense' was taken, was an event arranged by Walter Bachauer. He was the head of programs at radio station RIAS. He also was a big fan of minimalist music. The bonus track 'Le Mans au premier' is taken from a concert at the abbey L'Epeau near Le Mans in France on November 10th 1979. 'My music is very emotional and spontaneous, so I play in a quieter mood in a church or an abbey than at the Palais des Sports in Paris for instance. The atmosphere of the place always strongly influences me; that's why 'Le Mans au premier' is also one of my quieter live recordings but a very nice one nevertheless.' ?Klaus Schulze."
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MIG 3031LP
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"My Solid Ground were a German progressive rock band active in the 1970s. This obscure krautrock album called My Solid Ground from 1971 has long been considered a classic of the genre. The first track, the 13-minute 'Dirty Yellow Mist', certainly lives up to its reputation as the group embark on a dark space rock journey. It sounds like a mixture of psychedelic rock and progressive rock. With lots of long keyboard tones, a crunchy guitar riff, some acid guitar sounds and distorted chanting as well as some wordless vocals in higher pitches. 'That's You' has enough energy to pass for proto-punk, and the chorus of 'Do you wanna die' doesn't detract from this impression. The song 'The Executioner' is a dark piece that alternates between echoing vocals and intense guitar solos. The songs on the album are characterized by catchy melodies, experimental sounds and lyrical lyrics. If you are a fan of progressive rock or enjoy discovering new music, My Solid Ground could be an interesting choice for you."
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CD
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MIG 2580CD
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"More than 50 million records sold, LP productions in Hungarian, German and English, tours and festival appearances throughout Europe and Japan, at least 50 cover versions or adaptations of the world hit 'Gyöngyhajú lány' -- Omega are Hungary's number one rock export. In 2022, the band will be celebrating its 60th stage anniversary, making it one of the longest-serving rock formations in the world. On St. Nicholas Day, December 06, 2021, singer and founding member János Kóbor passed away due to the coronavirus. Now the Omega albums from the well-known and successful Bacillus era will be rereleased originally and completely on CD, vinyl and digitally. After a few trips into symphonic and psychedelic rock realms, Omega presented themselves on III, released at the end of 1974, again more down to earth: Nine crisp hard rock tracks, only one exceeding the four-minute mark. For this album, Peter Hauke, still producer, and Omega not only used current material, but also included songs that had already been recorded in the Hungarian original in 1969: 'Stormy Fire' and 'Spanish Guitar'. In order to attract a broader audience, the songs had been pared down, instrumental soloing was reduced. In order to attract a broader audience, the songs had been pared down, instrumental soloing was reduced. Although Omega had always flirted with progressive stylistic means since their turn to psychedelic rock in 1969, this time they kept their hands off intricate arrangements. Instead, they turned towards the zeitgeist by including rather blunt rock tunes like 'Stormy Fire', 'Go On The Spree' and 'Fancy Jeep' in the list, which could also please a glam rock fan and passionate consumer of single hits by bands like The Sweet and Slade. The series with re-releases of Omega from the catalog of the rock label Bacillus will continue."
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MIG 3042CD
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"Weed were an up-and-coming Krautrock band from Bielefeld, Germany, known for their unique blend of psychedelic rock and catchy melodies. Their only album Weed, originally released in 1971, featured Uriah Heep organist Ken Hensley as guest musician, playing under the pseudonym 'Ken Lesley'. Weed is a collection of energetic songs with powerful guitar riffs, driving beats and catchy lyrics. An album that inspires with its versatility and distinctive sound. If you're looking for some new music to get you going and inspire you, then the album Weed by the band Weed is definitely worth a listen!"
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CD
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MIG 1640CD
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"Years before even the first movie adaptation of Dune was made, Klaus Schulze already turned his love for the book into a breathtaking album. Dune is one of Schulze's most important albums, featuring two long-form compositions. The second track features Arthur Brown on vocals and Wolfgang Tiepold on cello. The track 'Dune' perfectly encapsulates the vast landscapes of the desert planet, while 'Shadows of Ignorance' captures the religious intrigue of the story, thanks to the interpretation of one of Schulze's poems by Arthur Brown. Re-release in a stylish digipack with enhanced booklet, including detailed liner notes and photos. Featuring 23-minute bonus track."
