GURU GURU

Guru Guru brings a playful take on krautrock. The combination of Jimi Hendrix inspired psychedelic blues jamming with silly vocals and upbeat rocking rhythms is similar to Amon Düül II, but it's simply much more fun.

Over the course of 4 extended jams, Känguru got it all. Inspired free-style jamming with a loose rocking structure, raw vocals, soaring guitars, imagination, a healthy dose of madness and an overdose of hash.

Känguru is a great album but it's just a tad below the vast amount of excellent albums in this scene. With its accessibility it could sure serve as an introduction in the style. So if you're hesitant to check out krautrock, this album can sure serve as an introduction.

The only Guru Guru album with ex-Eiliff guitarist Houschang Nejadepour on board is quite different from their previous heavy-acid works. In fact, you can hear excellent jazz/world fusion with doze of psychedelic prog there. Plenty of Indian, Arabic and Spanish music elements are included.

Long instrumental pieces, sometimes with wah-wah guitar, extremely complex drumming (often with African and Indian rhythms), acoustic guitar melodic inserts, even some wordless female vocals. Their music on this album is much more jazz-rock, than any other styles, and it is the great one! Unhappily, such radical change from their earlier sound wasn't accepted by fans , so this line-up existed for one album only.

Still with important psychedelic element, their music on this album is quite similar to McLaughlin works of the same period. And, if you like jazz-rock, this album is best Guru Guru work for you.

Very recommended - not less than 4,5!

Guru Guru - UFO (1970)

Now were talking! I've been searching for an album like this for many years: An album with the roughest of rock-sounds, so abstract that it sounds spacey. This is brutal energy, guitar anarchy and total freedoms on drums! Space-rock recorded with only bas, guitar and drums... is it possible? A very amazing Krautrock album indeed...

This album can be divided in two halves, as originally must have been intended with the vinyl version, of which I own a reissue.

The first halve sounds like Jimmy Hendrix' most psychedelic jams, but without the vocals. The titles of the tracks are very amusing. Stone In teaches us what psychedelic furious rock is about, Girl Call shows us even this genre has a dark side and Next Time See You At The Dalai Lhama proves the genre can be played non-stop for 20 minutes in a row. The latter has a bit of structure here and there, but not too much.

The second halve has 10 minutes of darks sound-scapes that simulate an UFO landing on the roof of your house (the title track)! The second song on side two (Der LSD March) is halve sound-scape, halve rock anarchy. For the obscure sound of side two Guru Guru used a lot of guitar effects, percussions and tape-manipulation. The effect of the title track is very strong and hasn't dated at, 40 years later.

Conclusion. Essential krautrock, essential space-rock, essential for Hendrix fans and a great addition to any prog collection of people who like the dark and spacey side of prog. I myself love it's abstract atmospheres and no-consensus seeking artistic vision. Furthermore it's special how just three men got this amazing sound together. Four stars, but not recommended to easy-listening sympho-proggers because this makes Lemmy Kilminster look like a dandelion.

Guru Guru's debut is a great psychedelic jam record dating from the early years of Germany's "Kraut" movement. The closest resemblance that comes to mind is Amon Düül in a full-out rocking mood. Some distant vocal rambling not withstanding the album is entirely instrumental and focuses heavily on free-jazz drumming and dirty guitar soloing similar to Jimmy Hendrix.

On some pieces such as the title track, the absence of any rhythm, groove or melody makes it a hard album to get into and admittedly, it's not a track I would choose to hear a lot. But still I like the uncompromising attitude of it. It reminds me of Tangerine Dream's debut and the more chaotic moments of Can.

UFO is a fine kraut rock album with many wild and excellent moments, but due to a personal preference for the more structured approach of their album Känguru, I'll leave it at 3.5 stars.

The secession of Uli Trepte of the Bass player who was taking charge of respect of seriousness as a charm of the music character of initial Guru Guru might surely have given the revolution and the conversion of directionality to the directionality of the band. "Kanguru" that they announced in 1973 will have been time that the band exactly revolutionized in various meanings if it thought oppositely. It might have been a moment when the sensibility of the content and Mani Neumeier of the album appeared gradually.

"Dance of the Flames" might be able to be enumerated as a flow that produces atmosphere that gradually gives a sense of relief and a stateless impression from Heavy Rock as a revolution of the band. And, the approach since "Mani und seine Freunde" announced in 1975 to Jazz Rock might be connected with the content in the following 90's.

