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Messages - ObiwanKenomi

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Jan Akkerman (NL) / Re: Jan Akkerman - A Biography
« on: October 23, 2015, 01:39:47 PM »
In 1999, he signed a contract for the Roadrunner label and in October the first release on that label 1999 titled 'Passion'. Regarded by many fans as his true follow-up to the 1973-album 'Tabernakel', 'Passion' was recorded partially live in 1995 and featured Jan's most lyrical acoustic playing for ages. The album (all titles were played solo with his Lowden acoustic guitar) featured two long suites with Akkerman-classics, as well as interpretations of compositions like 'Mon Amour', 'Liebestraum' and a theme from J.S. Bach's Matthews Passion, which became the title-track of the album. 'Passion' was nominated for an Edison award in early 2000, just when Akkerman was almost finishing his acoustic theatre tour to promote the album. His band consisted of, again, his old 'compadre' Ton Dijkman and new band member Wilbrand Meischke on double bass and tabla'.

In 1999 he also did his first UK tour since 1977 and since then he visited the UK every year, with or without his band. While busy as always working on new material in his home studio, Jan was asked to do a special session with rapper Ice-T in early 2000. This illustrates that there still are no musical boundaries and that his feeling for music comes straight from his heart, no matter what kind of music it is. The session was very surprising and received many positive reactions.
Another touring-highlight was the tour with the Rosenberg trio at the end of 2000 around theatres in The Netherlands. Their Django-style fitted perfectly for an evening full of moving guitar strings and swing music. Jan also became a member of the Riders for Health, supporting this organization, which collects motorbikes for usage in third world areas. As a devoted motor biker, he promoted the Riders for Health team with several gigs.

During the early 2001 theatre concerts, Jan played his lute again, after he was finally able to pick up a new set of strings. His new keyboard player was Jeroen Rietbergen, band member of Soulvation and consequently having an influence on Jan. The Jazzah! 2001 / 2002 tour introduced some new material, like 'Cotton Bay' and his version of the Isley Brothers' song 'Between the Sheets'. He also performed the classic 'Pavane' again, for the first time since 1978. After more than 15 years of cooperation, drummer Ton Dijkman left the band in 2002 and was replaced by Marijn van den Berg.

Today, Jan is very satisfied on both his personal as his artistic life. No matter what people say about him or his past, he really doesn't care. More importantly, it's evident that he finally found the ideal place, to be as much creative as possible, together with his wife Marian and their two daughters. His new album with Jeroen Rietbergen and Ronald Molendijk (also from Soulvation) as producers will be released in 2003, he is certainly 'In the mood', just like the title of his latest Dutch theatre tour.

And last but not least in 2003, there's a DvD on the verge of being released from numerous different programs on Dutch and German TV, different occasions with other musicians such as Paco de Lucia etc.

Biography: Wouter Bessels

Jan Akkerman (NL) / Re: Jan Akkerman - A Biography
« on: October 23, 2015, 01:39:26 PM »
Returning to Holland at the end of 1982, he turned more and more towards his Django- and Bluesroots. 'Can't Stand Noise' (released in Autumn 1983) featured live-favorites like 'Heavy Treasure', 'Piétons' and 'Just Because', while the line-up of his band consisted of Hans Waterman on drums, Dino Walcott on bass and Marc van de Geer on keyboards. Touring a lot outside The Netherlands (mainly in Germany), he proved that he was still around.

While he did some sessions with Thijs van Leer again, for the 1985 'Focus' album, Jan recorded one of his best albums, featuring stuff in the Brainbox- and ZZ Top-style. Released in October 1984 as 'From the Basement', the album sounded powerful, raw and joyful. After the short 'Focus reunion' in 1985, Jan rejoined Kaz Lux on stage, followed by his gigs with guitar-virtuoso Adrian van den Berg and female vocalist Julya Lo'ko. Bass player and drummer were respectively Michael Peet and Ton Dijkman. After working almost a year on home demos for his next album, Jan entered the studio to record 'Heartware'. Partially solo and partially with Peet / Dijkman, 'Heartware' is considered one of his best albums ever. It combined the rock-elements from 'From the Basement' and the introduction of new-age stuff he was working on.

