PHALLOBST

RZ's second album, released on the now-legendary Pilz label, was recorded in Dieter Dierks's studios. Two personnel changes: the bassist (departing Lieblang was the lyric writer in the first line-up, and he contributes to three songs without playing) and the addition of a second guitarist Kittel. Early 70's German prog group always shared some doubtful tastes regarding their artwork (in this regard the rebel-rock attitude was more respected than their English counterparts), but here we are definitely with one of the top 10 tasteless artwork depicting a rotten pear getting devoured by worms and the just-as-ugly inside gatefold shows their faces as the worms >> yummyyyyyyyyyyy!!!!

Clearly better produced, with more musical possibilities (both guitarist play a bit of KB now and then and even a tad of Mellotron), with much shorter track length (max 6 minutes), this album is more concise and maybe proggier than the debut. If the first two tracks go unsurprisingly by with their lot of happy sounds, we are more intrigued with the lengthier Schupfner with its medieval-like guitars and superb flute: very reminiscent of the first album, it is the highlight of the A-side of the album along with a much calmer and reflective Waste Land.

The second side of the album is a bit more uplifting with the instrumental Makrojel opening strongly, with a jazzy feeling, but we are again in the typical sound of theirs. Actually, it is quite hard to recognize instantly which RZ track you are listening to without the help of the albums, as they had a "sound with which they rarely digressed from. Another instrumental track, Prickel Pit, follows with heavier riffy guitars, while an Derroll Adams track, Portland Town will become a concert favourite. The closing track is a rather slow developer (with them Mellotrons and a clavinet in the intro). But while there are some Folk influences on this album, to call this their main influences would be grossly exaggerating as they take up as much from the blues or jazz in the studio and live they were even bluesier..

As with the debut album in its Cd version, Phallobst now comes with 8 bonus tracks: the second part of the farewell concert in 72, and as you might've guessed if you read my review of the debut, the sound is bootleg-quality (marginally better at times) and them tracks do not really add any kind of value to the original album.

Again RZ was not essential to the development of progressive rock, but they were a small brick that was integral part of the pyramid, this album being just as good or pleasant as the debut. But if nothing worth writing home about, both albums do deserve the odd spin now and then.

The second album by this sadly too unknown German band isn't as good as their first "Weisß Der Teufel" record, but it's still a worthy bargain. The sound is bit different, as the bass player has been changed, and there's a second guitarist introduced to the band. "Closing Time" is a good psych rock, with funny sounding vocals, as they have been sung very quietly and calmly over a loud rock'n'roll song about "a merchant selling peace". "Waste Land" is also a track worth to mention, a slow minor ballad with haunting flutes. Some of these melody lines resemble some old cradle songs I think? "Portland Town" is a great arrangement of a traditional folk song, now played with mellotrons and heavy guitar riffs. All other songs are also OK, but they are not maybe as raw and innovative as their earlier material. But I consider this yet a very recommendable album. I had my vinyl copy from "Avalon and On" box set, which also has the live tracks released with the reissue CD.

This was recorded in Dieter Dierks studio so it's much more polished than their debut which was recorded live in another studio. Unfortunately Dieter's studio was under construction so it made for a difficult week for the band. On top of that the label was trying to convince Krause the guitarist / vocalsit for the band to go solo, saying he could be the German version Neil Young. This was all done behind the band's back and Krause was very irritated about this. Another problem was the final track "I'm On My Way", the band had already rejected a version of it that the label wanted to release, but instead of honouring the band's wishes they released it anyway. The band didn't know about it until the final product was revealed.There were also other headaches for the band regarding the label that I won't get into. I should also mention a second lead guitarist was added for this release.

"Closing Time" features laid back vocals in this mid paced tune and when he stops singing before 1 1/2 minutes the tempo picks up and we get an all instrumental soundscape right to the end. "Wenn Schon, Denn Scon" is an instrumental. I like the intro especially the bass. It settles after a minute with dual acoustic guitars. Nice. It kicks back in before 3 minutes to the original melody. "Schupfner" kicks in before a minute with flute. It settles again with some intricate acoustic guitar. "Waste Land" features acoustic guitar and flute as reserved vocals arrive a minute in. Percussion follows in this melancholic track.

"Makrojel" is an impressive track and one of my favs. It's brighter and uptempo with flute. "Prickel Pit" has some good bottom end to it early. Guitar takes the lead after 1 1/2 minutes then flute joins in. Love the sound before 3 minutes. "Portland Town" opens with some mellotron and the song continues to drift along with mellow vocals. Cool song. "I'm On My Way" opens with acoustic guitar and vocals. I'm reminded of Jim Morrison as he sings on this track for some reason. Mellotron comes in later.

I do like the debut more, but this is worth the 4 stars.