Good work of Houschang Nejadepour from Iran that participated in "Dance of the Flames". Or, the existence of Ingo Bischof of the keyboard player who had been participating in "Mani und seine Freunde" might have influenced the directionality of Guru Guru.

Music is expressed in shape to have promoted those routes further in this album. Existence of Ingo Bischof that joins formally as band at that time. And, the member who supports a band at that time. The role of Luciano Hartwig and Butze Fischer might be also large. And, it is detailed of the participation of Helmut Hattler that appoints the false name of the problem of the contract. These might be very interesting as the situation of a band at that time. Music progresses original music that is to which the atmosphere of Jazz Rock is taken when the age is considered. It might be near the mode of expression of the music of Kraan where it goes to a simultaneous period.

The music that they had been doing as a situation of music at that time in the flow at a prosperous period of Punk Rock and New Wave in the age might have had originality. Mani Neumeier makes remarks, "It was difficult time" on the situation of the music at this time. They might have thought that they were going to break down a state of saturation a little and blockaded situation as the humour and the theme hung in the situation. They had appointed the name that was called "Guru Guru Sun Band" in at that time live as a supplementation. Live frequently done might have exactly told zeal to their revolutions at that time and music.

"Starway" is a flow of the sequence with the synthesizer. And, the part of Funk and Pop is expressed by an original interpretation. As for the sound, I feel the age very much. And, it is said that a religious shade of meaning will be put as for lyrics.

As for "Dos War I", Funk Rock that takes the element of the age and the humour is developed. Atmosphere that playing the clavinet by Ingo Bischof is good is produced.

"Was Fur 'Ne Welt" continues complete Groove. And, development to which the part and the Horn section that introduces an original chorus who is are taken might be Funk/Jazz Rock of fine quality. Power of expression and the humour of the song are the music for them.

As for "Giri Fushi", the atmosphere of the Africa music twines round the rhythm that the percussion instrument emphasizes. The development of an original song that is and a bright chorus is impressive. The part of Funk and the construction of the rhythm give a stateless impression.

"Hey Du" is perfect Funk Rock. A bright song gets on the rhythm of Rock. The progress of Chord has both expression of feelings at the same time as catching the age. Busy of the sense of relief and Syncopation that the keyboard is good is complete.

"Taoma" completely continues an anacatesthesia and a transparent feeling. The sound and the melody that flows in the space continue good atmosphere. Part of melody of glossy Sax. The sound of the rhythm and the keyboard that flows gently completely has originality.

Atmosphere that there is a tension in the voice processed by the effect twines round "Atommolch". Sound of guitar that continues anacatesthesia. And, the tension by the keyboard. They progress with heavy atmosphere attended with the rhythm.

"I Am Rolling Through The City" is a sound source by live. Part of introduction of member who gets on atmosphere of Funk. The band completely piles up live. The tune advances with the dash feeling on the way. It is likely to succeed as complete Jazz Rock.

It is possible to catch as an album to establish the age and originality very much as albums of men who boldly accomplished the revolution by the turning point of ten years after it debuts.

There might have been time of some revolutions in the part as the music character that Guru Guru had done when thinking about a content, theme, and message in album feature.

Especially, the creation of a humour that Mani Neumeier advocated as directionality of the content of their albums and music and original music that was might have appeared remarkably in the work since "Kanguru".

The part of the music character of Guru Guru where it characterized and directionality by the initiation of Mani Neumeier had grown gradually might have been projected to the content of the album. Part of music with part of Jazz Funk that can be listened in work in the 70's and diversity done in one's eighties. Or, the part of the ethno that had been gradually developed in the 90's was a part always along their revolutions and the flows.

It might have been in unconscious nostalgia and the agility as a music character that they consistently carried out and a charm. It is possible to listen to involving the genre that cannot be indiscriminately specified in the early the 70's. However, there might have been a part in which it had always thought about the age as details into which they always developed in the flow of the revolution and groping.

Part of consistent originality and humour included in music with diversity cultivated by "Moshi Moshi" announced in "Wah Wah" and 1997 announced in especially 1995. Or, the part of ethno and Rock has been established well for this time. And, the directionality of men who rushed into in the 2000 further's develops by this album.

