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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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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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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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CD
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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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