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OUGENWEIDE

Prog Folk • Germany


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Ougenweide biography
Impressive folk/ rock standard with medieval elements

OUGENWEIDE is a Teutonic musical collective formed at the beginning of the 70's. Their music consists of "pastoral" folk rock compositions with Middle Ages influences. The band features Minne Graw (vocals, Harmonium...), Olaf Casalich (vocals, acoustic percussions), Stefen Wulff (bass guitar, accordion and keyboard), Wolgang von Henko (Mandoline, guitars and vocals), Jurgen Isenbarth (Marimbaphone, Vibraphone, vocals) and Frank Wulff (bombard, bouzouki, mandoline, sitar.). They recorded their first album in 1973. Since 1974 until the end of the 70's they published several albums for Polydor label. They released their last album in 1981 before to split up in 1985. The band reformed in 1996 for a reunion album called "Sol". Both released in 1976, "Orhrenschmausen" and "Eulenspiegel" represent their most notorious efforts. Two classics in the mood of authentic "Pagan" folk rock music with a great variety of acoustic instruments from medieval (with mandolin, flute, Krummhorn.) to "World" (sitar, bongos, marimba.). The result is unique and highly inspired, introducing the listener in an "enchanting" poetic, mythical world. Beautiful lyrics in German accompany tremendous prog folk instrumentations.

With a better capacity of innovation in popular music and with an exquisite sense of medieval music, OUGENWEIDE is the Teutonic version of prog folk bands as GRYPHON, MALICORNE. Their traditional folk music mixed with rock can also be compared to the Germans of PARZIVAL.

OUGENWEIDE's discography is considered as a valuable document about profane, secular music.

: : : Philippe Blache, FRANCE : : :

Discography:

Ougenweide, LP 1973, Zebra
All die weil ich mag, LP 1974, Polydor
Ohrenschmaus, LP 1976, Polydor
Eulenspiegel, LP 1976, Polydor
Ungezwungen, live 2 LP 1977, Polydor
Fr˙heit, LP 1978, Polydor
Ousflug, LP 1979, Polydor
ja-Markt, LP 1980, Polydor
Noch aber ist April, LP 1981, Polydor
Liederbuch Edition, CD 1993, Spectrum
SOL, CD 1996, Electrola
Liederbuch, CD 1988, Compilation 1973-1978, Polydor (Universal Vertrieb)

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OUGENWEIDE Videos (YouTube and more)


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Buy OUGENWEIDE Music


LiederbuchLiederbuch
Import
Universal De 1998
Audio CD$8.34
$7.34 (used)
Ohrenschmaus: EulenspiegelOhrenschmaus: Eulenspiegel
Import
Bear Family 2006
Audio CD$13.56
$11.99 (used)
HerzsprungHerzsprung
Bureau B 2010
Audio CD$12.78
$26.89 (used)
Ougenweide: All Die Weil Ich MagOugenweide: All Die Weil Ich Mag
Import
Bear Family 2006
Audio CD$14.93
$80.14 (used)
Fryheit OusflugFryheit Ousflug
Import
Bear Family 2007
Audio CD$14.89
Ja Markt / Noch Aber Ist AprilJa Markt / Noch Aber Ist April
Import
Bear Family Germany 2007
Audio CD$16.07
All die weil ich mag (1974) / Vinyl record [Vinyl-LP]All die weil ich mag (1974) / Vinyl record [Vinyl-LP]
Import
Vinyl$18.45 (used)
Eulenspiegel (1976) / Vinyl record [Vinyl-LP]Eulenspiegel (1976) / Vinyl record [Vinyl-LP]
Import
Vinyl$30.01 (used)
Fryheit (1978) / Vinyl record [Vinyl-LP]Fryheit (1978) / Vinyl record [Vinyl-LP]
Import
Vinyl$42.18 (used)
Gaudete [Single-CD]Gaudete [Single-CD]
Import
Audio CD$15.37 (used)
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OUGENWEIDE discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

OUGENWEIDE top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.06 | 11 ratings
Ougenweide
1973
3.62 | 15 ratings
All Die Weil Ich Mag
1974
3.95 | 12 ratings
Ohrenschmaus
1976
4.30 | 16 ratings
Eulenspiegel
1976
3.93 | 9 ratings
Fr˙heit
1978
3.54 | 8 ratings
Ousflug
1979
3.75 | 4 ratings
Ja-Markt
1980
3.83 | 6 ratings
Noch aber ist April
1981
3.33 | 3 ratings
Sol
1996
0.00 | 0 ratings
Herzsprung
2010