Akkerman, who then experimented and worked with two Roland MC-500 sequencers, was asked by Miles Copeland (Sting's manager) to take part in the Night of the Guitar project as a stand-in. This led to his comeback on international stages and his set was one of the most surprising acts during the show. In May 1990 the release of his 'comeback'-album 'The Noise of Art' took place, which was the first album to be released worldwide since 1979. He was asked by Miles Copeland to go on tour with Sting, but Jan, unpredictable as ever, decided not to do it, because he didn't want to end up as a 'touring machine' like he used to be in the Focus days. During 1991 and 1992, he performed with the Charlie Byrd Trio (also on tour in Japan), with Samuel Eddy and with the now late Chicago blues player Ronald Abrams, alongside his solo-gigs.

Then, on a cold August night in 1992, when he returned from a hectic Caribbean tour and after having met his new girlfriend Marian, Jan was involved in a heavy car accident. His revalidation took about six months, after that he settled himself in a new home village and started a new family life. In February 1993 he went back on stage for the very first time after his car accident with his new bass player Manuel Hugas. Doing a very successful theatre-tour that same year, he released his new album 'Puccini's Café' for EMI records in spring 1993, which was followed by 'Blues Hearts' in 1994. Both albums charted in The Netherlands and featured elements of jazz, funk, blues and some electronic stuff as well.

After the monumental 'Songs my father taught me?the funny ones too!'-tour in 1995, Jan felt that he had to do a very special new album, featuring all the styles he did in the past. Those ideas were transformed into the 1996-album 'Focus in Time' with Dijkman, Hugas, keyboard-player / producer Tom Salisbury and a horn section. Released in October 1996, most songs were in the same Renaissance-style like some of the old Focus stuff. Jan reached new heights in his playing in 'Am I Losing You' and the acoustic tour-de-force 'Wildflower'. For the consequent tour, keyboard player Nico Brandsen was bringing in his Hammond-organ and old times were reborn at last?.
A selection of gigs from 1995 until 1997 was compiled on '10.000 Clowns on a Rainy Day'. A double-live set, containing one disc with material recorded in theatres and the other disc a recording of a very cold occasion during the open-air Blues Route festival in 1997. On the 14th of November, Jan played his first solo-gig in the UK in nearly two decades as part of the Euro Wirral Guitar Festival. One year later, he performed several times as a special guest with the legendary B.B. King, which was repeated in 2001 at the Rotterdam Ahoy'.

Jan Akkerman (NL) / Re: Jan Akkerman - A Biography
« on: October 23, 2015, 01:39:00 PM »
During rehearsals for a UK tour with Focus in March 1976, Jan Akkerman left that band. Teaming up again with musicians like Pierre van der Linden and Kaz Lux, Jan recorded 'Eli'. Based on a story that Kaz wrote, with tracks like 'Tranquillizer' and the driving 'Can't Fake a Good Time' proved that Akkerman made progression since the Brainbox-days. Musicians like Jasper van 't Hof and Rick van der Linden were also very important for the sound that made 'Eli' so unique. The follow-up, Jan's self-titled album, was recorded in the same period as 'Eli', but is completely instrumental. Most of the tracks were recorded during the same sessions of the 'Eli' album recordings in 1976. His band featured Joachim Kühn on keyboards, Cees van der Laarse on bass and Bruno Castelucci on drums. The percussionist was Neppie Noya. Compared to 'Eli', this album contained more solo-guitar playing and put him in the spotlights with tracks like 'Crackers', 'Pavane' and 'Skydancer'. All tracks featured the Michael Gibbs Orchestra in the orchestral background.

In 1978, he played with his band at the Montreux Jazz Festival, parts of which were released on the 'Live' album. He also made a classical album with arranger/conductor Claus Ogerman, 'Aranjuez'. Jan decided not to put well-known classical pieces on this album, but instead he selected material by Rodrigo, Ravel and Villa-Lobos. His follow-up album was surprisingly very funky. Recorded in the US, the album 'Jan Akkerman 3' features a horn-section led by Michael Brecker and two songs feature vocals, by Will Dee ('She's So Devine') and Yvette Cason ('Funk Me').

