Underworld MK1 – The Sire B-Sides

Another Underworld classic has arrived at Innerspace Labs! “Glory! Glory!” is a single from the Mk1 era before they changed their sound and released their epic Dubnobasswithmyheadman LP.

Their singles from this period were released between 1988 and 1989, and the Sire label singles featuring b-sides not found anywhere else in their catalog were issued exclusively in Germany and Australia.

I’ve researched all 53 variations of these single, compiled a list of all edits and b-sides and have been collecting them for years.

The Sire Singles b-sides include the following:

Glory Glory (7 pressings)

• Shokk The Doctor
• Glory! Glory! (Live – Full Length Version) – same as “Glory! Glory! (Live)”

Underneath the Radar (17 pressings)

• Big Red X
• Underneath the Radar (Edit)
• Underneath The Radar (Instrumental Version)
• Underneath The Radar (12″ Remix)
• Underneath The Radar (7″ Remix) – 4:43 and exclusive to the Sire ‎– PRO-CD-2942 US CD Promo Single
• Underneath The Radar (Dub)
• Underneath The Radar (8:00 Remix) – same as 12″ remix
• Underneath The Radar (6:00 Dub) – same as “(Dub)”
• Underneath The Radar (Edit From Shep Petitibone Remix) – 4:40 and exclusive to the Sire ‎– 927 937-7 European 7″ single manufactured in Germany – NOTE: This version has the same runtime as the track listed on Sire ‎– PRO-CD-2942 called 7″ Remix issued as a promo CD in the US and the Discogs entry lists it as being “Edited By – Shep Pettibone.” They are very likely the same track.

Show Some Emotion (7 pressings)

• Show Some Emotion (Remix)
• Shokk The Doctor – also featured on some of the “Glory! Glory!” singles

Stand Up (14 pressings)

• Stand Up (Extended Dance Mix)
• Stand Up (Edit)
• Stand Up (Ya House Mix)
• Stand Up…(And Dance)
• Outskirts

Thrash (3 pressings)

• Thrash (Dance Pass)
• Thrash (Extasy Pass)

Additionally, “Change the Weather” (3 pressings), “I Need a Doctor” (1 pressing), and “Pray” (1 pressing) were also issued as singles but only contained standard A-sides from the two full-length LPs released during the Mk1 era, Underneath the Radar (1988) and Change the Weather (1989).

Of these 53 releases I am missing four tracks –

Underneath the Radar (Edit) – 3:59
Underneath The Radar (7″ Remix) aka (Edit From Shep Pettibone Remix) – 4:43
Thrash (Dance Pass)  – 6:25
Thrash (Extasy Pass) – 5:46

I am actively working on completing the set.

I want to give some praise to Post Punk Monk who has engaged in a similar endeavor with Underworld’s even earlier work as Freur. His (or her) REVO Remastering: Freur/Underworld [Mk I] – Stainless Steel Tears [REVO 036] self-produced remaster compilation is exactly the sort of work I’m tackling.

At the present moment my Underworld collection presently comprises 62 physical releases and artifacts, memorabilia, subway posters, books, prints, magazine articles, DVDs, VHS tapes, etc, as well as 589 digital albums, EPs, mixes, concerts, and other materials. With new material being released every week, they’re showing no sign of slowing down.

More Minimal Ambient Classics

A visit to the legendary Bop Shop in my old home town of Rochester, NY yielded two delightful surprise acquisitions. The first was one of the three of Harold Budd’s 1970s and 80s classic output missing from my vinyl collection – Abandoned Cities. (I now need only The Pavilion of Dreams and The White Arcades to complete my collection.)

The other was an equally unexpected but similarly important work of early ambient music – a German import from Grönland Records combining two classic recordings of Can’s co-founder, Holger Czukay with the great David Sylvian.

Plight & Premonition / Flux & Mutability is a double reissue and remaster of their late-80s collaborations experimenting with abstract ambient soundscapes which are sparse, sombre, and atmospheric. Pitchfork contributor Robert Ham remarked that these recordings laid “the groundwork for years of ambient music that would follow.”

“Each feature two long instrumental works built around drones from a synthesizer or guitar interrupted by random shortwave-radio intrusions and occasionally disorienting tape edits.”

The first disc, Plight & Premonition, originally released in March of 1988, comprises drones of harmonium, synthesizer, piano, and guitar. The second disc, Flux & Mutability followed in 1989. Allmusic describes its ambience as “deep, expansive atmospheres with eerie samples and vacuous walls of sound” and calls the album “an important selection for fans of electronic minimalism.”

Both the Budd classic and this new remaster from Grönland are exquisite additions to my library of pioneering early ambient music. My next ambition is to secure a copy of the Editions EG 1981 reissue of Budd’s debut on Eno’s magnificent Obscure Records label in 1978. The Pavilion of Dreams is ethereal, holy, and exquisitely beautiful and has been a long-standing favorite recording of mine in the realm of the genre’s origins.

Cluster: Shaping the Sound of Germany

Moebius,  Roedelius, and Plank, who performed together as Cluster, were each instrumental figures in the krautrock scene whose influence cannot be overstated. Between the three of them, they had their hands in the composition and/or production of over 300 albums of ambient and experimental electronic music that defined the German scene throughout the 1970s.

Hans-Joachim Roedelius has produced 115 releases to date with a new soundtrack pending. One notable work is his earliest recording finally issued in 2008 – Live at the Zodiak – Berlin 1968 which is a rare surviving example of work from the highly-influential West Berlin live music venue, Zodiak Free Arts Lab.

Conny Plank contributed to 122 albums during his lifetime, including influential releases by Kraftwerk, Can, Cluster, Guru Guru, Harmonia, Eno (for the ‘Berlin Trilogy’), Neu!, La Düsseldorf, and other major figures in krautrock.

Dieter Moebius was another principle artist of the scene. Moebius studied in Brussels and Berlin where he met Roedelius and Conrad Schnitzler to found Kluster in 1969, and later Cluster and Harmonia with Michael Rother of Neu!. Moebius is connected to 65 releases I’ll outline below.

I’d previously compiled a similar extended discography for the 178 releases by Tangerine Dream and its associated members’ solo projects, but this archive seems like it will offer a more dynamic range of sounds and shall make for most rewarding listening.