OUGENWEIDE Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.00 | 5 ratings
Ungezwungen
1977

OUGENWEIDE Videos (DVD, Blu-ray, VHS etc)

OUGENWEIDE Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.09 | 4 ratings
Liederbuch
1988
0.00 | 0 ratings
Ouwe War
2005
4.05 | 3 ratings
Ougenweide/ All die weil ich mag
2006
4.04 | 4 ratings
Ohrenschmaus/Eulenspiegel
2006
4.00 | 5 ratings
Fr˙heit/Ousflug
2007
4.00 | 3 ratings
Ja-Markt/Noch aber ist April
2007

OUGENWEIDE Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

OUGENWEIDE Reviews


Showing last 10 reviews only
 All Die Weil Ich Mag by OUGENWEIDE album cover Studio Album, 1974
3.62 | 15 ratings

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All Die Weil Ich Mag
Ougenweide Prog Folk

Review by apps79
Special Collaborator Neo Prog Team

3 stars First major departures occured in Ougenweide's history after their debut with both female singers Renee Kollmorgen and Brigitte Blunck quiting.Their replacement was Minne Graw, who was also an accomplished flutist and keyboardist.The band jumped from the Zebra label to Polydor, which prooved to be a commercially clever move.Next album ''All die weil ich mag'' was recorded at Maschen Studio with Gesine Schroeder guesting on cello, released in 1974.

Another offering by Ougenweide, which mixes rearrangements of traditional songs and original compositions, but this time with deeper instrumental growth and some tricky moves in the process.The style remains largely acoustic with a touch of rockin' context in the bass and some scarce guitar parts, but now the band seems compositionally more mature, tight and focused, having evident Medieval influences adapted in a Folk Rock content, characterized by extended instrumental exercises and diverse mood colors.The atmosphere ranges from pleasant and joyful to more professional and mellow with acoustic strings, flutes, piano and bass in evidence.Of course the depth of this work comes also from the additional violin, cello, keyboards and drums, which appear every now and then.For the first time the progressive leanings of Ougenweide become apparent through the quirky acoustic instrumentals, the changes between uptempo and more Medieval-styled themes and the light interplays between the instrumentalists.Vocals are now pretty balanced compared to the previous release, not capturing the bulk of the album, and even the addition of Minne Graw seems to have occured mainly due to her instrumental talent.

This is some very nice Medieval/Folk Rock with strong proggy underlines.An excellent album for fans of Acoustic Prog and a good purchase for all lovers of demanding acoustic instrumentals.Recommended.

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 Ohrenschmaus by OUGENWEIDE album cover Studio Album, 1976
3.95 | 12 ratings

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Ohrenschmaus
Ougenweide Prog Folk

Review by the philosopher

4 stars Ougenweide is the german answer to the British folk movement, especially to Fairport Convention, Steeleye Span and Pentangle. If you listen to Ohrenschmaus for the first time, please skip the first song called bombardement, which is a enthousiastic marsbeat with bagpipes: this will enhance your view of this record, which might be very good.

Most of the songs show elegant folk with some symphonic folk prog instrumental pieces. The songwriting is intellectual and with this big line-up of six musicians you'll get a sound with many percussion, xylophoneplay, flutes, keys and medieval stringinstruments, which interact in a nice way. The lyrics are in german to accentuate the medieval german influences. The songs are not based on old songs, but they do realy sound like they are! Like in the British folk there are woman and men vocalists.

If you're looking for a band having the elegance of Steeleye Span's "Below the Salt" and some of the complexity of Jethro Tull then you will be realy delighted with this Ohrenschmaus. A very nice folkrock record with some symphoprog connections. Rating: 4,5 star.

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 All Die Weil Ich Mag by OUGENWEIDE album cover Studio Album, 1974
3.62 | 15 ratings

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All Die Weil Ich Mag
Ougenweide Prog Folk

Review by Dobermensch

1 stars An extremely dull and inoffensive album that will hold little appeal for most listeners. The big problem is... It's utterly irrelevant and meaningless today. Sounding like a recording from a bygone dead era where its target audience has long ago disappeared.