From now on, Akkerman was certainly capable of any style he would try on most of his solo albums. Most people said 'Jan lost his musical direction', which is not completely fair, when one noticed his virtuosity and eclecticism. He developed his own style on each album and this resulted in several albums with a different sound. During 1980, Jan added more improvised jazz-elements to his music. This resulted in a duo-tour with Joachim Kühn (which started in autumn 1979 in Germany). As an album follow-up to 'Jan Akkerman 3', he teamed up with Kaz Lux again, but this time Kaz wrote most of the songs, while Jan concentrated himself on the arrangements. The results were released as 'Transparental'.

In 1981 and 1982, Jan mostly lived in Denmark and Sweden, while he performed live with musicians like Jon Hiseman and Stefan Nilsson. In October 1981 he made a bet with a Dutch disc jockey, to create an entire album within 24 hours. Jan won the bet: 'Oil in the Family' was colored with the sounds of his guitar synthesizer. This album was a unique statement in the middle of the disco-age. However, both press and public were not amused. In early 1982, one of his most lyrical albums 'Pleasure Point' was released. Some tracks were played solo, with both acoustic guitar and guitarsynth, and other tracks featured musicians like Hans Waterman and Ronald Zeldenrust on drums, bassist Pablo Nahar and saxophone player Jim Campagnola. While in Denmark, Jan recorded the album 'It Could Happen to You' in March 1982 with Danish musicians, such as Kenneth Knudsen and Ole Theill.

Jan Akkerman (NL) / Jan Akkerman - A Biography
« on: October 23, 2015, 01:38:39 PM »
Jan Akkerman - A Biography by Wouter Bessels

Imagine a guitar player who played with musicians like Claus Ogerman, Alan Price, Herman Brood, Peter Banks, Charlie Byrd and Ice-T. You won't be guessing anybody else than Jan Akkerman. During his nearly 50-year career, he did almost anything a musician could possibly do. Even now in 2003, he has been developing himself towards new musical fields with a sheer enthusiasm which is so typical for all his projects so far.

Jan was born on Christmas-eve of 1946 in Amsterdam, The Netherlands. He picked up a guitar for the first time at the tender age of 5. Jan's father was a guitar player himself, while his mother encouraged him to play the accordion. Luckily, he later definitely chose to pick up the guitar, although he also can play keyboards and even the saxophone. As a teenager his interests turned from classical music into rock 'n roll, so at an early age he played in local bands like The Friendship Sextet (his first band), The Shaking Hearts and Johnny & His Cellar Rockers.

The 'Cellar Rockers' turned into Johnny and The Hunters, and later on The Hunters. Akkerman wrote 'The Russian Spy and I' which featured the famous lick that definitively set his name in the music business. During the last few months of The Hunters, Jan recorded his first solo album 'Talent for Sale' in 1968, with Sidney Wachtel on drums and Ron Bijtelaar on bass. This album featured some Rhythm & Blues-standards, as well as some compositions of his own. This release marked the end of the 'early years', in which he also did studio sessions for a Dutch band called 'The Cats' and on several other Dutch acts (like Unit Gloria, The Buffoons and The Blue Diamonds), for most of which he was not credited,His famous quote on this issue :"Mind over matter? Well ,I don,t mind and that doesn,t matter."

In 1969, Jan was asked to play the guitar parts (and Hammond organ) on an album by vocalist Kazimierz (Kaz) Lux. Together with Pierre van der Linden on drums and André Reynen on bass, this recording project turned into the band 'Brainbox'. Their one and only album was released at the end of 1969 and was immediately regarded as a Dutch progressive rock classic one. Featuring covers like 'Summertime', 'Sinner's Prayer' and 'Scarborough Fair' (alongside several compositions of their own), Akkerman arranged the cover-versions in a very original way and played some marvelous guitar parts on his Gretsch White Falcon.
Akkerman left Brainbox at the end of 1969.