Hans-Joachim Roedelius Extended Discography (115-Release Catalog)

In Bands

In Human Being

2008 : Live at the Zodiak – Berlin 1968 (live album)

In Kluster

1970 : Klopfzeichen (studio album)

1970 : Zwei-Osterei (studio album)

1971 : Eruption (live album, originally released as Kluster und Eruption)

In Cluster

1971 : Cluster ’71 (studio album)

1972 : Cluster II (studio album)

1974 : Zuckerzeit (studio album)

1976 : Sowiesoso (studio album)

1979 : Großes Wasser (studio album)

1980 : Live in Vienna (live album)

1981 : Curiosum (studio album)

1984 : Stimmungen (compilation album)

1990 : Apropos Cluster (studio album, credited to Moebius + Roedelius)

1994 : One Hour (live album)

1997 : Japan 1996 Live (live album, credited to Roedelius Moebius on some editions)

1997 : First Encounter Tour 1996 (live album)

2008 : Berlin 07 (live album)

2009 : Qua (studio album)

In Harmonia

1974 : Musik Von Harmonia (studio album)

1975 : Deluxe (studio album)

2007 : Live 1974 (live album)

In Aquarello

1991 : Friendly Game (studio album, credited to Roedelius, Capanni, Alesini)

1993 : To Cover The Dark (studio album)

1998 : Aquarello (live album, credited as Roedelius solo album)

In Global Trotters (Kenji Konishi, Susumu Hirasawa, Alquimia, David Bickley, Felix Jay, Alex Paterson)

1999 : Drive (studio album)

1999 : GLOBAL TROTTERS PROJECT volume I – DRIVE (remix album)

In Qluster

2011 : Fragen (studio album)

2011 : Rufen (live album)

2011 : Antworten (studio album)

2013 : Lauschen (studio album)

2015 : Tasten (studio album – three pianos project)

2016 : Echtzeit (studio album)

Solo Work

1978 : Durch die Wüste (studio album)

1979 : Jardin Au Fou (studio album)

1979 : Selbstportrait (studio album)

1980 : Selbstportrait – Vol. II (studio album)

1980 : Selbstportrait Vol. III “Reise durch Arcadien” (studio album)

1981 : Lustwandel (studio album)

1981 : Wenn Der Südwind Weht (studio album)

1981 : Offene Türen (studio album)

1982 : Flieg’ Vogel fliege (studio album)

1982 : Wasser im Wind (studio album)

1984 : Auf leisen Sohlen (compilation album)

1984 : Geschenk des Augenblicks – Gift of the Moment (studio album)

1984 : Begegnungen (compilation album)

1985 : Begegnungen II (compilation album)

1986 : Wie das Wispern des Windes (studio album)

1987 : Momenti Felici (studio album)

1989 : Bastionen der Liebe – Fortress of love (studio album)

1990 : Variety of Moods (studio album)

1991 : Der Ohrenspiegel (studio album)

1991 : Piano Piano (studio album)

1992 : Cuando… Adonde (studio album)

1992 : Frühling (studio album) later re-released as Romance in the Wilderness

1993 : Tace! (studio album)

1994 : Sinfonia Contempora No. 1: Von Zeit zu Zeit (studio album)

1994 : Theatre Works (studio album)

1995 : Selbstportrait VI: The Diary of the Unforgotten (studio album)

1995 : Vom Nutzen der Stunden – Lieder vom Steinfeld Vol. I (studio album)

1995 : 61sechzigjahr (compilation album, released privately)

1996 : Sinfonia Contempora No. 2: La Nordica (Salz Des Nordens) (studio album)

1996 : Pink, Blue And Amber (studio album)

1999 : Selfportrait VII: dem Wind voran – ahead of the wind (studio album)

1999 : Amerika Recycled by America Inc (studio album)

1999 : Vom Nutzen der Stunden – Lieder Vom Steinfeld Vol.II (studio album)

2000 : Roedeliusweg (studio album)

2001 : Roedelius 2001 – Orgel Solo (studio album)

2001 : Das Verwirrte Schaf – Wort-Klang Collage zum Aschermittwoch (studio album) 2002 : Selbstportrait VIII – Introspection (studio album)

2003 : American Steamboat (studio album)

2003 : Counterfeit (studio album)

2003 : Lieder vom Steinfeld Vol.III (studio album)

2003 : Roedelius 1969–2002 (compilation album)

2006 : Works 1968–2005 (compilation album)

2007 : Snapshots/Sidesteps (studio album)

2008 : Back Soon (compilation album)

2010 : Ex Animo (studio album)

2016: Manchmal (1 track on 4 tracks compilation EP “past forward”, vinyl release only

2017 Release of Roedelius’ autobiography “Roedelius – Das Buch”

2017 Music for the soundtrack of Nick Cave for the film “War Machine”

2018 Music for the film “Symphony of Now” to be released February 14th

2018 Music for the film “Die Rueden”from director Connie Walther ( not yet released )

Collaborations

With Brian Eno, Dieter Moebius and Michael Rother

1997 : Tracks and Traces (credited to either Harmonia ’76 or Harmonia and Eno ’76)

2009 : Harmonia & Eno ’76 Remixes (remix album)

With Brian Eno and Dieter Moebius

1977 : Cluster & Eno (credited to Cluster & Eno)

1978 : After the Heat (studio album)

1985 : Old Land (compilation album) (credited to Cluster and Brian Eno)

With Brian Eno and Dieter Moebius on Eno’s solo album

1977 : Before and after Science (studio album)

Track: “By This River”

With Alexander Czjzek

1987 : Weites Land (studio album)

With Aqueous

1994 : Grace Notes (studio album)

1997 : Meeting The Magus (studio album)

With Richard Barbieri and Chianura

1998 : T’ai (studio album)

With Alquimia

2000 : Move and Resonate

With Tim Story (sometimes collectively referred to as Lunz)

2000 : The Persistence of Memory (studio album)

2002 : Lunz (studio album)

2005 : Lunz-Reinterpretations (remix album)

2008 : Inlandish (studio album)

With Conrad Schnitzler

2001 : Acon 2000/1 (studio album)

With Fabio Capanni, Felix Dorner, Hirishi Nagashima and Robin Storey

2001 : Evermore

With Lynn

2001 : Act of Love (studio album)

With Nikos Arvanitis

2002 : Digital Love (studio album)

With Noh 1

2003 : Imagine Imagine (soundtrack album, released as Roedelius and Fratellis)

2009 : Fibre (studio album)

With Morgan Fisher

2005 : Neverless (studio album)

With David Bickley

2008 : Bonaventura (studio album)

With Kava

2008 : The Gugging Album (studio album)

With Tim Story and Dwight Ashley

2008 : Errata (studio album)

With Alessandra Celletti

2009 : Sustanza di cose sperata (studio album)

With Christopher Chaplin

2012 : King of Hearts (studio album)

With Andrew Heath and Christopher Chaplin

2017 :Triptych in Blue (live album)

With Lloyd Cole

2013 : Selected Studies Vol. 1 (studio album)

With Leon Muraglia

2015 : Ubi Bene (studio album)

With Mateo Latosa and Cesar Gallegos (aka TKU Tecamachalco Underground)

2016 : Latitudes (music installation for photography exhibition, 2014/studio album release, 2016)

 

Conny Plank (122-Release Extended Discography)

Plank was involved with the following chronological list of albums, either as a direct contributor or because his studio facilities were used. The dates refer to the year of first release.

