GROBSCHNITT

Sorry for poor english. I´m from Germany. I love this album. I have to admit that this album is not a prog album. It is very 80s. It is very fun to listen. It is an album to hear, if you are in a bad mood. The new singer Toni Moff Mollo has a great voice and is a great addition to Grobschnitt, alongside with Wildschweins vocals. Wildschwein also learned to play Saxophone and you hear him all over the album. Unfortunately Eroc left the band. It is their second concept album. It´s very playful and I believe, that´s one of the albums Grobschnitt had the most fun composing and recording. If you don´t understand german, you will have less fun with this album than I did. The album starts very playful with songs like Paradox and Geradeaus. It also gets emotional near the end. Wie der Wind is a beautiful song sung by Toni and he did it very beautifully. And the final two songs Alle Kinder ziehn zum Strand and Könige der Welt are giving me goosebumps every time. I don´t mind the 80s production. I actually like it, but it´s just my personal preference. If this album was prog, the concept might not be as playful and childish as it is. This more style like Neue Deutsche Welle is more fitting for this concept and the ideas. I think this album is a masterpiece. To acknowledge that, you have to be open minded enough to listen to somethhing else than prog music. If you´re not open minded enough, remind what Frank Zappa said: "The human mind is like a parachute. It doesn´t work if it´s not open"

One of the more successful bands to emerge from the 1970s German Krautrock scene, GROBSCHNITT (translates as "Rough Cut" in reference to a style of tobacco) formed in 1970 Hagen after Joachim Ehrig better known as Eroc left the imploded 60s psychedelic pop band The Crew. GROBSCNITT immediately set itself apart from the typical detachment and seriousness of German bands of the era by providing humorous sound effects and silly lyrics and would develop into one of the more symphonic leaning prog bands in the midst of the classic Krautrock scene.

The band was also notable for delivering exquisite live performances with pyrotechnics, German comedic sketches and quite lengthy live shows that often exceeded three hours thus earning them the reputation as one of the most resilient bands who possessed an amazing stamina. The band was formed in 1970 as an eight-piece band but whittled down to a six-piece that included Stefan Danielak "Wildschwein" (lead vocals, rhythm guitar), Gerd-Otto Kühn "Lupo" (lead guitar), Hermann Quetting "Quecksilber" (organ, piano, spinet, percussion), Bernhard Uhlemann "Bär" (bass, flute, percussion), Joachim Ehrig "Eroc" (drums, percussion, electronic effects and Axel Harlos "Felix" (drums, percussion).

GROBSCHNITT released its eponymously titled debut in 1972 on the Brain Records label and exists as an anomaly in the band's canon as it would drift more into a symphonic sound that they are known for before taking a left turn into the New Deutsche Welle genre and pop rock sounds of the 80s. This debut featured the engineering talents of the hot and in demand Conny Plank as well as Frank Mille on production. While the majority of Krautrock bands were more interested in producing the farthest out there trips possible, GROBSCHNITT took on the characteristics of a typical English progressive rock band with an emphasis on exquisitely designed compositions that featured masterful instrumentation, riveting complexities and above all exciting melodic developments that were mined from traditional folk flavors as well as contemporary rock.

This debut was sung in English but featured a few spoken word German poetic prose moments. In the true spirit of progressive rock, the album featured two lengthy 10 minute plus multi-suite compositions that sandwiched two shorter tracks. The opening "Symphony" prognosticated the band's future developments that would take them further down the symphonic prog route and featured an intricate display of clever compositional fortitude that featured crafty instrumental interplay and best of all competent vocal performances of lead singer Stefan Danielak, a trait that wasn't always present in German prog of the era.

The twin guitar effect along with a tight-knit rhythm section and moments of folk oriented flute allowed the musical style to transcend the German scene's Kraut sensibilities and venture into King Crimson textures in conjunct with knotty and pastoral workouts in the vein of Yes, Genesis and other English bigwigs. Laced with beautiful compositional flow, rock star performances and the tightrope act between progressive complexities and melodic standard rock sensibilities, GROBSCHNITT quickly rose to the top of the Kraut heap and became one of West Germany's most popular bands during the 1970s.