Between 1970 and 1976, Jan was a member of 'Focus", the band that became popular all over the world. During the Focus-years, Jan released two solo albums. In 1972, 'Profile' was released, which featured one side of heavy progressive rock called 'Fresh Air' with the help of his Focus-band mates drummer Pierre van der Linden and bass player Bert Ruiter. Side two of 'Profile' was mostly acoustic, with Jan playing the alto-lute on a couple of tracks. His third album 'Tabernakel' was recorded in the US with the help of the well-known arranger George Flynn. A logical follow-up to 'Profile', Jan again played the lute, alongside keyboards, guitars and his electric sitar. Both 'Profile' and 'Tabernakel' were very successful outside the Netherlands.

Listening Profiles / Re: Obi´s playlist
« on: October 23, 2015, 01:24:21 PM »

Eloy (Germany) / Re: Eloy - The Vision the Sword and the Pyre
« on: October 23, 2015, 11:07:21 AM »
An update on this project, taken from Eloy´s website:


The oft-cited work on the topic of Joan of Arc is taking form, and there will now not only be a rock opera by Frank Bornemann, but, first of all, another ELOY album presenting the music on which the later the musical framework for the stage version will be based.
I have long said goodbye to the idea of composing a stage work, or even presenting a musical in which the dialogues fill the content with overblown singing - generally to the detriment of the music. Rather, I intend to create a complex artistic work in which the musical part assumes a greater responsibility - in other words, something beyond the scope and purpose of known works - without neglecting the subject which, I admit, as a history aficionado and member of the »Association des Amis du Centre Jeanne d´Arc« in Orléans, is very important to me.

Since the album »Power And The Pasion« (also termed a rock opera back then) I have not, perhaps with the exception of the double concept album »Planets« / »Time To Turn«, devoted myself to a work which has a continuous storyline or even historical events as a basis. Such works always require a lot of time and are a much greater challenge than a band album, which doesn’t have such stringent requirements in terms of content.
In the case of the story of Joan of Arc, I have set myself, musically and lyrically, a very high benchmark, which, particularly by sticking to the historical events, demands a high and consistent accord between content with the music. Although the realisation of this project has been going through my head for over 15 years, I only now for the first time have the opportunity to address it and meet the challenge. The idea to combine it with ELOY and to put a version of it to tape first, which, at the same time, also underpins the continuity of our common musical creation as a band, only came to me when I was layouting and composing.
It took some time until it was clear to me that the best way for this musically and thematically ambitious work to see the light of day would be through the band. It is now likely to take for several months before even the music is complete, the texts are fully written, and all the layouts for the final recordings have been created. And another few months will surely have gone by before the recordings are all wrapped up, but then you can be assured that you can expect a very special work which, I am convinced, will rank at the top of our releases up till now.

Eloy (Germany) / Eloy - The Vision the Sword and the Pyre
« on: October 23, 2015, 11:07:02 AM »
Some news taken from Eloy´s website:

Over the last 15 years Eloy´s Frank Borneman has been working on a rock opera dedicated to Joan of Arc. The next step will be taking this opera on the road.
In addition to the large choirs and orchestral sounds, Frank will also be supported by Eloy, making the work part of the band's core discography.

The music for "La Vision l'épée et le bûcher" or "The Vision the Sword and the Pyre" will even be sung in two languages for the live appearances. The show will also go on the road in Germany under the title "Die Vision, das Schwert und das Feuer", with lyrics in German.
It goes without saying that this project presents an enormous challenge, especially for Frank as the author of the content. As such, fans will have to wait patiently for the music to be released on CD. Only then can work begin on the stage production – as soon as the financing has been secured and the cast for each version is in place.

Being an Eloy fan way from the early seventies, I hope to get a chance to see this show on the road somewhere.

Eloy (Germany) / Re: Eloy - Historical Overview
« on: October 23, 2015, 11:02:56 AM »
On January 17th 2014, Eloy released Reincarnation on Stage, a double live CD featuring recordings  of Eloy´s latest tour.

Some of my favorite tracks on this album are Child Migration, Silhouette & Horizons, but it is good to hear some of the older tracks such as Poseidon's Creation, Decay Of The Logos & Atlantis' Agony At June 5th 8498, 13 p.m. Gregorian Earthtime, three tracks from the legenday 1977 Oceans album, actually 3/4 of this album.

