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Was hört ihr für Musik??

NoStyle

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Was hört ihr für Musik??  

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  1. 1. Was hört ihr für Musik??

    • Pop/Charts/Ö3... Kommerz ist das beste!
      105
    • Klassik, das hab ich als Kind schon ghört, LIVE versteht sich...
      46
    • Rock'n'Roll - Elvis lebt schließlich...
      48
    • Techno/Hardcore/Disco-Musik - erst ab 120bpm wirds gut....
      126
    • Punk - Rock - Heavy Metal - Alternativ - Grunge; geile E-Gitarrensounds, was gibt es schöneres??
      680
    • R'n'B/Kuschelrock/SadSongs.... für den Herzschmerz
      17
    • Volksmusik.... die Kastelruther Spatzen sind das ultimative... :s:
      31
    • Rap/Hip-Hop, Eminem 4-ever
      65
    • Black Metal (also, die Satan-hole-mich-Musik)
      37
    • Sonstiges, das sich hier nicht mehr ausgeht....
      218
    • Sepultura & Co.
      45

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revilO

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Mike Portnoy von Dream Theater meint:

""Death Magnetic" is HANDS DOWN the best Metallica album in 20 years. This is the CD I've been waiting for them to make since "…And Justice For All". And thumbs up to them for doing the first REAL METALLICA instrumental in 20 years since "To Live Is To Die" (if you don't count Dream Theater 's "Stream of Consciousness"). Welcome back, boys."

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revilO

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Michael Jackson: Beat It (verspätet zum 50er des King of Pop ;))

 

man beachte das geniale Metal-Riff von Eddie van Halen, das sich durch den ganzen Song zieht und sein Gitarrensolo bei etwa 2/3 der Nummer - Jacksons Gesang mag nicht jedermanns Sache sein, aber hier passt er wie die Faust aufs Auge - Wahnsinn

 

einer der besten Pop-Hits aller Zeiten und das völlig zeitlos

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dimarco

dimarco

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für die altmodische musik viele, viele buchstaben und nix bilder, links und youtube.

zitat:

KRAUTROCK…

…is the word that was used by English disc-jockeys (including John Peel, amongst others) to describe the peculiar music that started to arrive in the British Isles from the German undergound scene in the late 60s and early 70s. The music – by bands with names such as Faust, Can, Kraftwerk or Amon Düül II – was new, exciting, experimental and uncompromising – and, because it did not fit into any particular pigeon-hole, the term Krautrock was born. “Kraut” was the single word that represented the “typical” German, as far as the English were concerned: they were, simply, the “Krauts”.

The beat music which teenagers had been dancing to was already on the way out by 1967. The dancing was now being done in discotheques, which were springing up like mushrooms in the republic’s major cities, and it was being done to music played on singles by trendy disc-jockeys. Live music was as dead as a dodo, and beat music had died with it. One of the first DJs was a certain Gerhard Augustin, who was already playing new singles from Britain and the USA in the “Twen-Club” in Bremen in 1963 – mostly high-quality, danceable R&B and pop numbers. In 1965 Augustin had the idea of presenting this music, which was so popular with the teenagers, on television. This was the birth of Radio Bremen’s legendary “Beat Club”. Eventually, at the end of the 60s, Augustin became A&R director of the Liberty/United Artists record label, with responsibility for bands such as Can and Amon Düül II.

 

Krautrock was initially sparked into life against the background, in 1968, of a mood of revolution and an increasingly politicised youth culture. The beat bands were dying out in large numbers, and the few bands that survived were reorienting themselves as a result of the demise of the beat-boom, and searching for new directions and new sounds (or new sources of income). The German Bonds, for example, developed into Lucifer`s Friend. The wholesome Generals became Kollektiv. Ralf Hütter, for his part, had been playing organ with the Phantoms from Krefeld. At the end of the 60s he founded Organisation, and shortly thereafter he achieved international fame with the completely new soundscape of Kraftwerk (whose sale of over 70 million recordings worldwide is an accomplishment that demands respect!). Also, the talented jazz drummer Udo Lindenberg, who was still drumming and singing for the Mustangs until the mid-60s, was to be heard a couple of years later contributing his excellent drumming style to the wonderful LPs of Motherhood, amongst others.