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3CD
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MIG 110CD
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"La Vie Electronique first was released as a strictly limited 50 CD-Box and later it was released in chronological order in three-CD-sets including some material never released before. This second set contains pieces, which have been recorded between 1972 and 1975. Is it wrong if I state that Klaus was the first who dared to use noise (as in 'Electric Love-Affair': a lot of noise and buzz) as stylistic device? The four tracks 'Nightwind', 'Minuet', 'Signs of Dawn', and 'Land der leeren Häuser' are from a collaboration in the year 1973 between Klaus and a friend at this time, Hans-Jörg Stahlschmidt. These titles were played and recorded at 'delta acustic' studio in 1973. The proposed group name for Klaus' and Hans-Jörgs collaboration changed between 'Tau', 'Tao', and 'Timewind'(!) Also, a deal with a German record company had already been made, but for reasons unknown today, the album never came out. The music sounds like early 'new age', but of course this definition wasn't known then. Klaus very own keyboard playing style is already identifiable. Klaus mostly plays the organ, and both played also guitars and bass guitar. The whispering voice on 'Signs of Dawn' is Klaus. The singing voice on 'Land der leeren Häuser' is not Klaus. The three shorter titles are the original titles as given on the tape box. In 1973, same more 'avant-garde' music was done by Klaus, for the radio play Das Große ldentifikationsspiel (The Big Garne of ldentification), a science-fiction thriller by Alfred Behrens, it won the award: Preis der Kriegsblinden Deutschlands, and since then it has been regularly repeated on German radio. The tape box says: 'Ballett Titanensee', and it dates from about 1973."
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MIG 1530CD
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"Re-release of the originally 1974 released Klaus Schulze-classic album Timewind, incl. generous bonus and a 16-page booklet. Evolving slowly but deliberately over the course of each album side, Timewind has been deemed an electronic version of an Indian raga. It resembles in many ways a longer variation of the third track from Tangerine Dream's classic 1974 album Phaedra, 'Movements of a Visionary', but it remains a transitional work somewhere between the krautrock of Schulze's earlier output and the Berlin School character of his following efforts. The intention of Timewind was to invoke a timeless state in the listener. Both track titles are references to the nineteenth-century composer Richard Wagner, Bayreuth is the Bavarian town where Wagner had an opera house built for the first performance of his massive Ring Cycle. Wahnfried is the name of Wagner's home in Bayreuth in the grounds of which he was buried in 1883. It is also a pen-name used by Schulze himself."
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5CD BOX
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MIG 1400CD
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"Complex re-release of the most remarkable and worldwide sought after series The Dark Side Of The Moog by German electronic pioneers Klaus Schulze and Pete Namlook (aka Peter Kuhlmann) in three slip lid boxsets, each with five CDs, incl. bonus material and new linernotes. The third box contains Vol. 9 to Vol. 11 and two bonus CDs. The relationship between Klaus and Pete and the exchange of ideas was unorthodox from the beginning of their co-operation, in that they rarely met personally. The most remarkable contacts they had were outside of their studios, for instance their concert of April 1999 at the Jazz Festival in Hamburg, which was released as an edited version on Dark Side Of The Moog, Vol. 8 (will be released in the second Boxset) -- the interplay and chemistry between them is clearly evident, and it becomes even clearer on the un-edited version of the concert (which will be released as bonus CS on the third boxset). The influence Namlook had on Klaus's music in the middle of the nineties should not be taken lightly, because although Klaus dearly loved those early-analog elements from his own music, they had become, to an extent, lost. It was Pete who fortified him to go back to the analogue charm of his early albums and it was Pete who supported him in the modification of his analog instruments, leading finally to the epoch-making Schulze album from 1996 -- Are You Sequenced?. And so, a legendary series of recordings was born. Dark Side Of The Moog grew more or less unplanned to a sprawling, stately-sized series of eleven volumes recorded between 1994 and 2008, only ending with the early, tragic death of Pete on November 8th 2012."