The near 18-minute closing "Sun-Trip" is the cream of the crop on GROBSCHNITT's debut as it meanders through myriad musical styles that include folk, rock, funk and symphonic prog nurtured by sizzling guitar riffs and solos, powerful build ups that result in satisfying crescendos and best of all Danielak's strong emotive vocal performances, all of which conspired to make GROBSCHNITT's debut one of the strongest examples of Krautrock that actually focused on musical talent rather than psychedelic meanderings. That is not to say though that his album didn't adopt all those sound manipulations and fancy tricks that Krautrock was famous for, after all Conny Plank was in the house. No, it simply meant that they were used sparingly and in context to the compositional flow. Album #1 is one of the highlights of the entire German 70s. A must for all!

A live "best of" that satisfies even those that are not big German prog lovers... and that would be me.

Oh, I've listened to some Eloy (good Grobschnitt comparison) and others, but I'm not a big fan...so keep that in mind while reading along here. I like this album, though, for a few good reasons: The vocals (mostly English lyrics) are sung well with a slight accent, the dual guitarists are very good, and there are plenty of lush symphonic prog passages (and close to 160 minutes of music!). There is a theatrical, clownish side to some of their songs at times (think Nektar's "Down to Earth" cd), but those tend to be more the exception than the norm. Nice overview of the band's output, from early 70's thru early 80's - earlier stuff probably appealing more to seasoned prog lovers, while later stuff more for prog-pop enthusiasts. The first disc includes the 57-minute version of "Solar Music", along with two other epics that are equally enjoyable. The second disc starts out with 27 minutes of some excellent samples from the wonderful "Rockpommel's Land" cd, but the 1980's stuff that completes that disc is pretty good too. These cds come in an attractive digipack with an informational 16-page booklet about this band (who's name literally means "rough cut"). Worthy.

Here is one of the most brutally overrated albums to be ever featured on Progarchives. Tell you what, if you've ever heard an album by, say, Druid, Starcastle, Albatross, Yezda Urfa, Atmosphera or England, you pretty much heard this one too - except it's much more boring.

On "Rockpommel's Land", Grobschnitt proudly wears its influences on its sleeves, but unfortunetely fails to bring ANYTHING new to the table. The middle-late 70's where the time when progressive rock was being heavily developed and explored. Many new progressive paths were (and still are) yet to be discovered, but some bands simply decided to follow the same old, safe style taken directly from bands like Yes and Genesis. The end result is a record that's not all that bad, not all that good neither - just mediocre to the point of being boring. To add insult to injury, it's not even close to the level of the best masterpieces by the "classic" prog bands. There is literally nothing surprising, new or innovative about this album - it was all done before, and better.

For the hardcore fans of 70's symphonic prog only.

I acquired Rockpommel's Land when I was first getting interested in prog, after I had listened out the Yes and ELP and Genesis albums I could get my hands on. After acquiring Ege Bamyasi and listening that out I decided the Germans were worth investigating. Through those travels I tried Grobschnitt but it never took hold until maybe two years ago. I had read Solar Music is the Cadillac of prog live albums, but I stayed away, hoping the Grobschnitt sound would take hold in my ears. I heard Solar Music I from Ballerman on prog radio and was blown away. Grobschnitt has taken hold and Solar Music deserves all the accolades. I'm maybe forty listens in and it has become like a drug. I'm lucky to have the 2CD remastered edition. The last twenty minutes of the bonus disc is music sent from heaven indeed. I can't give anything but the top mark here and have to disagree with anyone who does. I think this is the first live album I've truly listened to that moves me to the point of picturing the band onstage and fantasizing about witnessing their eccentrically goofy glory.

4.5 Stars. Inspired is how I'd sum up this recording in one word. Eroc and his mates were in the midst of their most creative period here.

In true Grobschnitt fashion the concept and lyrics hit silly and absurd territory. For some unknown reason I always thought this was a symphonic album Frank Zappa would like. The instrumentation seems simple yet flows gracefully from movement to movement and the excitement is generally very high.