The part of sampling and the loop has been boldly introduced in this album while following the part of Rock and Funk with the diversity that had been established at this time. However, it is not a translation that they changed the route to modern music. It had been to be likely to have processed the realization of the music character that they had thought about in an opposite meaning at this time with electronic machine parts. Uniting the music characters of making the sound in which the age is taken and them refined has originality very much. Especially, the work that guitar player's Luigi Archetti did contributes very much in this album. Coexistence of analogue and digital. And, it flavors about the ethno completely established because of them. There is an opinion made also for elements of a few mondes to exist in their music characters, too. The opinion might be seen in their trend of the ages at latter term. The music character of a mid-term work might not exist from the first stage in this album. However, the idea that they did and the cultivated element are good at the modern music character boldly introduced each other.

Sampling twines round "2000 Gurus" with the loop of the rhythm with the element of ethno in the flow of the melody that makes the loop a center. Busy part of racial melody and sampling. There might be a part where King Crimson and Talking Heads in the 80's are reminiscent. Tone quality is extremely refined.

"Galactic Human" is a flow of complete Groove of the rhythm by the loop. And, an effective melody that completely produces the anacatesthesia flows. Melody of guitar with transparent feeling in which the part is completely supplemented. The tune is very refined. Part of narration effectively processed. These might be modern original music that is.

As for "Tribes And Vibes", the melody of a bright guitar is impressive. Rhythm of loop to get on the flow. Or, as for the part of Solo of Sax, the impression of the monde might be strong. Atmosphere with repeated rhythm and sense of relief might be a humour that they think about. Rhythm of loop in close relation to rhythm of the march. The analogue and digital unite exactly well.

As for "Night Birds", a racial rhythm twines round the melody of the tape reversely played. The melody of glossy Sax and the melody of the guitar with a transparent feeling give a very city impression.

"Marabut" is ethno musical in complete. Atmosphere is projected. Flavor of ethnical with acoustic guitar and percussion instrument. The song will completely get on the flow. Playing the guitar to make good use of harmonics Picking and the continuation of atmosphere completely reflect the idea of Guru Guru at this time in the album.

"Das Gluck" is a part where the sound of the guitar that flowed quietly in the space and the rhythm by the loop were repeated. Part of melody and voice to give enchantment impression. Coming in succession of the refined sound has a good anacatesthesia.

The rhythm of "Blue Space" is very modern. However, the melody that there is a tension in the rhythm and the line of Bass get on. It might be consistent though the sound gives new as the composition of the album. The sound effectively decorated twines round the flow that ethno and Funk exist together.

It is an album with which the taste of the idea considered completely at that time of this, the cultivated directionality, and the introduced machine parts is demonstrated without reserve and a different part and the desire block as an expressed work.

"Hinten" is the sophomore album by Guru Guru which effectively confirms this power trio as a crucial item for the development of the krautrock movement that by 1971 had already become a melting pot of various sonic offerings converging on a common purpose of augmenting the language of rock and creating a peculiar edge to the avant-garde ideals that were being instilled in popular culture. This album is also famous (and infamous) for the cover photograph: a not too athletic male behind bearing a coarse tattoo that spreads on both buttocks. Well, the idea is clear in its intention to go against the two most recurrent trends in rock album sleeves: either a display of psychedelic figures based on a Modernistic approach or a manifestation of fantastic landscapes and characters where Surrealism and Romanticism unite. Not on this album sleeve, just that "lovingly" ugly image that I've already described and never will describe again. As for the music itself, there is a noticeable contrast between the straightforward atrocity in the cover and the refinement developed as an evolution from the dominantly chaotic ventures in the debut album "UFO". At this point, I must explain the same nuance that many other reviewers before me have done here in PA and other sources: the band maintains its original doses of energy and bizarreness, but in "Hinten", those unequivocal features are handled within a more focused dimension. Indeed, the sound of Mani's drumming happens to be more highlighted in the mix, which means that the band's explorations on free-form psychedelic and experimental jazz-rock give more room to the rhythmic architecture and subsequent variations to show off its inputs to the overall sound. Now, Guru Guru was a paradigmatic power trio in their first three albums, with both "Hinten" and "KänGuru" serving as the ultimate manifestations of this factor. The album kicks off with a Guru Guru undisputed classic, 'Electric Junk'. It starts with a Ten Years After sort of jam, high-spirited and happy-go-lucky, but it won't be long before this rock'n'roll party shifts toward a chaotic display (inc. a drum solo), which in itself is a transition to a different jam, heavier and denser, the track's main body. The Hendrix element that was also influential in Ash Ra Tempel and the electric climaxes of Amon Duul II can be spotted here as well, beyond doubt. 'The Meaning of Meaning' is next, in many ways perpetuating the prior piece's robust framework, but the slower tempo makes up the basis for a more constrained mood. After the 7 minute mark, a tribal drumming resource gets in so the whole band can shift to the track's second section: from the very beginning, it is quite clear that this section is aiming toward the ultimate climax, and indeed, the clever use of gradual intensity does not kill the sense of structure that prevails in the jam's foundation, but man, how wild this is... climatic and significant for all that the rock side of krautrock is about. The album's second half begins with another unquestionable Guru Guru classic ? 'Bo Diddley'. The Hendrixian guitar deliveries and Mani's ever-wild rhythmic demonstrations create a brotherhood of power to which the bass player adds electrifying cadences and sinister textures. 'Space Ship' occupies the album's last 11 minutes, managing to elaborate a superb culmination to it. A monotonous, sharp jam emerges in the first place as if portraying the mystery of otherworldly machineries, ultimately flowing into a disjointed exhibition of psychedelic chaos, very much "Ummagumma"-esque. A few seconds before the 7 minute mark, a new motif starts to build up slowly, which turns out to be a solid yet brief exercise on heavy progressive sonorities. Arguably, here we find the best gitar phrases in the whole album. At the 9 minute mark, the disjointed logic returns, excitingly enriched with reverse tape tricks: these last moments fulfill the very personification of cosmic madness. So, all in all, here is yet another brilliant rock monument that fully justifies Guru Guru's good name in the history of 70's experimental rock (krautrock and others).