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2CD
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MIG 2402CD
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"The story of Epitaph begins in the winter of 1969/70 at the then very popular Dortmund music club of the time, Fantasio, where the band (James McGillivray, Bernd Kolbe, and Cliff Jackson) rehearsed and worked their set while performing weekly at the club among greats like Black Sabbath, Rory Gallagher, Yes, and Argent. Even at this time, Epitaph was showing its full professionalism. Their big chance came when Champion Jack Dupree canceled his gig at Fantasio and renowned blues pianist Günter Boas stepped in with Epitaph as his backing band. Producer Günter Boas recognized the potential of this band and it didn't take long for Epitaph to sign their first contract with Polydor. Then they moved to Hanover, shortened their band name from Fagin's Epitaph to Epitaph, and started recording their first and eponymous self-titled album with Klaus Walz (later Jane) as second guitarist in London's Wessex Studio, which was released in the fall of 1971. Concerts throughout Germany followed, as well as an invitation from Radio Bremen's legendary TV show Beat-Club, which resulted in the first television appearance of Epitaph in 1972. Already in April 1972 the band was back in the studio to record Stop Look And Listen (Polydor). Again, numerous appearances followed, among them the most important German festivals of that time. Could the band have imagined that 50 years later they would still be one of the hottest bands in the country when they met for the first time in Dortmund's Fantasio music club in the winter of 1969/70?"
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3CD
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MIG 120CD
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"Re-Launch of Klaus Schulze's successful La Vie Electronique series (Vol. 1 to 16). La Vie Electronique first was published as a strictly limited 50 CD-Box and later it was released in chronological order in three-CD-sets including some material never released before. Thanks to volumes like this one, no longer can newcomers (or even diehard enthusiasts) desiring Klaus Schulze's music use the excuse of its unavailability to deny themselves the pleasure of experience. Already, the glut of this singular musician's back catalog has been revived in full, beautifully reissued and repackaged; all of his original, notoriously hard-to-find (well, at least for those of us living on the other side of the Atlantic) recordings, most containing additional tracks, are now easily obtainable, and instantly collectable. The ear can become reacquainted with the vast expanse of Schulze music from its earliest beginnings right up and into its modern incarnations, robust with the now-patented lengthy irises, numerous kaleidoscopic events, and still-innovative breadth of tonalities that have become the artist's stock-in-trade."
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MIG 832CD
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"Zzebra were an English ethno-jazz/funk/fusion band that released two albums on Polydor in 1974 and 1975. The band featured the talents of English saxophonist and composer Dave Quincy (founder-member of IF), bass guitarist John McCoy (later Gillan and Mammoth), keyboardist Tommy Eyre (Alex Harvey, Illusion, MSG, to name a few), vocalist Alan Marshall, original Osibisa member Lasisi Amao, guitarist Steve Byrd (later GILLAN) and Irish drummer Liam Genockey (Amalgam, Steeleye Span, Gillan) when they played at Bremen's (Germany) Postaula in 1975. Dave Quincy: 'This Radio Bremen live session in 1975 is probably the last recording made by Zzebra before the band split, and it exemplifies how bands can be before their time, with the prog. rock Afro jazz still standing up nearly 50 years on.' John McCoy: 'This is one such night with its typical high and low moments, still improvising, taking musical risks but overall having a great time with a totally unique band. Enjoy!'"
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5CD BOX
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MIG 1390CD
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"Complex re-release of the most remarkable and worldwide sought after series The Dark Side Of The Moog by German electronic pioneers Klaus Schulze and Pete Namlook (aka Peter Kuhlmann) in three slip lid boxsets, each with 5 CDs, incl. bonus material and new linernotes. The second box contains Vol. 5 to Vol. 8 and a bonus-CD with Klaus Schulze-tracks exclusively remixed by Pete Namlook. The relationship between Klaus and Pete and the exchange of ideas was unorthodox from the beginning of their co-operation, in that they rarely met personally. The most remarkable contacts they had were outside of their studios, for instance their concert of April 1999 at the Jazz Festival in Hamburg , which was released as an edited version on Dark Side Of The Moog, Vol.8 (will be released in the second Boxset) -- the interplay and chemistry between them is clearly evident, and it becomes even clearer on the un-edited version of the concert (which will be released as bonus CS on the third boxset). The influence Namlook had on Klaus's music in the middle of the nineties should not be taken lightly, because although Klaus dearly loved those early-analogue elements from his own music, they had become, to an extent, lost. It was Pete who fortified him to go back to the analogue charm of his early albums and it was Pete who supported him in the modification of his analogue instruments, leading finally to the epoch-making Schulze album from 1996 -- Are You Sequenced? And so a legendary series of recordings was born. Dark Side Of The Moog grew more or less unplanned to a sprawling, stately-sized series of eleven volumes recorded between 1994 and 2008, only ending with the early, tragic death of Pete on November 8th 2012."