1969

The Living Music (Alexander von Schlippenbach)

Tone Float (Organisation)

1970

Just A Poke (Sweet Smoke)

Klopfzeichen (Kluster)

Kraftwerk (Kraftwerk)

1971

Zwei-Osterei (Kluster)

Legend (Parzival)

Eloy (Eloy)

Cluster (Cluster)

1972

BaRock (Parzival)

Mournin’ (Night Sun)

43 Minuten (Os Mundi)

Kraftwerk 2 (Kraftwerk)

Neu! (Neu!)

Cluster II (Cluster)

Echo (A.R. & Machines)

Lonesome Crow (Scorpions)

Kan Guru (Guru Guru)

Together (Jane)

I Turned to See Whose Voice it Was (Gomorrha)

Kollektiv (Kollektiv)

Supernova (Ibliss)

1973

Guru Guru (Guru Guru)

Neu! 2 (Neu!)

Ralf und Florian (Kraftwerk)

1974

Autobahn (Kraftwerk)

Zuckerzeit (Cluster)

Free Improvisation (Wired)

1975

Neu! ’75 (Neu!)

Andy Nogger (Kraan)

La Leyla (Ramses)

Hoelderlin (Hoelderlin)

Let It Out (Kraan)

Bröselmaschine (Bröselmaschine)

Mani und Seine Freunde (Guru Guru)

1976

Sowiesoso (Cluster)

Clowns & Clouds (Hoelderlin)

You Won’t See Me (Helmut Koellen)

La Düsseldorf (La Düsseldorf)

1977

Before and after Science (Brian Eno)

Cluster & Eno (Cluster and Brian Eno)

Flammende Herzen (Michael Rother)

Pompeii (Triumvirat)

Rockpommel’s Land (Grobschnitt)

1978

After the Heat (Eno, Moebius, Roedelius)

Ambient 1: Music for Airports (Brian Eno)

Flyday (Kraan)

Durch Die Wüste (Roedelius)

Question: Are We Not Men? Answer: We Are Devo! (Devo)

Out of Reach (Can)

Liliental (Liliental)

Sterntaler (Michael Rother)

Systems of Romance (Ultravox)

Welcome (SBB)

1979

Katzenmusik (Michael Rother)

Selbstportrait (Roedelius)

1980

Crann Ull (Clannad)

Rastakraut Pasta (Moebius & Plank)

Die Kleinen und die Bösen (DAF)

Three into One (Ultravox)

Hunger (The Meteors)

Tournee (Kraan)

Vienna (Ultravox)

Luminous Basement (The Tourists)

1981

Material (Moebius & Plank)

Phew (Phew, with Holger Czukay, Conny Plank & Jaki Liebezeit)

Alles Ist Gut (DAF)

Gold und Liebe (DAF)

Les Vampyrettes (Conny Plank and Holger Czukay)

Stormy Seas (The Meteors) Dutch band

In the Garden (Eurythmics)

Rage in Eden (Ultravox)

Der Ernst des Lebens (Ideal)

Edelweiß (Joachim Witt)

1982

Revelations (Killing Joke)

Latin Lover (Gianna Nannini)

Strange Music (Moebius & Beerbohm)

Für Immer (Deutsch Amerikanische Freundschaft)

1983

Zero Set (Moebius, Plank, and Neumeier)

The Fireman’s Curse (Hunters & Collectors)

Listen (A Flock of Seagulls)

Schlagende Wetter (Kowalski)

1984

Der Osten ist Rot (Holger Czukay)

Belfegore (Belfegore)

Begegnungen (Eno Moebius Roedelius Plank)

Les Rita Mitsouko (Rita Mitsouko)

The Collection (Ultravox)

Puzzle (Gianna Nannini)

Should Have Been Greatest Hits (The Tourists)

The Jaws of Life (Hunters & Collectors)

1985

Humpe Humpe (album) (Humpe Humpe)

Begegnungen II (Eno Moebius Roedelius Plank)

Tutto Live (Gianna Nannini)

Old Land (Cluster and Brian Eno)

Dein ist mein ganzes Herz (Heinz Rudolf Kunze)

Company of Justice (Play Dead)

1986

U-Vox (Ultravox)

Profumo (Gianna Nannini)

1987

The Prophecies of Nostradamus (Bollock Brothers)

Rome Remains Rome (Holger Czukay)

Savage (Eurythmics)

Mein Schatz (Heiner Pudelko) = his final production; finished by Annette Humpe

Posthumous

Laugh? I Nearly Bought One! (Killing Joke, 1992)

Box II (Brian Eno, 1993)

If I Was: The Very Best of Midge Ure & Ultravox (Midge Ure and Ultravox, 1993)

Rare, Vol. I (Ultravox, 1993)

Rare, Vol. II (Ultravox, 1994)

En Route (Moebius & Plank, recorded 1986, released 1995)

Space Ship (The Best Of, Part 1) (Guru Guru, 1996)

The Best of Ax Genrich (Ax Genrich, 1997)

Greatest Hits (The Tourists, 1997)

Guru Guru & Uli Trepte (Guru Guru and Uli Trepte, 1997)

The Michael Schenker Story Live (Michael Schenker, 1997)

Chronicles, Vol. 1 (Michael Rother, 1998)

Ludwig’s Law (Moebius, Plank, Thompson, recorded 1983, released 1998)

Music For Two Brothers (Rolf & Joachim Kuhn, 1998)

Best (Scorpions, 1999)

The Very Best of Guru Guru (Guru Guru, 1999)