The whole record literally slips sneakily into one ear but flies out the other, with Olaf Casalich's wishy washy, flat, one pitched and unremarkable vocals warbling throughout.

'All Die Weil Ich Mag' has dated very badly and has a sound so utterly alien to modern day listeners that I can't imagine anybody at all even talking about it. Out of all the genres of prog - there are none that have been hit so hard with the passage of time.

A feeble, limp, uninspiring record that you would do well to avoid. Really Annoying in fact.

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 Ougenweide by OUGENWEIDE album cover Studio Album, 1973
3.06 | 11 ratings

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Ougenweide
Ougenweide Prog Folk

Review by apps79
Special Collaborator Neo Prog Team

2 stars The folk rock ensemble OUGENWEIDE was found in Hamburg in 1970 by Frank Wulff,Jürgen Isenbart and Brigitte Blunck.They were named after the eponymous song by Neidhart von Reuental,one of the most famous minnesingers in Germany.From the very first moment the band's aim was to recapture the medieval side of music in a contemporary way.Soon Olaf Casalich, Wolfgang von Henko, Frank Wulff's younger brother Stefan Wulff and Jürgen Isenbart jumped on board and the band went on to produce their eponymous debut,produced by Achim Reichel,on Zebra.

STYLE: Vocal-led Folk Music with plenty of nice harmonies and polyphonic parts,bordering often with a rock attitude.The tracks are rather light,despite the heavy use of traditional instruments like congas,xylophones,harmonium or percussions.Acoustic guitars are everywhere either creating the rhythm or producing some fine melodies.From a progressive point of view,the album has not much to offer,the compositions are quite straight,however the instrumental parts have something to believe in,like intensity and a bit of complexity.The female vocals are in the vein of other German folk bands,that is very ethereal and melodic.

INFLUENCES/SOUNDS LIKE: Any other German Medieval/Folk-Rock band with PARZIVAL being the most appropriate comparison.Parts of the vocal-led passages remind me of EDEN or even CANO.

PLUS: Artistically OUGENWEIDE are a great band.Skillful players,very professional approach to folkore musicianship and pleasant compositions throughout.Vocals are a very strong point,clear,dynamic and ethereal at the same time.

MINUS: The biggest dissapointment is the absolute absence of any rock instrumentation: no electric guitars,drums or vintage keys make this album somewhat cold for a traditional prog listener.Very much vocal-based,the albums lacks in extended instrumental journeys to add the album an adventuruous perspective.A mass of instruments is displayed but the overall sound is very light without getting any rich even at a few moments.

WILL APPEAL TO: ...basically fans of pure Folk Music than to the average prog listener.

CONCLUSION/RATING: I have said it before and I'll say it now again.The addition of (prog) rock instruments to a folk sound can make an album from unimpressive to excellent (see EDEN or PERERIN's debut).Thus,I tend to like more a Folk Rock band (without prog elements)than a prog folk one (without rock elements).However,''Ougenweide'' is not an album to simply pass by.If you like pleasant folk melodies and some nice vocal harmonies,this can be quite good for a couple of spins...but it's very far from what I expect when speaking of a challenging and adventurous listening...2 stars.

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 Ousflug by OUGENWEIDE album cover Studio Album, 1979
3.54 | 8 ratings

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Ousflug
Ougenweide Prog Folk

Review by Eetu Pellonpää
Special Collaborator Honorary Collaborator

3 stars This music blends elements of both European traditional folk and classical music within a progressive rock context. Approach is quite melodic, revealing fine performing and skills of doing arrangements, this allowing birth of pleasant pastoral rock songs. I believe these could be possibly described with comparisons as a blend of less-sweeter and romantic incarnation of the most popular line-up of Renaissance and a more elitist print of Jethro Tull. Often the moods are playful and happy, or slightly minor key mellow. Songs are sung in German by female and male vocals, though many songs are totally instrumentals. There is also one sitar song included, bringing some oriental hippie influences to the record.