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2LP
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MIG 261LP
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"Agitation Free was one of the leading representatives of German experimental rock music in the early 1970s. The Berlin band developed long, for that time unusual, free instrumental improvisations from the end of 1967. They achieved cult status as early as 1972 with an independent mixture of improvised rock paired with electro, ethno, jazz and trance elements. Extensive live activities gave the band a steadily increasing level of recognition throughout Europe. For example, the group performed in the cultural program of the Olympic Games in Munich in the summer of 1972, toured France for two months in early 1973, performed at the 'German Rock Super Concert' in Frankfurt in May, produced the second album 2nd and then went on tour through France and major German cities. In 1974, the band began to show signs of fatigue, which led to their temporary breakup at the end of the year after a farewell concert. In retrospect, it became clear that the experimental circle Agitation Free was one of the important bands of the 'Berlin School' and furthermore a career springboard for several German musicians. Christopher Franke, for example, helped the band Tangerine Dream achieve worldwide recognition. Michael Hoenig worked with Klaus Schulze and Tangerine Dream before he became known as a film composer in Hollywood after a solo album (among other things, the film music for the blockbuster 9 1/2 Weeks with Kim Basinger and Mickey Rourke). Axel Genrich moved to Guru Guru, Burghard Rausch became a founding member of Bel Ami. Gustl Lütjens, toured with Shirley Bassey and Nena and later found a large audience with his new age band Living Mirrors, especially in the USA. Lutz 'Lüül' Ulbrich joined Ashra, worked with ex-Velvet Underground singer Nico, produced solo records in addition to theater music, and has enjoyed success with the 17 Hippies since the late 1990s."
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CD
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MIG 262CD
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"Agitation Free was one of the leading representatives of German experimental rock music in the early 1970s. The Berlin band developed long, for that time unusual, free instrumental improvisations from the end of 1967. They achieved cult status as early as 1972 with an independent mixture of improvised rock paired with electro, ethno, jazz and trance elements. Extensive live activities gave the band a steadily increasing level of recognition throughout Europe. For example, the group performed in the cultural program of the Olympic Games in Munich in the summer of 1972, toured France for two months in early 1973, performed at the 'German Rock Super Concert' in Frankfurt in May, produced the second album 2nd and then went on tour through France and major German cities. In 1974, the band began to show signs of fatigue, which led to their temporary breakup at the end of the year after a farewell concert. In retrospect, it became clear that the experimental circle Agitation Free was one of the important bands of the 'Berlin School' and furthermore a career springboard for several German musicians. Christopher Franke, for example, helped the band Tangerine Dream achieve worldwide recognition. Michael Hoenig worked with Klaus Schulze and Tangerine Dream before he became known as a film composer in Hollywood after a solo album (among other things, the film music for the blockbuster 9 1/2 Weeks with Kim Basinger and Mickey Rourke). Axel Genrich moved to Guru Guru, Burghard Rausch became a founding member of Bel Ami. Gustl Lütjens toured with Shirley Bassey and Nena and later found a large audience with his new age band Living Mirrors, especially in the USA. Lutz 'Lüül' Ulbrich joined Ashra, worked with ex-Velvet Underground singer Nico, produced solo records in addition to theater music, and has enjoyed success with the 17 Hippies since the late 1990s."