La Luna (Holger Czukay 2000, expanded 2007)

Into The Arena 1972–1995 [Highlights and Overtures] (Michael Schenker, 2000)

Pioneers Who Got Scalped (Devo, 2000)

More Nipples (Peter Brötzmann Group, 2003)

Dieter Moebius Discography (65-Album Map)

As Cluster

Studio albums

1971 Cluster

1972 Cluster II

1974 Zuckerzeit

1976 Sowiesoso

1977 Cluster & Eno (with Brian Eno)

1978 After the Heat (by Eno, Moebius and Roedelius)

1979 Grosses Wasser

1981 Curiosum

1991 Apropos Cluster (by Moebius and Roedelius)

1995 One Hour

2009 Qua

Live albums

1980 Live in Vienna – Recorded with Joshi Farnbauer

1997 Japan 1996 Live

1997 First Encounter Tour 1996

2008 Berlin 07

2015 USA Live

Compilation albums

1984 Begegnungen (with Brian Eno, Conny Plank)

1984 Stimmungen

1985 Begegnungen II (with Brian Eno, Conny Plank)

1985 Old Land (with Brian Eno)

2007 Box 1 (boxed set)

As Kluster

1970 Klopfzeichen (studio album)

1971 Zwei-Osterei (studio album)

1971 Eruption (live album)

2008 Vulcano: Live in Wuppertal 1971

2008 Admira

2008 Kluster 2007: CMO (studio album)

2008 Kluster: 1970-1971 (Box Set)

2009 Kluster 2008: Three Olympic Cities Mix (studio album)

2009 CMO 2009: Three Voices (germany-usa-japan) (studio album)

2011 A unique remix of the material from Kluster 2007 featured in the Compilation CD VOL K compilation by Zelphabet Records.

2011 Kluster CMO 2010 (studio album)

As Harmonia, with Michael Rother and Hans-Joachim Roedelius

1973 : Musik Von Harmonia

1975 : Deluxe

1997 : Tracks and Traces (recorded 1976 with Brian Eno)

2007 : Live 1974 (Previously unreleased works)

As Cosmic Couriers, with Mani Neumeier and Jürgen Engler

1996 : Other Places

2014 : Another Other Places

With Brian Eno and Hans-Joachim Roedelius

1977 : Cluster & Eno

1978 : After the Heat

With Liliental

1978 Liliental

Solo albums and collaborations

1980 Rastakraut Pasta (with Conny Plank)

1981 Material (with Conny Plank)

1981 Strange Music (with Gerd Beerbohm)

1982 Zero Set (with Conny Plank and Mani Neumeier)

1983 Tonspuren

1983 Double Cut (with Gerd Beerbohm)

1986 Blue Moon (Original Soundtrack)[7]

1990 Ersatz (with Karl Renziehausen)

1992 Ersatz II (with Karl Renziehausen)

1995 En Route (with Conny Plank; recorded in 1986, additional mix in 1995)

1998 Ludwig’s Law (with Conny Plank and Mayo Thompson)

1999 Blotch

2002 Live in Japan (with Mani Neumeier)

2006 Nurton

2007 Zero Set II (with Mani Neumeier)

2009 Kram

2011 Ding

2012 Moebius & Tietchens (with Asmus Tietchens)

2014 Snowghost Pieces (Moebius, Story, Leidecker)

2014 Nidemonex

Posthumous Albums

2017 Musik Für Metropolis

2017 Familiar (Moebius, Story, Leidecker)

2017 Kunsthalle Düsseldorf (Live) (12″) (Moebius, Schneider)

 

And for those interested in the aforementioned Tangerine Dream library, you can peruse the index below.

 

Tangerine Dream (178-Disc Catalog)

 

Bootmoon Series

2004 – Aachen – January 21st 1981 – 2CD

2005 – Brighton – March 25th 1986 – 2CD

Studio Albums

1970 – Electronic Meditation

1970 – Electronic Meditation/Electronic Meditation

1971 – Alpha Centauri

1972 – Ultima Thule (2008) – 2CD

1972 – Zeit

1973 – Atem

1975 – Rubycon

1976 – Stratosfear

1978 – Cyclone

1979 – Force Majeure

1981 – Exit

1982 – White Eagle

1983 – Hyperborea (2008 HQCD)

1985 – Dream Sequence – 2CD

1985 – Le Parc

1986 – Green Desert

1986 – Underwater Sunlight

1987 – Tyger

1988 – Optical Race

1989 – Destination Berlin

1989 – Lily on The Beach

1990 – Melrose

1992 – Quinoa

1992 – Quinoa (2009)

1992 – Rockoon

1993 – Dream Music (the movie music of Tangerine Dream)

1994 – Tangents 1973-1983 (BOX) – 5CD

1994 – Turn of the Tides

1995 – The Dream Mixes – 2CD

1995 – TimeSquare Dream Mixes II

1995 – Tyranny Of Beauty

1996 – Goblin’s Club

1997 – Towards The Evening Star (Orb Remix)

1998 – Ambient Monkeys

1998 – The Analogue Space Years 1969-1973 – 2CD

1999 – Atlantic Bridges

1999 – Atlantic Walls

1999 – Dream Encores

1999 – Mars Polaris

1999 – The Hollywood Years Vol 1

1999 – The Hollywood Years Vol 2

2000 – Antique Dreams

2000 – The Seven Letters From Tibet

2001 – Dream Mixes III

2002 – Journey Through a Burning Brain – 3CD

2003 – The Bootleg Box Set Vol 1 – 7CD

Set 1 – Sheffield – Oct 29th 1974 – City Hall

Set 2 – London – April 2nd 1975 – Royal Albert Hall – 2CD

Set 3 – Live at Croydon Fairfield Halls – 23rd October 1975

Set 4 – Bilbao – Jan 31st 1976 – Pabellion de la Casilla – 2CD

Set 5 – Electronic Rock at the Philharmonics – Berlin – June 27th 1976

2004 – Dream Mixes IV

2004 – Purgatorio – 2CD

2005 – East

2005 – Jeanne D’Arc

2005 – Space Flight Orange

2006 – Blue Dawn

2006 – Metaphor

2006 – Nebulous Dawn [The Early Years] – 3CD

2007 – Booster – 2CD

2007 – Canyon Cazuma (2009)