Third studio effort by Guru Guru and the last one with the original trio formation, "KänGuru" is, in my humble opinion, a masterful apex in the history of krautrock, an abrasive masterpiece in the context of 70s experimental rock from Germany. Truth is that this trio had managed to create amazing adventurous music from day one in a perfectly consistent way, only "KänGuru" happens to be a bit less dense than "UFO", more in the vein of the reasonably articulated trips that had shaped the excellence of "Hinten", with a more robust focus on teh development of the musica traves that take place throughout the tracklist. Guru Guru is, by now, generating a profile that gets closer to other most relevant jam-oriented bands in the kraut circle, such as Agitation Free, Amon Düül II and Ash Ra Tempel. 'Oxymoron' kicks off with a powerful bluesy vibe instiled in the main riff. While the jam evolves further, the lead guitar's florusihes, bass's ornaments and drum kit's inventive cadences state that sort of cerebral madness based on jazz-rock, heavy psychedelia Hendrix-style and "Ummagumma" spacey expansions, with some extra industrial sensitivity that makes itself noticeable in a few pulsating passages. Mani's occasional vocal deliveries add some humor to the fold, for good effect, not being really that abundant. As atractive as this opener is, it is in the remaining repertoire that the whole album will meet its highest expresions. 'Immer Lustig' is the album's longest piece, surpassing the 15 minute mark. The track beings with a military march and a burlesque speech, soon [&*!#]ing toward a harsh blues-rock motif. This one is quite catchy, actually, so the shift to a new motif may take the listener by surprise, but sure the sense of tension has been greatly achieved. This new motif add a touch of funk to the ever-recurring heavy psychedelia: Genrich's guitar is a definitive cornerstone in the band's trippy architecture, including those moments in which it fills a more subtle space. The next motif states a weird mixture of spacey moods and rockabilly phrasing, wrapped in effective lisergic layers. Later on, the section tha tstarts at the 12 ½ minute mark bears a Zeppelin trend, featuring a powerful guitar lead that takes the overall dynamics to a red-hot climax. 'Baby Cake Walk' opens up the album's second half picking up the explosive fireworks of 'Immer Lustig'. The starting heavy jam elaborates brief climaxes along the way, until the 5 minute mark brings a brief interlude dominated by ethereal moods. With this interlude ended, the trio indulges in yet another wild crescendo sustained ona cleverly syncopated rhythm pace: ultimately, the rhythm turns fuller and the band decides to elaborate an exercise on pure frenzy, which doen't hide the previaling sense of organization on the working. Last but not least, 'Ooga Booga' starts with an extroverted mood on a 5/4 tempo, paving the way for a rockier section on 6/8 whose Arabic nuances and exotically driven drumming. Then, a momentum starts to build up on teh basis of multilayered guitar leads that sound equally menacing and magical. By the way, the rhythm duo of Mani and Tripte is also magical. All in all, who knows, maybe this is the absolute peak of Guru Guru. Less sublime and more groovy, the next section lightens things up without losing an inch of power. The last passage is more mysterious, as if displaying a cacophonic portrait of the cosmos' greyish realms until it bursts into an inscrutabe chaos. This distrubing coda is a hell of a way to close down such an incendiary album - "KänGuru" is an absolute kraut gem, a golden testimony of Guru Guru's particular genius.

