This album is certainly not for friends of the charts. Here East German rock groups play on, which are not known even in West Germany by every rocker.
a few pictorial suggestions
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Ludwig GĂŒttler a conductor and trumpeter of world renown was born in 1943 in the Erzgebirge. The leading trumpet virtuoso literally has a full professorship for trumpet and a large body of work that needs to be further explored. I am grateful that Roon keeps reminding me of my narrow knowledge of classical music and expands it with this community. I gladly give back ideas and thoughts on worthwhile music in all genres that I listen too.
I see so many recommendations where I need to work my way in, but will in the coming years, God willing.
https://play.qobuz.com/album/0845221080031
We will get a bit closer to the Saxon virtuosos with this presentation.
Thanks to the Roon team for making this experience possible.
Also a German band. And this album sounds really good (speaking for the original master!).
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Great album 
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Irish-Folk-Rock made in Germany. The first track of this album called âLand of Greenâ is one of my all time favourites!
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Thatâs a great reminder, doesnât exist in streaming and were already resolved in the early 90s. Youtube still has it:
and it is also part of my collection.
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I am and allways be a CD guy, and luckily I bought this album. Sounds so much better than the YT-Video 
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I got another one. This time a bit more obscure. Itâs a mix out of Metal and Hardrock with the instrumentation you would rather consider with Chamber Music. Coppelius call their style of music âKammercoreâ based on âKammermusikâ and âMetalcoreâ. 
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I would classify them with Prog.Rock if only this album is rated. A genre that I listen to and collect, but here is total absence with me. I also can not immediately include it in my music heart.
Hmmm, they kind of fitting in Prog.Rock and kind of donât. Itâs definitley not the first genre I am thinking of when Iâm listening to their music.
But I do understand for not liking them, itâs a very special maybe odd sound.
Felix Klieser is a professinal german musician, who plays his French Horn with his feet. He was born without arms and mastered his instrument on an alternative way.
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A band from Bavaria (Ingolstadt) with an interesting genre mix of ska, punk, country and some more.
The tracks âHow To Be Happyâ, âEeasy Streetâ and âLonesome Roadâ are highly recomended.
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now we feed once again the Germany corner with a pure German genre. Here really the good old German Schlager of the 50s and 60s.
Tracks des Albums
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1 Oh My Darling Caroline 03:03
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2 Kein Gold im Blue River 02:43
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3 Sweet Marylie 02:34
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4 Lass die Sonne wieder scheinen 02:40
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5 Dunja, du 02:34
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6 Anja, Anja 02:40
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7 Kennâein Land 02:18
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8 Kleine Annabell 02:53
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9 Einmal noch 02:08
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10 Eine kleine TrÀne 02:15
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11 Wenn du einsam bist 03:03
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12 Darling, Good Night 03:02
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13 Und der Regen, der rinnt 03:10
Not really my type of music, but indeed very German.
And thatâs the beautiful on music, there are so many different genres, everyone gonna find something for his/her liking.
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I am glad that I like so many genres. I once thought I couldnât listen to rap/hip-hop because I didnât like it. But if you look closer at it with the experts (my nephew), you realize, hey, thereâs some really good music. Here there are also some experts with metal, classical and jazz area, they have very interesting recommendations.
Actually, they say that the listening habits are already pronounced in youth. That may be true for many preferences, but I did not combine new age with hard rock or punk / new wave with old hits. I used to find folk music terrible and also immediately deselected Discofox, now I listen more closely everywhere.
But this also makes me a difficult case for automatic recommendation systems. With family accounts and easy presorting I then also have the nice subtleties in each genre and so I came across the very old German music of the 50s and 60s. There was then even the interest aroused to dive into even older vintages.
The music lover of classical music would recommend to wander not only decades, but centuries through the music. Of course, these good roots must never be forgotten, otherwise nothing will grow.
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Hard to believe, German in retirement age loves Krautrock, has built a large collection with passion decades and has not yet opened a can of beans. Can anyone understand that?
âŠand this musical food is culinary delight. Thank you
âŠand then just discovered this
for something like this my ear is very receptive
Rock 5 tracks 01h 30m 02s © Laut (translate with deepl)
At the end of the 90s Can released âMusic (Live 1971-1977)â, a double CD with live recordings from their archives. However, a whole concert of them has not been available on record yet. This changes now with âLive In Stuttgart 1975â.
The album, which is released as a double CD and triple LP, is the prelude to a five-part series of live recordings. These were made possible by Andrew Hall, a British fan who recorded a total of 44 concerts of the band in Europe from 1973 onwards with a Sony cassette recorder hidden in his trousers. Moreover, his bootleg archive grew to several hundred recordings, as he asked other fans to send their own cassettes to him, since he could not travel to every single gig of the formation. This was fortunate, as technical glitches prevented the Cologne band from releasing a proper live record at or after the time of their existence.
Irmin Schmidt restored the bootleg recordings together with producer and sound engineer RenĂ© Tinner using the technical means of the 21st century in order to present them in the best possible quality. The two have more than succeeded in doing so, because you can hardly hear that âLive In Stuttgart 1975â is a bootleg. The sound comes out of the speakers much too well-balanced.
Musically, one encounters purely instrumental jams, which can be considered as snapshots, just like the bandâs studio albums. Irmin Schmidtâs psychedelic organ introduces âStuttgart 75 Einsâ, which develops into a loose improvisation that breathes the spirit of Miles Davisâ âBitches Brewâ. Jaki Liebezeit drives the number rhythmically with tight drum sounds, while Holger Czukay elicits almost whole melodies from his bass and Michael Karoli sets rocky accents on his guitar. At the end, the band really turns loose with passionate string work, wild drumming and inventive bass playing. The remaining jams also culminate in an exciting finale.
In the following âStuttgart 75 Zwei,â a certain opulence comes to the fore as one hears expansive organ, melodic guitar, snappy drums and lively bass tones. As the playing time increases, Karoli takes the improvisation into more and more emotional spheres, so that one almost thinks of Terje Rypdal. At the end you get psychedelic space rock, as Hawkwind couldnât have done it better.
Repetitive drum, bass and guitar grooves with occasional organ interjections can be heard in âStuttgart 75 Dreiâ, which drags on too much due to Karoliâs rather monotonous motifs. But the guitarist shows his unleashed side towards the end to variable drums, insane organ and growling bass, which compensates a little for the lengths before.
The highlight of the concert follows with âStuttgart 75 Vierâ. It lives from a nocturnal melancholic atmosphere and incredibly sensitive guitar melodies that make your heart swell. Nevertheless, it may be a little madness, the end is quite chaotic and dissonant.
Finally, the concluding âStuttgart 75 FĂŒnfâ completely lacks comprehensible structures. To cautious drum sounds, guitar sprinkles and accentuating bass play, billowing organ tones float above the improvisation. In the middle there is no stopping Can when they create an unparalleled orgy of noise with swirling drum and dissonant organ sounds as well as distorted string work.
All in all, âLive In Stuttgart 1975â is a testimony to the manifold qualities of the Cologne band and shows a quartet whose creativity was still as untamed as before Damo Suzukiâs departure in 1973. So one can be extremely curious about the further parts.
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Another great album from my youth! Ok, late youth.
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