2007 – Cyberjam Collection

2007 – Madcap’s Flaming Duty

2007 – One Times One

2007 – Silver Siren Collection

2007 – Springtime In Nagasaki

2007 – Summer In Nagasaki

2007 – Tangines Scales

2008 – Autumn In Hiroshima

2008 – Booster Vol 2 – 2CD

2008 – The Anthology Decades

2008 – Views From A Red Train

2009 – A Cage in Search Of A Bird

2009 – Flame

2009 – Plays Tangerine Dream

2009 – Winter In Hiroshima

Live Albums

1982 – Pergamon (Live)

1984 – Poland (Live)

1988 – Live Miles (Live)

1993 – 220 Volt (Live)

1998 – Tournado (Live)

1998 – Valentine Wheels (Live)

1999 – Sohoman (Live)

2000 – Soundmill Navigator (Live)

2002 – Inferno (Live)

2003 – Rockface (Live) – 2CD

2004 – Live in America (Live)

2005 – Rocking Mars (Live) – 2CD

2006 – Paradiso (Live) – 2CD

2007 – Bells Of Accra (Live)

Soundtrack Albums

1977 – Sorcerer (OST)

1981 – Thief (OST)

1983 – Risky Business (OST)

1983 – Wavelength (OST)

1984 – Firestarter (OST)

1984 – Flashpoint (OST)

1985 – Heartbreakers (OST)

1985 – Legend (OST)

1987 – Near Dark (OST)

1987 – Three O’Clock High (OST)

1988 – Shy People (OST)

1989 – Miracle Mile (OST)

1990 – Dead Solid Perfect (OST)

1991 – Canyon Dreams (OST)

1991 – Rumpelstiltskin (OST)

1991 – The Park Is Mine (OST)

1994 – Catch Me If You Can (OST)

1996 – Zoning (OST)

1997 – Oasis (OST)

1997 – The Keep (OST)

1999 – Great Wall of China (OST)

1999 – Transsiberia (OST)

1999 – What A Blast (OST)

2003 – Mota Atma (OST)

Solo Artists

Christopher Franke

1991 – Pacific Coast Highway

1992 – The London Concert

1992 – Universal Soldier

1993 – New Music for Films – Vol 1

1994 – Enchanting Nature

1995 – Klemania

1996 – Perry Rhodan – Pax Terra

1996 – The Celestine Prophecy

1999 – Epic

Peter Baumann

1979 – Trans Harmonic Nights

Johannes Schmoelling

1986 – Wuivend Riet

1988 – The Zoo of Tranquillity

2009 – A Thousand Times

Edgar Froese

1974 – Aqua

1975 – Epsilon In Malaysian Pale

1979 – Stuntman

1983 – Pinnacles

1995 – Beyond The Storm – 2CD

2003 – Ambient Highway Vol 1-4

2003 – Introduction To The Ambient Highway

2004 – Dalinetopia

Singles

2007 – One Night In Space (CD-Single)

2007 – Sleeping Watches Snoring In Silence (CD-Single)

2008 – Choice (CD-Single)

2008 – Das Romantische Opfer (CD-Single)

2008 – Fallen Angels (CD-Single)

2008 – Purple Diluvial (CD-Single)

Remasters

1974 – Phaedra (1995 SBM Remaster)

1975 – Ricochet (1995 SBM Remaster)

1977 – Encore (Live)(1995 SBM Remaster)

1979 – Force Majeure (1995 SBM Remaster)

1981 – Thief (1995 SBM Remaster)

1982 – Logos (1995 SBM Remaster)

1982 – White Eagle (1995 SBM Remaster)

1983 – Hyperborea (1995 SBM Remaster)

2000 – Axiat (2009 Remaster)

2007 – Hollywood Lightning (2009 Remaster)

2007 – Mars Mission Counter (2009 Remaster)

A Momentous Discovery and a Wish Fulfilled

The last two weeks of January have been beautifully inspiring.  A further exploration of choral works at the recommendation of a fantastic fellow classical connoisseur led me to revisit Arvo Pärt’s Da Pacem.

I was instantly enamored by the sacred sounds of The Estonian Philharmonic Chamber Choir and the fantastic production quality of the recording.  And I was duly delighted by the discovery that the release was issued by the Harmonia Mundi label (from which I’d recently acquired the 20-volume CENTURY I and II early music catalogs).  This remarkable music set the stage for a brilliant musical revelation – one that carried with it emotive and intellectual majesty I’ve not experienced since my first listen to Eno’s Airports.

The revelation arrived in the form of a fated discovery of Germany’s Harmonia – the supergroup of Dieter Moebuis of Cluster (synthesizer, guitar, electronic percussion, nagoya harp, vocals), Hans-Joachim Roedelius of Cluster (organ, piano, guitar, electronic percussion, vocals), Michael Rother of Neu! (guitar, piano, organ, electronic percussion, and vocals), and eventually, Brian Eno (synthesizer, bass, vocals).

Their small but influential discography was produced by Conny Plank, who produced works by Neu!, Cluster (almost becoming a member of the band), Ash Ra Tempel, Can, and Guru Guru.

In December of last year, Larry Crane interviewed Michael Rother for TapeOp.com and discussed the formation of Harmonia, their work, but it was an article published January 20th of this year in The New Yorker titled, The Invention of Ambient Music that first introduced me to Harmonia.  The article cites a video interview from 1997 in which Bowie named some of his influences, including Kraftwerk, Neu!, and Harmonia.

An inspiration good enough for the Thin White Duke is certainly one worth exploring, so I wasted no time in queuing up Harmonia’s first album, Musik von Harmonia, released in 1974 on the classic Brain label.

Instantaneously I knew I’d found something exceptional.  The tracks were united in a consistent theme – instrumental exploration of subtle, ever-shifting sonic textures – an electronic realization of Satie’s vision of furniture music.

On the surface the work might initially appear uneventful, dull, and lacking in focus or direction.  There are no lead vocals and no primary melodic structure. However these seemingly detrimental characteristics are precisely what contributed to their greatness and lasting-influence in the world of ambient music and beyond.  

Eno has stated that Harmonia was “the world’s most important rock band” in the mid ’70s.  Daniel Dumych elaborates in his article for hyperreal.org: “Perhaps Eno’s reason for praising Harmonia so highly was that their music fit the requirements of ambient rock. Its music was equally suitable for active or passive listening. The careful listener found his/her attentions rewarded by the musical activities and sounds, but Harmonia’s music was also capable of setting a sonic environment.”