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2LP
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MIG 263LP
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Color vinyl version. "Agitation Free was one of the leading representatives of German experimental rock music in the early 1970s. The Berlin band developed long, for that time unusual, free instrumental improvisations from the end of 1967. They achieved cult status as early as 1972 with an independent mixture of improvised rock paired with electro, ethno, jazz and trance elements. Extensive live activities gave the band a steadily increasing level of recognition throughout Europe. For example, the group performed in the cultural program of the Olympic Games in Munich in the summer of 1972, toured France for two months in early 1973, performed at the 'German Rock Super Concert' in Frankfurt in May, produced the second album 2nd and then went on tour through France and major German cities. In 1974, the band began to show signs of fatigue, which led to their temporary breakup at the end of the year after a farewell concert. In retrospect, it became clear that the experimental circle Agitation Free was one of the important bands of the 'Berlin School' and furthermore a career springboard for several German musicians. Christopher Franke, for example, helped the band Tangerine Dream achieve worldwide recognition. Michael Hoenig worked with Klaus Schulze and Tangerine Dream before he became known as a film composer in Hollywood after a solo album (among other things, the film music for the blockbuster 9 1/2 Weeks with Kim Basinger and Mickey Rourke). Axel Genrich moved to Guru Guru, Burghard Rausch became a founding member of Bel Ami. Gustl Lütjens, toured with Shirley Bassey and Nena and later found a large audience with his new age band Living Mirrors, especially in the USA. Lutz 'Lüül' Ulbrich joined Ashra, worked with ex-Velvet Underground singer Nico, produced solo records in addition to theater music, and has enjoyed success with the 17 Hippies since the late 1990s."
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CD
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MIG 190CD
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"Part 10 of the great Klaus Schulze retrospective -- now available as a jewel box. This three CD set contains rare and previously unreleased recordings from 1985 to 1993. The track 'Unheilbar Deutsch' was recorded during a concert at a German radio station in Cologne, in January 1985. 'Maxxi' is the only maxi single that KS ever did. It was recorded by KS in March 1985, on request from a record company, and 'for the discos.' The tracks from 'Walk the Edge' are soundtrack recordings for the American violent crime movie Walking The Edge (also known as The Hard Way) by director Norbert Meisel. 'Havlandet' is again a soundtrack. It contains ten parts (let's call them 'sketches') for the Norwegian movie Havlandet. 'Goodwill' is one track from a handful of poppy experiments that Klaus did in 1991 as a kind of research exercise on popular music. The three Spanish are encores from the concerts in Spain in October 1991. The famous Bach title was played and recorded by Klaus in 1992, and remixed by him in 1993. Intended for the CD release 'Midi Klassik' (called by the company: 'Klaus Schulze Goes Classic'), but not used then because of lack of space. There is another bonus track, 'Weiter, weiter!' which is an encore from the concert in the German town of Aachen, from the tour in 1985."
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MIG 1420CD
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"'Re-issue of the originally 1972 released Klaus Schulze album Trancefer, including extended liner notes and bonus tracks. Always a soundwave in front of the rivalry, Schulze is presenting his album together with the percussionist Mike Shrieve (Santana), who performs real marvels on his two barrels, and the cellist Wolfgang Tiepold, who forms a pleasant contrast to Schulze's often hard and strictly synthesizer patterns with his warm touch.' --(Stereoplay, Germany, 1982)"
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2CD/DVD
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MIG 1062CD
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"While other musicians mostly vary their repertoire with nuances, every Klaus Schulze performance is hard to predict. His former bandmate Edgar Froese (Tangerine Dream) once needed a nice image when describing his way of improvising on stage with electronic instruments, saying 'This is like a parachute jump where one cannot be sure if the parachute will even open.' This was particularly true during the time of the unpredictable, analog synthesizers -- but Klaus kept this same work method throughout the years without making any changes. And with this he is one of the few musicians who saved this art of improvising, all during the transition from the analog to the digital era. This is also true according to Schulze's principle, 'It is important that I do not have a clue when I should be going onstage.' What appears to be a paradox or what smells like absolute randomness is quite the opposite; it is a reference to all factors of this deciding moment along with a full release as well as an arrival. The definite highest point however would be the Amsterdam concert. It may also be that it was the tour's third concert after Warsaw and Berlin and all those involved had perfectly played one after another. But this does not explain the magic and the breathtaking dramaturgy of the entire performance. The non-verbal and deeply emotional interaction between Klaus Schulze and Lisa Gerrard was seldom so homogenous, real union as it was here!"