For me, the closer is one of the greatest epics in progressive rock. Sublime transitions. Awesome mellotron.

For the average proghead, I'd speculate this would hit the spot after you've played out all your Genesis records. A great cover and a lovely sense of German pothead whimsy provide indelible charm and turn this into a late golden age period symphonic prog classic. I look at it as a children's tale set to incredible progressive music, not too far removed from Lancaster and Lumley's star studded one-off prog take on Peter and the Wolf. Not coincidentally, that's one of my favourites too.

In the late Seventies I discovered a record store in The Hague (Holland) named Moonlight Records (owned by the Pythagoras drummer Bob De Jong) that turned out to be my Prog Walhalla: for the first time I listened to Krautrock (exported German prog with a 'socalled Krautrock' label on the front cover), like Novalis, Eloy, Jane, Wallenstein and '. Grobschnitt. I bought their 2-LP Ballermann, it was my first musical encounter with Grobschnitt. I was carried away by their unique progrock sound and pretty surprised that Germans could be so humorous! For me Ballerman was a start to buy all their Seventies albums and I am still delighted about the adventurous and very distinctive music.

On this reissue CD we can enjoy Grobschnitt their melodic blend of several styles, embellished with often unusual vocals, tasteful keyboards and bluesrock-inspired guitarwork. The sonor palet in the 7 tracks is very varied: bluesy in Nickel-Odeon, swinging in Morning Song and an intro on Grand piano and harmonic interplay between vocals, guitar and violin-Mellotron in the long and alternating Magic Train. But of course the focus is on the absolute highlight in German progrock history, the epic of all epics, Solar Music Part One and Two (more than 35 minutes): it's a compelling blend of rock, psychedelia, classical and blues. Not a single second it bores, so many great shifting moods and exciting musical ideas. Like the final part of Part One featuring a hypnotizing atmosphere with mindblowing guitarwork and fabulous drumming and Part Two with a strong build-up, from spacey to bombastic delivering fiery, wah-wah drenched guitar and lush Hammond organ, wonderfully concluded with a dreamy part that contains harpsichord-like runs and sensitive electric guitar, breathtaking. It's a perfect example how unique and captivating Grobschnitt sounds!

For me Ballerman is one of the highlights in the German progrock history, and if you have never heard of the epic Solar Music '.. "try before you die"!

I hear Solar Music

First live album from GROBSCHNITT, "Solar Music Live" is a just one of the shiniest star in the space rock galaxy! Apart from their recent previous releases such as "Rockpommel's Land" and "Jumbo", more symphonic oriented, this record shows the spacey side of the band by extending the "Solar Music" suite from "Ballermann" from 30 to 50 minutes. Let's go straight to the point: this record offers everything a space rock fan could wish for, but also makes interesting incursions into neighboring genres: krautrock, psychedelic jam, 70's hard rock, acid-jazz... However, contrarily to other bands playing these styles, the tracks are varied and features numerous changes. The music flows naturally, is quite accessible and never seems boring, repetitive or messy.

"Solar Music Live" also captures GROBSCHNITT's wilderness and musicianship on stage, their concerts could sometimes last 5 hours! These were total performances, with costumes, theatricality, craziness and pyrotechnics. Mainly instrumental, the recording contains only a few sung parts which are mostly spoken words in German, as well as a couple of surprises scattered over the album, showing the band's sense of humor.

Compared to its studio version, the opener "Solar Music I" has additional sci-fi effects, whereas "Food Sicore" is an immediate departure for space. Its bass driven trippy introduction unveils a calmer ambiance after. "Solar Music II" alternates melancholic and mystical passages with strange sounds. The spacey first half of "Mühlheim Special" uses heroic keyboards and guitars, while its futuristic second half exploits wah-wah effects.

The unreal "Otto Pankrock" has a slight funk feel and contains stellar guitar and synthesizer solos. "Golden Mist" may be the strangest passage with its jazzy variations at keyboards and weird symphonic second part. Don't forget this is GROBSCHNITT after all. "Solar Music III" reuses the theme from the original studio version and possesses a cosmic finale. The trip is now over.