In John Cage’s classic Indeterminacy: New Aspect of Form in Instrumental and Electronic Music (Folkways FT 3704, 1959), he observes:

“If something is boring after two minutes, try it for four. If still boring, then eight. Then sixteen. Then thirty-two. Eventually one discovers that it is not boring at all.”

Cages words accurately describe a first-listen to Harmonia’s music, (only I was instantly receptive to the “subtle, ever-shifting sonic textures” to which I alluded above.)  Headphones donned and eyes closed, I laid in bed and soaked in every note of the Harmonia catalog.  By its conclusion, I’d scoured the web for information on available recordings in a vinyl format and was astounded and elated to learn that only three months prior (to the day, in fact), a massive deluxe 6LP box set celebrating Harmonia’s complete recordings had just been issued by Grönland Records in Germany!

The teaser video for the set:

The set, titled Complete Works, contains all the released material from 1973 to 1976, including their 1976 collaboration with Brian Eno and four unreleased tracks (Documents 1975).  Also included are a 36-page booklet, a concert poster, a pop-up, and a digital download code.

Overcome with excitement at this fateful cosmic alignment of circumstance, I sprang from my bed, and quickly dialed my contact for German import vinyl and limited edition recordings.  The set was not intended for distribution in the US, and copies had already sold out from the Grönland Records website.  Thankfully, my contact came through for me and within a matter of minutes I’d secured a copy for my library.  It just arrived in the States and I couldn’t be more delighted.  

Below is a video of the unboxing of this wonderful box set.

It’s truly remarkable to experience this sort of exhilaration over a newly-discovered artist.  As an archivist with well over 100,000 recordings in my library, there are moments when I fear I’ve exhausted the 20th century of all its surprises.  But, like I was by my first experience listening to Harry Partch, I am once again awakened to the magnificence of our greatest century of cultural artistry.

An Exploration of Kosmische Musik Essentials (2 of 2)

Welcome to the conclusion to my 2-part feature on kosmische essentials.  First, an apology to readers who expected to see Neu’s first two albums, La Dusseldorf, Faust, and Harmonia.  I fully recognize the importance and grand influence of these artists, however they’ve thus far been absent from my collection.  They will surely be added in due time, but for now we’ll begin with another essential – Germany’s Can.

Can recorded three milestones of krautrock between 1971 and 73 – namely, Tago Mago, Ege Bamyasi, and my favorite – Future Days.  Fans may argue that their debut album Monster Movie was a far more important record, but these three albums feature some of the most mind-blowing tracks I’ve ever heard.  This is effectively the opposite of Kraftwerk.  Instead of Ralf and Florian’s polished industrial mechanized music, Can offers chaotic, psychedelic tunes and spontaneous lyricism that made them icons of the genre.

These are the United Artists marbled vinyl pressings from around 2009.  I’m uncertain whether or not these are authorized reissues, but no corners were cut on the quality of either the heavyweight gatefold jackets or the quality of the colored vinyl.  Absolutely essential.

 Can – Tago Mago (1971)

Can – Ege Bamyasi (1972)

 Can – Future Days (1973)

Popol Vuh is another artist with a dauntingly extensive catalog of albums.  I’ll highlight my personal favorite – Hosianna Mantra – minimal choral music from Germany recently reissued by a small independent record store in Spain.  The pressing restored the original album art (after the 1980s American issue replaced the gorgeous cover with a boring large yellow circle).  Better still, the disc shipped with a bonus 7″ single and a poster, limited to 500 copies worldwide.  Wah Wah Records continues to release long out-of-print titles and is a label well-worth exploring.

 

Popol Vuh – Hosianna Mantra (1972)

Another essential deep into the territory of Berlin School ambience is Manuel Gottsching’s Inventions for Electric Guitar from 1975.  This, in my humble opinion, is space rock perfection.  An expert’s blend of guitar, trance inducing rhythm, and delay and echo effects.  There’s really very little else happening on this record, but Gottsching transports the listener to the furthest reaches of outer space.  This is music for interstellar travel.

Manuel Göttsching – Inventions for Electric Guitar (1975)

And Inventions became the precursor to Gottsching’s most important work – E2-E4 from 1984.  Allmusic was spot-on when they described the record as sounding like the house music of the 20 years that followed its release.  Gottsching focuses all his energy on the delicate interplay between guitar loops, drum synths, and sparsely-interjected tones from an accompanying synthesizer.  This is pure trance… from 1984.

Manuel Göttsching – E2-E4 (1984)

But perhaps no individual had as expansive a solo and collaborative catalog in the Berlin School than Klaus Schulze.  Irrlicht (1972) was Schulze’s first official solo album, recorded just a month before Zeit.  This is cerebral, classically-influenced cosmic music – a magnificent milestone of the genre.

Klaus Schulze – Irrlicht (1972)

If you buy only one Klaus Schulze record, (and there are well over 100), please consider the massively successful double LP – X from 1978.  X is hypnotic and entrancing modern classical music and is universally acclaimed as one of Schulze’s finest efforts.  The album is subtitled, “Six Musical Biographies” as each track is named after one of Schulze’s greatest inspirations.  This is not passive listening – these songs, many in excess of 20 minutes in length, are engaging explorations of synthesized sound.

Klaus Schulze – X (1978)

Also recommended are Schulze’s 12-volume collaboration with Pete Namlook – The Dark Side of the Moog series, and for the fan who has everything-Schulze, I encourage you to look into The Ultimate Edition – a 50-disc collection of box sets featuring numerous live and non-album recordings.  It clocks in at 65 hours of material and I love cuing it up at work to transform my 9-5 into a calm and meditative atmosphere.

Here I’d like to touch quickly upon a non-German record that was really in the spirit of what Schulze and his fellow Berlin-schoolers were up to in the late 70s.  Steve Hillage, one of the primary figures of the Canterbury scene in the UK recorded Rainbow Dome Musick for the Festival for Mind-Body-Spirit in 1979.  While not geographically qualifying as “Berlin School,” it is most definitely of the same caliber as its German counterparts.

The album features Hillage on guitars, the Fender Rhodes, and ARP and Moog synthesizers.  A smattering of Tibetan bells and the sound of a running stream make the album approach the then-budding territory of New Age music, but Hillage’s musicianship and penchant for the avant-garde exempt the album from the flood of forgettable New Age music of the era.  If you like Schulze’s solo work, you really should check out Rainbow Dome Musick.

Steve Hillage – Rainbow Dome Musick (1979)

 I always end my multi-album features with something unique – and this is no exception.