 

As ever, many bands and artists were enthusiastically following Anglo-American examples such as Deep Purple, Jethro Tull, Cream, Vanilla Fudge, King Crimson, etc. Others were influenced more by the sound collages of Frank Zappa`s Mother Of Invention (who performed at the “Essener Songtagen” in 1968), early Pink Floyd or the Jimi Hendrix Experience – and also by particular chemical substances – and were increasingly developing an entirely independent musical direction; these were groups such as Ash Ra Tempel, Guru Guru or Xhol Caravan.

 

Xhol Caravan, from Wiesbaden, were originally called Soul Caravan. The band had made one fairly lacklustre LP, upon which they accompanied two black GIs who seemed to think they were Sam & Dave. After the two Americans had returned home, the rest of the band fell under the influence of Pink Floyd, Acid and Rolf Ulrich Kaiser (RUK), the egomaniacal inventor of himself who assumed the role of intergalactic postman in his incarnation as the “Cosmic Courier”, and who also delivered a huge amount of revolutionary music – albeit combined with a great deal of indigestible babble. In 1969, Xhol Caravan`s album “Electrip”, which was full of weird music and which came in an extraordinary Psychedelic sleeve, appeared, of all places, on the Berlin label “Hansa”, which otherwise specialised in insipid ‘Schlager’ music.

 

Can was a group whose development was, in every respect, both autonomous and unique. On the whole, their music was based on classical and modern composition techniques, on the avant-garde and free jazz, taking rock music as an influence, rather than vice versa. It was from this starting point that the music - or, rather, the concept – of Can originated. This is the sound of innovation.

 

The founder-members Irmin Schmidt, Holger Czukay and David Johnson conducted experiments with Professor Karlheinz Stockhausen, the self-proclaimed realisator of sound, with various, frequently electronic, forms of tonal expression, creating so-called ‘room-music’. The guitarist Michael Karoli had learned violin and banjo in his youth. The drummer Jaki Liebezeit came from a jazz background (having played with the Manfred Schoof Quintett, amongst others), and he played wonderful minimalist structures like a well-oiled clock mechanism. It was him, in particular, who made Can’s sound so unmistakable. Can even made instrumental music with singers. According to the Can concept, the vocalist was equal with the other instruments – whether it was Malcolm Mooney, who “read out” a letter from his American girlfriend on “You Doo Right”, or Kenji “Damo” Suzuki from Japan, who simply attached himself to Can in the street, in Munich in 1970, and drove off the majority of the audience at the gig in “Blow-Up” that evening with his vocal “Samurai Attacks”.

 

At this time it seemed, quite simply, that everything was possible and that anything could be made to happen. There was a growing enthusiasm for experimentation. Together with Friedrich Gulda, Paul and Limpe Fuchs of Anima tried out the most outrageous instruments (remember the “Fuchs-horn”?). The avant-garde journeys to the edge of the musical universe undertaken by Limbus 3 or 4 were, to some extent, anti-commercial out of necessity. Unlike other groups working in similar areas, they made their own life twice as difficult by refusing to use electronic sound machines such as the mellotron or the synthesiser. They preferred to spend their money on exotic instruments like the faray, the tsikadraha and the valiha. None of them ever really mastered these instruments, but they felt that the sound of their names alone was cool enough…

 

Checkpoint Charlie’s first album “Grüß Gott Mit Hellem Klang” (“Greetings with ringing tones”) sought to provoke with pornographic and blasphemous lyrics (Has anyone ever listened to it all the way through?). Ton Steine Scherben agitated with “Macht Kaputt Was Euch Kaputt Macht” (“Destroy that which is destroying you”), or by demanding free public transport, “Nulltarif”, on one of their records (Schwarzfahrerproduktion= “Fare-dodger production”, Berlin).