"Solar Music Live" surprisingly acquired a huge success in 1978, during the punk and disco explosion. In Germany, progressive rock was still alive in the late 70's, as also shown by their fellow countrymen ELOY with their live opus released the same year. This performance truly is a genuine journey to the sun, attending to the concert back in the days must have an unforgettable experience. The wide palette of musical styles covered in these 50 minutes should interest proggers from different horizons. The ambiances are varied, the sound quality is very good, and the music is neither demonstrative nor redundant, preventing the listener from losing interest.

Every PINK FLOYD or krautrock fan should possess this record. "Solar Music Live" is GROBSCHNITT's best, and simply one of the greatest space and progressive rock live albums ever! More than just solar music, stellar music!

Although post 'Solar Music Live'-era Grobschnitt doesn't quite match up to the group's classic 1970's offerings, there are still occasional nuggets to be unearthed by those who take the chance. Issued in 1981, 'Illegal' pretty much marks the end of Grobschnitt as a 'progressive outfit', though despite the hardening of the group's overall sound, this still features some crackers in the form of both the awe-inspiring 'Mary Green' and the effects- stuffed title-track, two tracks that swap the symphonic grandeur of 'Rockpommel's Land' and 'Jumbo' for a meatier, rockier and sharper metal-flecked sound that really does leap from the speakers thanks to a supremely-slick production sheen. Fans of 1970's-era Grobschnitt may find it all a bit aggressive at first, though thankfully relief is offered up in the form of the gently-lilting 'Silent Movie' and, in very un-Grobschnitt style, the pretty acoustics of the charming closer 'Raintime'. In fact, give 'Illegal' several listens and it really does grow on you, showcasing the musicians skilful chops and a confident new streak perfectly suited to the new decade. It may not scale the lofty heights of their very best material, though in the grand scheme of things 'Illegal' does prove a rather nice surprise. STEFAN TURNER, STOKE NEWINGTON, 2013

I realize a lot of Grobschnitt fans prefer the band's earlier albums, and argue that exposure to YES cost the group a large measure of individuality. It's a valid criticism, but my knee-jerk counter-argument is two-fold.

Firstly, most of that early individuality never really existed. The debut Grobschnitt albums may have been less derivative, but also had far less character, with no distinct style (original or otherwise) to grab hold of. And secondly, while the band's Prog Rock period may have been (check that: was) influenced by established English role models, they were certainly no Yes clone, even with the second-rate Roger Dean gatefold artwork for this LP.

What the two groups had in common was a musical optimism flying in the face of current events (the late '70s erosion of hippie idealism, so forth), expressed here in a somewhat awkward fantasy narrative about a lonely young boy and the giant pipe-smoking bird who becomes his companion. The escapism of the storyline sounds a little contrived today, but the music survives as a quintessential sampling of Symphonic Prog Rock from the absolute apex of its Golden Age.

The band's newfound melodic flair, originally hatched during the sessions for their 1974 album "Jumbo", reached its full maturity on this project. It's true some of Gerd-Otto Kühn's guitar runs were unmistakably Steve Howe inspired. But there's real magic here, from the uplifting chime of the 12-string album intro to the gorgeous orchestral finale closing the side-long title track. And the CD bonus "Tontillon" adds a fitting epilogue to the saga, with a lovely, loose improvisation of a theme from the song "Ernie's Reise".

That track title is, by the way, the one exception to the convenient Anglicizing of the entire album: a common practice among Continental Proggers at the time. In this case I suspect it was rendered in German because a direct translation ("Ernie's Journey") might have suggested an episode of Sesame Street.

Okay, I guess there's a third point to make after all. Grobschnitt needed to pass through this symphonic portal before they could revisit their epic "Solar Music" jam and nail it in vinyl on stage the following year. The earlier, heavier (and to my ears more ponderous) Grobschnitt showed only one face of a two-sided musical coin, and by exploring another, more delicate aspect of their personality the band was finally able to establish its own holistic identity, and better late (almost too late, by 1977) than never.