Public Service Broadcasting is a London-based duo who create retro-futuristic electronic music much in the spirit of classic krautrock.  They use samples from old public information films, archival footage and propaganda material, to (quote) ‘teach the lessons of the past through the music of the future’.  PSB combines classic synths with banjo, ukulele, sax and trumpets all propelled by a nearly-motorik beat.

Both their album art and their music bear the streamlined magnificence of the Futurists.  My two favorite selections are The War Room EP and their first full-length release, Inform, Educate, Entertain.  I’ve also just pre-ordered their exciting new record scheduled for release this February.

Public Service Broadcasting – Inform Educate Entertain

But to close with a proper German record, I can’t leave out my recent acquisition from December of 2014 – GAS.  Wolfgang Voigt’s legendary titles released under the Gas moniker were combined in an abbreviated double LP, Nah Und Fern in 2008 on the Kompakt label.  Recorded between 1996 and 2000, Gas is perhaps the ultimate vision of the Berlin School’s musical philosophy.  To recap the brilliant descriptions from critics upon its release – zero-gravity club music, tunes for lucid dreaming, underwater techno, or as Wire put it, “an outdoor rave, heard floating through the air from a neighbouring village.”  This is precisely the sound of Gas.

Gas – Zauberberg (1997)

Gas – Königsforst (1999)

Gas – Pop (2000)

My next German music purchases will likely include the first Cosmic Jokers LP, Schulze’s Timewind, and Froese’s solo debut – Aqua on the Brain label.

I hope these featured essentials are helpful to anyone venturing into kosmische music for the first time.  Have I left out any of your own favorites?  Let me know!

The First 800 Albums of 2013

I’ve been all over the ambient and experimental map these first two months of the year.  I recently revisited Boards of Canada’s extended catalog – 6 LPs, 4 compilation albums, 6 EPs, and two live sets (the Warp 10th Anniversary Party from ’99 and All Tomorrows Parties in 2001) and fell in love with the sound of early downtempo all over again.

For years I’ve loved Peter Gabriel’s fourth LP (in particular the tribal percussion on the track, “Rhythm of the Heat”) as well as the Birdy and Passion soundtracks from ’85 and ’89.  I decided it was finally time to acquaint myself with the rest of his discography, so I picked up a digital archive of his 14 studio albums, 17 singles, 11 remastered recordings, 6 official compilations and 6 live albums.  I have I-IV on vinyl, as well as the Birdy OST, and this archive will be the perfect way for me to identify which LPs to order next.

Also this past month I decided to explore the birth of IDM.  A quick bit of research uncovered the Artificial Intelligence series on the Warp label, which was the definitive collection of early intelligent dance releases.  The series included 8 discs issued between 1992-1994.  The selection below is by Link, which is one-half Tom Middleton who I remember from the Cosmic Fury DJ face-off  between Middleton and Fred Deakin of Lemon Jelly.

And after months of researching krautrock’s greatest recordings, I finally picked up 11 albums by Faust.  And thank god, because the search led me to the 1973 masterpiece collaboration of Faust and Tony Conrad titled Outside the Dream Syndicate.  This stripped-bare, minimalist record puts you into a trace and you slowly begin to feel the subtle nuances of the droning violin and the relentless percussion.  A most rewarding listen!  I promptly added Conrad’s debut LP to my shopping list.  It’s around $100 when it surfaces, so it appears I’m not the only fan out there.

Popol Vuh was another German 70s artist I discovered and enjoyed this past month.  I tried out their 27 LP catalog spanning 1970 – 1999 and (as usual) was most fond of their debut album – Affenstunde.  The album is a solid 40 minutes of droning proto-synth sounds and natural percussion.  Unlike the later work of Tangerine Dream, the album never sounds artificial or sequenced.  It remains organic from start to finish.  I’ll be looking for this album at the record show next month.

Just before the month began I went through the complete discography of Tangerine Dream chronologically by date of release to identify which albums from their vast catalog would best fit my library.  I picked up 206 discs, including all studio albums, all remasters, live LPs, soundtracks, singles, and solo projects by each member of the band.  A week into listening and reading I knew exactly what I wanted.  Their first four records were much more experimental and organic than the sequencer-based ambient work that they are best known for.  Long before they inspired the new age genre they were making crazy avant garde German music not unlike Popol Vuh.

Unfortunately, original pressings of these early albums would set me back $50 apiece and $100 for a clean copy of their debut LP.  After two days of research, I found the answer.

In 1985, Relativity Records pressed 3000 numbered copies of a box set called In the Beginning… which included their first four albums, uncut, and the previously unreleased Green Desert LP.  All of the original album art is included in the set along with a ten page book about the band.  Best of all – I secured a copy for a mere $25.  This was the PERFECT solution for my situation!

While I was on a German kick I decided to put the finishing touches on my Kraftwerk library.  I already had Radioactivity and Autobahn on vinyl so I picked up their first 17 albums digitally to see where I wanted to go next.  I instantly fell in love with Kraftwerk I and Kraftwerk II.  These were the experimental LPs they produced before Ralf & Florian secured their signature electronic sound.  Many reviewers write the first two albums off as “for-completists-only.”  I strongly disagree.  While of course these are no Autobahn, they are beautiful free-form experiments and I had to have them on wax.  After two days of exploring I settled on the Italian Crown label bootleg pressings which came with red vinyl and green marbled vinyl discs.  I found one seller with both albums so I saved on shipping and took the plunge.  They’ll be in the mail this week.

The other German group I had neglected for far too long was the band, Neu!  I’m listening to the six LPs they released between 1972 and 2010 (the most recent being a recording from 1986.)  I think I’ll have to agree with the majority of fans that their first two records from ’72 and ’73 are their best work.  I’ll be looking for original pressings at the record show as well.

I also picked up the fan-produced bootleg series of EPs titled, The KLF Recovered & Remastered.  The 6 EPs and 7th Special Remixes disc include magnificent independent remasters from the KLF’s deleted catalog.  These EPs are on par with the work Dr. Ebbetts and The Purple Chick did with the Beatles’ recordings.