I have searched the records of this band for some time, and I'll certainly look for more, though this was not the most mind blowing experience. Highlights for me were the slightly Celtic sounding hypnotic "How Can I Keep My Maiden Head", which could be danced around the fireside forever (if the song would not end). Good album still, and recommended for fans of folk music and those interested of 1970's Germany hippie rock scene. Have to look out the other records of this group too, as a part of my conquest for pagan folk music delights.

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 Fr˙heit/Ousflug by OUGENWEIDE album cover Boxset/Compilation, 2007
4.00 | 5 ratings

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Fr˙heit/Ousflug
Ougenweide Prog Folk

Review by Sean Trane
Special Collaborator Prog Folk

4 stars This third compilation album presents the entirety of Ougenweide's fifth and sixth studio albums on one disc, just like it's been done with the first and second album and Ohrenschmaus and Eulenspiegel (third and fourth album). This reissue of the next two Ougenweide albums is one of last year's best news for folk prog fans. While both albums had received re-releases (legit or not), this little baby is a rather indispensable for fans and newcomers alike. Both this release and the preceding one have superb booklets with an extensive group history (unfortunately this time in German only), including loads of photos (including the booklet's covers), both albums' full artworks reproduced as well as the totality of the lyrics printed as well. The sepia-coloured booklet is not as ideal as the first collection, because the two albums it features were much more coloured. A gorgeous picture adorns an excellent logo name that you will find in the previous release as well.

While I wrote reviews of the original albums in the album's respective page (so please look there for detailed reviews), what one must know is that this is about the best way for everyone to acquire their music, no matter if you are a newbie or a veteran of the group. Maybe the absence of an English translation of the liner notes stopped from enjoying equally this third 2on1 compilation, but this might also be due to the sheer repetitious nature of their music over the years. If I find Fr˙heit

An excellent (and cheap) manner to get comfy with this out-of-the ordinary band, but it is advisable to not listen to the full disc in a single shot for fear of overdose: rather divide your listening sessions to the original albums separately. Outstanding value, this is the textbook case of the perfect 2-on-1 re- issue. For those interested in delving further in Ougenweide's discography, the same kind of 2on1 compilation exist with Ja-markt and Noch Aber 1st Abril coupled together. While Ougenweide remained pure and true to their original objectives, I find that by Ousflug, they'd said everything they had t say at twice, so personally I won't go further than these first sixth, which are way more than enough to enjoy the group's oeuvre.

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 Ousflug by OUGENWEIDE album cover Studio Album, 1979
3.54 | 8 ratings

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Ousflug
Ougenweide Prog Folk

Review by Sean Trane
Special Collaborator Prog Folk

4 stars Sixth studio album from this Hamburg group and remaining truthful to their original goal, Ousflug ("escape", I think) continues a bit the trends towards some rockier songs , while remaining as authentic and traditional on other tracks. Still with an unchanged line-up from the second album onwards, With a fun Viking flying Drakkar drawn artwork, the group indeed seems to escape towards greener lands, and

Like its predecessor Fr˙heit, Ousflug starts very strongly and progressively as Tobacco-Lob is a modern piano-lead piece that looks towards folk rock, but for the next three tracks, the album takes an instrumental turn with two older "dance" tunes, before taking an extended tour on a Celtic jig (Maiden Head).Schöne Hexe is taking an unexpected turn with a sitar and both Olaj and Minne taking turns in vocals, and is an album highlight, but the next two (nearly) instrumentals are fantastic; first the title track with its scats over a gentle but ever-changing chamber rock, while Orschel Halfmacher is hesitating between drone-prone medieval and chamber prog with one or two small choirs, but Gentle Giant is not far away. The last three tracks are still quite interesting although they pale in comparison, but the wordy Atze, the lament Malenzit, etc.. But the closing Lügenlied returns to a rockier format (after a few meanders) with an electric guitar and the lengthy instrumental turning into a jig around the end.

For the pure proghead, Ousflug might just Ougenweide's rockiest album so far with a whopping five instrumental tracks, but by all means don't go hope for a Tull album, even if you will find a few Tull hints.