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MIG 072CD
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"Since the 1980s, Mario Schönwälder, born in West-Berlin/Germany, has been involved in the production of electronic sounds, first in the environment of Bernd Kistenmacher, and later mainly in duo and triple formations. In 1992 Mario founded his own label Manikin Records, on which he released his albums from then on. Four years earlier, Mario Schönwälder had released Aus einer anderen Zeit..., his first solo work, which was launched in a limited edition and only as a cassette. One year later followed The Eye Of The Chameleon, an album completely in the style of the Berlin School, with a melancholic, partly even somewhat gloomy basic mood. He dedicated the title 'Earthtime' to a deceased friend. The album was released on Bernd Kistenmacher's label Musique Intemporelle, the Berlin electronic musician and label boss described his ever slightly pensive artist as a 'pessimistic optimist' at that time. A nice re-issue with personal words by Mario Schönwälder in the booklet about the making of the album."
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2CD
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MIG 2972CD
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"Critics in the early 1970s called Gil Scott-Heron the most important Black voice since Martin Luther King Jr. and described him as a black Bob Dylan. 'His poetry is with much muscle, with stiletto humor, with street talk, much of it justifiably angry and accurate,' the New York Times wrote in 1975, marveling at the angry man from the Bronx. No wonder that decades later Scott-Heron was celebrated as the 'Godfather of Rap.' Born in Chicago, the musician, poet and pugnacious activist for human rights himself lived for years in the Bronx. Returning to his black roots, he died May 27, 2011, in New York's urban district Harlem. His legacy includes a fantastic concert Gil Scott-Heron gave with his band at the Schauburg Theater in Bremen (Germany) on April 18, 1983. The technicians of Radio Bremen were on site and recorded this ecstatic show, which will be released worldwide at the end of July as a 2CD and of course as download and streaming as well. Gil's son Rumal Rackley on the release of this concert: 'This album from a 1983 concert captures the spirit that permeated every performance throughout Gil Scott-Heron's travels in the US and abroad. From Europe to Asia to Australia to Africa, his work resonates at the heart and soul level.'"
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2LP
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MIG 2971LP
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3CD
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MIG 153CD
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"Re-Launch of the successful and partly out-of-print La Vie Electronique series by Klaus Schulze in a new jewel box. MIG will gradually make the out-of-print volumes available again. CD 1, on the one hand, contains the second part of the Oberhausen-concert, with 'Schwanensee' on the other: two solo pieces which were recorded in 1976 in the studio in Hambühren. 'Fear at Madame Tussaud's' was recorded in April, 1977 in the London planetarium -- at that time a novelty, for it was the first time that a concert was held in a planetarium. 'Zeitgeist' is a concert which was recorded on October 17th, 1977 in front of 5500 people in the Saint Michael cathedral in Brussels, while 'Inside The Harlequin' is the encore of this evening. The recording date of 'La Vie Secrète' cannot be accurately determined. Recorded either in 1977/78 or 1975, this piece remains a very quiet, almost meditative jewel. In contrast to this stands 'Barracuda Drum,' recorded about 1978 with Harald Grosskopf on drums. Last but not least at the end of the third CD we encounter the Klaus Schulze of 1979: in October and November of that year Klaus Schulze was on tour with Arthur Brown ('Fire'). 'There was Greatness in the Room' is a fragment of the encore of concert from October, 29th 1979 in Brussels. Besides the voice of Arthur Brown, the vocoder-voice of Klaus Schulze can also be heard on this recording."
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3CD
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MIG 2952CD
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"Great 3CD collection of all three studio albums of the band plus live album, with extensive photos, bonus tracks and liner notes and compl. Remastered. SFF (Eduard Schicke, Gerd Führs and Heinz Fröhling), had an orchestral sound that was overwhelming and fascinating. With Dieter Dierks (Scorpions, Wallenstein, Nektar etc.) the band found an excellent producer for their first album Symphonic Pictures, which was released in 1976 and sold about 12,000 copies. The trio's popularity grew mainly due to their unforgettable live concerts -- 'It was a bit like magic and an overwhelming intensity that took the audience and the band together into another world.' In this context, the SFF gigs in Scheeßel (Germany, 1977) and, of course, the Brain Festival (1978), from which two songs appear on this collection, should be mentioned. In 1977 and 1978 SFF recorded two more records with Dieter Dierks:"Sunburst and Ticket To Everywhere. After the recording of the last album, musical and ideological differences arose and the trio disbanded. Gerd lived in Bremen until his tragic death in November 1992. He worked in Japan, the USA, England and Germany for Yamaha, who considered Gerd one of the best programmers/keyboard consultants in the world. This CD release is dedicated to his memory."
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