The best disc by far is EP 6 – Live From the Lost Continent 2012, which is a simulated live stadium concert in which the KLF take the listener on a tour through their entire career.  It opens with the Rites of Mu and closes, appropriately with the KLF collaboration with Extreme Noise Terror at the February 1992 BRIT Awards.  This was the legendary performance where they fired blanks into the audience, declared that they’d left the music business, and dumped a sheep carcass at the doors of the building.  The sampled screams of the audience all throughout this hour-and-17-minute “performance” is true to form to what the KLF, themselves did with their Stadium House Trilogy and the entire concert is an absolute triumph.  Best of all, it lets long-time fans take part in one last show decades after Drummond and Cauty left the biz behind.

I have over 88 KLF albums and singles in my library, and EP #6 RE now ranks #1 on my list.  And thanks to EP #1, I’ve added the America, What Time is Love LP single to my shopping list.

Always on the hunt for more experimental music, I finally took the advice of my favorite record store owner and listened to Soft Machine’s first four albums.  I had discovered the Canterbury Scene.  More of a journalistic term than anything else, (like krautrock) it referred to a group of musicians around Canterbury who worked together in several bands around the time that the Berlin School was born in Germany.

I researched a list of essential artists and picked up their discographies.  This included Soft Machine, Matching Mole, Egg, Steve Hillage, National Health, Khan, Ash Ra Tempel/Ashra/Manuel Gottsching, Gong, Caravan and Henry Cow.

The organ work on Egg’s first LP is brilliant, and warranted repeated listenings.  I also enjoyed their post-break-up release, The Civil Surface from ’74.  Both have been added to my record show list.

Out of the 17 albums in Gong’s library, I found the Radio Gnome Invisible trilogy to be the most memorable.  Released between 1973 and 74 these were finally re-pressed in Italy in 2002 and have sold online for about $45 apiece for the re-issues.  Angel’s Egg (Radio Gnome Invisible Pt 2) seems to be their strongest record.

I was similarly floored by Ash Ra Tempel’s first two LPs.  If you like post-psychedelic drone, their early stuff is really worth picking up.  I’m going through the 49 LPs they released between 1970 and 2007 but so far Ash Ra Tempel (1971) and Schwingungen (1972) are my clear favorites.

The unfortunate thing about many of the Canterbury and krautrock artists is that there were no pressings made after their original releases in the early 1970s.  This means a listener may have to shell out one or two hundred dollars per album, which is why I’ve no reservation about familiarizing myself with their catalog digitally before making that kind of investment.

On to more contemporary sounds, I’ve been following the Electronic Supper Club series which is a great collection of live dj sets.  Of the thirty three hours of material available thus far, hour 30, “Set 2” is a memorable favorite – lots of deep house grooves which are great for both the dancefloor or the living room.  Click here if you’d like to watch the set.

That got me in the mood for more quality IDM, so I picked up 47 albums and singles by Aphex Twin.  I’m still trying to warm up to the fan-favorite, Selected Ambient Works Vol 2 which inevitably surfaces in conversations about all-time-greatest ambient releases.

I may also invest in a vinyl copy of Powerpill (the Pac-Man techno single) to add to my ridiculously large collection of Pac-Man Fever merchandise.  The Aphex Twin library is just over 41 hours worth of material so I’m sure I’ll find a few classic releases to order on wax.  (“Bucephalus Bouncing Ball” from Clint Mansell’s Pi soundtrack comes immediately to mind.)

Ever since I sampled Philip Glass’ Einstein on the Beach vinyl box set during my last pilgrimage to my hometown record shop I’ve wanted to learn more about his work.  I have 53 of his discs in my archive and I’m slowly making my way through the collection.  He seems consistent in his approach to music and his focus on short, repeated patterns gives it an almost drone-like quality.  Thus far the Einstein on the Beach 4LP set is my favorite so I will likely pick it up from the shop.  I only wish there were vinyl issues of the short pieces he composed for Sesame Street in 1979 for the animated shorts, The Geometry of Circles.  He wrote them while developing Einstein on the Beach, which is probably why that album remains my favorite so far.

I watched the stunning space madness film, Moon from 2009 this month.  Imagine a two-hour film with only one actor… and you’re on the edge of your seat the entire time.  What was most memorable about the film was the score – a simple oscillation of two notes on a piano that sticks in your head hours after the film has ended.  After researching the film I read that the melody was a metaphor for the conflict between the main character and his clone (both played by the same actor.)

I was surprised to learn that the score was written by the aforementioned Clint Mansell, the former guitarist for Pop Will Eat Itself.  He has written the scores for many films, including Black Swan (2010), Doom (2005) and the soundtrack I mentioned earlier – Pi (1998).  His more recent works have entered into modern classical territory, and I’m enjoying it very much.  I picked up all 19 of his scores and my vinyl copy of Moon arrived in the mail last week.

At the beginning of the month I was researching an old CD I remembered from 2000 – LTJ Bukem’s Journey Inwards.  I had recently heard tracks by Big Bud which had the same Intelligent D’n’B feel as Journey Inwards.  Sure enough, I learned that they were produced on the same label.  I quickly picked up the complete 94 disc catalog which included all of the Good Looking Records/Earth/Soul/Logical Progression/Looking Back/etc releases and I absolutely loved what I heard.  Shortly after listening to this collection I added Big Bud’s Late Night Blues LP to my shopping list.  The album plays like a live show in a small space-jazz club, and is great music to wind down to.

My exploration of space-jazz led me to a Various Artists collection called The Future Sounds of Jazz.  This series compiles the best electronic “future jazz” singles from 1995 – 2012 in a wonderful 21 disc set.  Nightmares on Wax became a fast-favorite of mine, and I will likely be purchasing their first two LPs – Caraboot Soul and A Word of Science.

The last new entry in my library this month was the result of my research into contemporary ambient sound.  I have approximately 830 ambient albums beginning with Erik Satie’s The Gymnopédies from 1888 and ending with Ulrich Schnauss’ A Long Way to Fall from 2013, but the majority of my ambient collection is what you would call “classic ambience.”

To get a better feel for more contemporary ambient recordings I researched a long-time favorite artist – Wolfgang Voigt.  He founded an ambient label in Cologne, Germany in 1993 and released collections of his favorite minimal and microhouse works on his label each year.  I picked up the 13 disc Pop Ambient set which began in 2001 and published their latest release last month.   It makes for a fantastic playlist, and is inspiring a number of future vinyl purchases.

So there you have it – the first 819 albums of 2013.  The year is off to a great start.  My research has yielded a list of must-have LPs which I’ve passed on to a record dealer who is traveling to Germany this week in preparation for the upcoming record show.  He promised to bring me back some great original pressings.  I’m looking forward to it!