 

Artists such as Deuter, Peter Michael Hamel, Popol Vuh, etc. brought meditative, often oriental elements into Krautrock, and finally disappeared into seventh heaven or various other n-dimensional worlds at the end of the 70s, happily leaving an ever-expanding New Age society behind them.

 

Tangerine Dream called their first album “Electronic Meditation”; however, “Reise Durch Ein Brennendes Gehirn” (“Journey through a burning brain”), the title of one of the songs on the Ohr album, sounds anything but meditative. Rolf Ulrich Kaiser ’s Kosmische Kuriere (“Cosmic Couriers”) didn’t bother with meditation before whizzing off directly into the cosmos. Ash Ra Tempel were regarded as the ultimate acid band: they even recorded an LP in Switzerland, entitled “Seven Up”, with the arch-guru of LSD, Timothy Leary.

 

Embryo – an experimental jazz band centred around Christian Burchard – were already integrating ethnic influences from Arabia, India and other distant lands, long before the term ‘ethno-rock’ was invented. Later on, Embryo – together with a number of bands and artists with whom they were friends, such as Missus Beastly, Munju and Checkpoint Charlie – founded the autonomous left-wing record label April. The label’s name was subsequently changed to Schneeball (“Snowball”) for legal reasons.

 

At that time, even jazz managed to achieve a degree of freedom from its own restrictions, integrating structures from Progressive Rock. Wolfgang Dauner (& Et Cetera) revealed themselves to be true masters of this art, producing several outstanding albums between 1969 and 1973, and intoning spicey jazz-ragas with an animated Siggi Schwab on sitar and guitar. After 1973, it was back to straight jazz or, more often than not, bland jazz-rock – de-spiced, as it were…

 

A combination of perplexity and greed soon led to the setting up, by every major German record label, of sub-labels which were run by long-haired talent scouts and which had names like Pilz, Brain, Ohr, Kuckuck, Bacillus or Zebra. The senior-level decision-makers valued their new colleagues about as highly as yesterday’s newspapers: after a few years of carnival licence which seldom, if ever, produced the hoped-for returns, the freaks were unceremoniously thrown out. What they left behind, however, was a vast amount of extremely peculiar German music which was sometimes difficult to digest, but seldom boring: namely, Krautrock.

 

From the mid-70s onwards, Krautrock was gradually absorbed by jazz-rock or funk-rock, whilst punk and German new wave were already emerging as the new things on the horizon. A few upright avant-gardists bravely kept the flag flying: The Einstürzenden Neubauten sang in celebration of the half-man, rather than the whole one; and “Mani Neumaier”, that eccentric and lovable Krautrocker of the first generation, is still fishing the Elektrolurch (“the electric newt”) out of the pond today.

 

These days, Krautrock has developed into a firmly established term for a defined musical genre, especially outside Germany; it is a term which is consciously quoted by musicians with reference to the sources and influences of their own creative works. Krautrock acts such as Kraftwerk, Can, Faust or Amon Düül II have huge reputations abroad, and the influence that they exert on certain contemporary artists is enormous. David Bowie himself cited the music of groups such as Kraftwerk, Neu! And Harmonia, as well as Conny Plank (the producer who died in 1987) as being essential sources of inspiration to him.

 

In the present-day record-collectors’ market, Krautrock, in its original sound formats, is keenly sought after, and represents one of the most expensive collecting areas of all. Ever-diminishing numbers of releases attract the powerful, ever-increasing demands of an international body of eager-to-purchase collectors and fans. Certain titles have more or less stopped surfacing altogether: buried deep in Japanese collections, for example, they become permanently removed from the market. Prices beyond the 100 or 200 EURO mark are therefore by no means unusual for rare Krautrock LPs. Original Krautrock pressings are not just specimens of peculiar music from an exciting era; rather, they have become, primarily, interesting investments. So it’s a lucky person who can spot the Krautrock treasures in his record collection.

 

und gelesen ?

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