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 Fr˙heit by OUGENWEIDE album cover Studio Album, 1978
3.93 | 9 ratings

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Fr˙heit
Ougenweide Prog Folk

Review by Sean Trane
Special Collaborator Prog Folk

4 stars Ougenweide's fifth studio (sixth in all) Fr˙heit (freedom) continues what the first four albums had started to do, but there is an attempt at rocking it up in certain songs. Don't get me wrong, this is still the same Ougenweide and there is plenty of nearly authentic material, but the slight tendency to go more rock on some tracks is not shocking at all. Let's just sayu that on some of these tracks they go one step further than Fairport, Steeleye, Malicorne or Parzival and get closes tosome Tull tracks that would sit on Songs From The Woods. Great artwork representing an ancient poster almost advocating revolution on some street wall.

You might be startled a bit as the needle hits the wax, if Ougenweide had suddenly turned to Brittany for its music as the bagpipes of Die Bauern have a Stivell/Ar Bras flavour, despite the higher German dialect. Drums, electric guitars and bass, as well dramatic vocals give plenty of "rockier" interest to the proghead, while the following two short ditties go back to more realistic ancient pre-classical folk music. They even add some synth in Ich Denke Hind Un Her or electric piano in Friedenstaube to the rock instruments. Zittert Blode Toren and Schwarz Rot Gold are even sounding a bit like Jethro Tull, the flute helping somewhat.

But there are still the usual tracks that tend to remain as authentic as possible, including the haunting dronal Mann Ross Wagen, Brigittenau (this comes closest to being the title track) and plenty others are there for the trad fans. Just another typical Ougenweide album, albeit a bit rockier, but certainly just as constantly good as the previous ones and no worse than the coming Ousflug, making it difficult to name one as a starting point, though!!

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 Ungezwungen by OUGENWEIDE album cover Live, 1977
4.00 | 5 ratings

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Ungezwungen
Ougenweide Prog Folk

Review by Sean Trane
Special Collaborator Prog Folk

4 stars Double live album, released after their first four studio albums, is an excellent introduction to Ougenweide's early career, as it delves in fairly equal proportion between them, substantially extending the three songs from their debut, slightly lingering on the second album's tracks, doing the same for Ohrenschmaus, while surprisingly not over-exposing their then-latest Eulenspiegel album. Two tracks were back then not yet familiar to the fans, the first finding its way onto the next Fr˙heit album, while the second remained undone in the studio, but it's just a jig. The gatefold artwork showed the group in humorous mood, pretending to have gotten beaten up for playing their music and displaying their bruised portraits in the gallery.

Of major interest to fans, is that Ougenweide manages to sound the same live than in the studio, while being "rockier" as well. Some of the added lengths in the original tracks is often due to solos or duo, such as the 11-mins+ eponymous track, with percussion solo and duo, amongst others. Other tracks take on a new dimension like the highlight Swag outer Hand. Another crowd favourite Der Fuchs (the foxes) closes the album in a grand fashion in all of its 9-minutes glory.

This double live album received also the Bear Family record label reissue (into a single disc) and now boasts a lightly modified artwork to fit the reissue series with Ougenweide's new logo, and one might find the 67 mins duration a little short, both for a double live vinyl and a single live disc. It's too bad Ougenweide did not look in their drawers to give us a few bonus tracks.. I'm sure it would've been possible and positive it would've been appreciated.

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 Liederbuch by OUGENWEIDE album cover Boxset/Compilation, 1988
3.09 | 4 ratings

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Liederbuch
Ougenweide Prog Folk

Review by kenethlevine
Special Collaborator Prog-Folk Team

3 stars This compilation of material from 1973-1979 comes from a group that, for anglophiles, can best be described as the German Steeleye Span, with added flutes. This is more folk than prog, but it hardly matters when listening to textured haunting works like "Tobacco-Lob", "Der Blinde und der Lahme", and the brilliant "Bald Anders". The tracks are often based on very old melodies and at their best Ougenweide does them proud.

The arbitrary "best-of" does not fully intersect with the tastes of this folk-prog and German prog fan, and songs like "Im Badehaus" come across as too smarmy in style, although one might wonder if the lyrics bear that out. Other tracks are pleasant enough slightly psychedelic amalgams of male and female vox but nothing more, although the classic "Totus Floreo" is clearly much more, almost Ougenweide's Gaudete if you will, even if its only a capella for the first half minute or so.

Unique as far as I know among German bands for their merging of traditional northern European folk with prog elements, Ougenweide is well served by this compilation, which probably contains all you will need as a fan or completist.

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Thanks to philippe for the artist addition.

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