(This review is respectfully dedicated to the memory of Uli Trepte).

I for one feel that GURU GURU's first three albums are essential for Krautrock fans.Unlike my buddy Tom Ozric i prefer this one over the next one called "Kanguru".Oh the album cover is one of a kind.It's a picture of some guys backside with the words "Guru Guru" painted across his ass.And believe me there's no doubt it's a guy.My God! What were they thinking! Haha.Conny plank is on board working his magic as the engineer. "Electric Junk" goes from freaky to heavy fairly quickly as Mani says "Electric junk".Nice bass and drum work as the guitar plays over top.Chaos 2 1/2 minutes in then it settles right down as spoken words come in.It kicks back in around 4 minutes but it's not as heavy as earlier,although i love the guitar.It calms down again before 7 minutes and is very psychedelic.It kicks back in before 9 minutes.Now this is heavy. "The Meaning Of Meaning" is psychedelic and spaced out early until drums,bass and guitar start to lead the way out of Loonyville after 2 minutes.Amazing sound here.Vocals after 4 minutes and it's building a minute later as the guitar lights it up.It settles after 7 minutes but not for long.Incredible track! The guitar is just ripping it up 11 minutes in. "Bo Diddley" starts with outbursts of instrumental music with Mani shouting "Bo Diddley" each time.It then settles into a great groove.I'm trippin'. Can't get enough of this as they just jam.Mani shouts out "Bo Diddley" a couple of more times.It speeds up after 9 minutes to the end. "Space Ship" is certainly spacey to open.A beat comes in after 2 minutes.A great sound follows as guitar and bass join in.It then turns spacey and psychedelic as the beat stops.After 7 minutes the drums,bass and guitar return and it's building.A powerful soundscape comes in before 9 minutes and swallows up the guitar,bass and drums, and it continues to be spacey to the end. This is one of those albums i get excited about playing.Classic Krautrock!

Things have changed on GURU GURU's third album as they have made four fairly structured compositions.The experimental improvs are held in check(for the most part) for the first time.Mani is of course the undisputed leader and drummer of this band and he lays down some great rhythmic gooves as usual.Guitarist Ax Genrich continues with his Hendrix inspired guitar work.He mentions in the liner notes that everytime he thought he discovered something "new" with his guitar, he would later find Hendrix had already done it.Hendrix was obviously his hero.Conny Plank helped the band produce this album and added some keys and guitar as well. "Oxymoron" takes a minute for this to really get going as vocals join in.The guitar before 3 minutes lights it up.It settles back at 4 1/2 minutes before some intensity returns before 6 minutes.The tempo continues to change.Check out the guitar and drums before 7 minutes! The song ends as it began. "Immer Lustig" opens with spoken German words before the drums come pounding in with guitar and bass in tow.We're trippin' now after 1 1/2 minutes as it settles somewhat.Love the guitar 3 minutes in.Just a great sound overall.Psychedelic vocals after 5 1/2 minutes before a change in the sound follows.Nice bass.It calms right down until the beat stops completely after 9 minutes.Then it starts to rebuild with drums leading the way.Guitar comes in after 12 1/2 minutes and he starts to rip it up. "Baby Cake Walk" has a nice heavy sound right away.Some great bass lines here.Vocals 2 minutes in.It changes after 4 1/2 minutes to a psychedelic calm.It kicks back in before 7 minutes.More excellent sounding guitar after 9 minutes.Big finish. "Ooga Booga" features percussion and vocals before 1 1/2 minutes.More energy before 3 1/2 minutes and the guitar is more prominant.Nice.Vocals and a change 5 1/2 minutes in.This is catchy.The guitar before 9 1/2 minutes is fantastic right to the end. A very amazing band who have three very different sounding albums in "Ufo","Kanguru" and "Dance Of The Flames" that are all must haves.