Eloy´s tour line-up:

Eloy´s line-up:

Frank Bornemann (guitar & vocals)
Michael Gerlach (keyboards)
Hannes Folberth (keyboards)
Klaus-Peter Matziol (bass)
Bodo Schopf (Drums & percussion)


Steve Mann (guitars)
Alexandra Seubert (vocals)
Tina Lux (backing vocals)
Anke Renner (backing vocals)

Eloy (Germany) / Re: Eloy - Historical Overview
« on: October 23, 2015, 10:57:19 AM »
In 2003, EMI released »Timeless Passages«, the ultimate song collection on two CDs. The product was graced with elaborate cover artwork, strongly suggestive of the band's heyday. Shortly afterwards, the last newly mastered old EMI studio albums hit the market. The back catalogue sold in respectable quantities, proving the interest of the fans was still alive. And so the people at Frank's label, Artist Station, which he founded together with Martin Kleemann, had to figure out a way of meeting expectations. In 2009, ELOY are celebrating their 40th anniversary. »The Legacy Box« DVD-set comprises a documentary on the history of the band, enriched with video clips, concert footage and TV appearances of the band. Many of the former and current members of the band have their say. Up to date? Yes, on the occasion of the anniversary, new music is being written and recorded. »Visionary«, is the title of the new album, set to challenge the best of the old ones. Frank has brought the band together again and inspired them to give their best.

Visionary was actually released in 2009, with the following line-up:

Frank Bornemann (lead vocals, guitar)
Michael Gerlach (keyboards)
Hannes Folberth (keyboards)
Klaus-Peter Matziol (bass)
Bodo Schopf (drums, percussion)

ELOY is back!

Eloy (Germany) / Re: Eloy - Historical Overview
« on: October 23, 2015, 10:52:26 AM »
1993: "Chronicles I" is released as a part of a re-recorded bestof-collection.

1994: "The best of Eloy Vol.I" is released by EMI. It includes titles of the "early days" from 1972 to 1975.

1994: "Chronicles II" is released.

1994: "The tides return forever" is released and the band reappeared live on stage for several successful shows in Germany.

April 1995: The first official Eloy-fanclub was founded.

"Now, Klaus-Peter Matziol is back in the band as a full time member. Our latest album "The Tides Return Forever" is in the classic Eloy tradition, and reflects the feelings we had during the recording of the "Chronicles" CDs. Our 25th Anniversary deserved another highlight in our long series of albums!

It is a real pleasure for me to have gotten such a great and positive response everywhere for "The Tides...". I think this album is our best one for a long time and can be compared, qualitywise, to "Silent Cries And Mighty Echoes" and "Time To Turn".

Last spring, we played a series of 12 shows to celebrate our 25th Anniversary. They were all sold out! After our concert in Bochum, on April 9th, 1995, we received a golden record for the previous album "Ocean", from EMI-Germany."

The line-up for the 1994-95 tour was :
Frank Bornemann - Guitar and Vocals
Michael Gerlach - Keyboards
Klaus-Peter Matziol - Bass
Steve Mann - Guitars and Keyboards
Bodo Schopf - Drums
Bettina Lux and Susanne Schätzle - backing vocals/choir

1996: "The best of Eloy Vol.II" released by EMI. It includes titles of the "prime"-period from 1976 to 1979.
1996: Work on "Ocean 2" began.
12th October 1998: "Ocean 2" released

1999: Remaster-project of all Eloy-CDs started

Eloy (Germany) / Re: Eloy - Historical Overview
« on: October 23, 2015, 10:45:28 AM »
"The split of 1979 was not for musical reasons. From my point of view, Detlev Schmidtchen and Jürgen Rosenthal had ego problems and left the band to start their own careers [they recorded an album together, "Ego On The Rocks", in 1978]. Klaus-Peter and I weren't able to change their minds, and so we had to find new partners.

Jim McGillveray was a very well-known drummer in Germany. He had the reputation to be one of the best drummers in this genre. Hannes Arkona and Hannes Folberth were good friends, and worked together in a few bands in Hannover before. Both were big talents, and very nice guys. In spring 1980, we released our first album together, "Colours"."

1980: "Colours" is released

"But in the following years it was not easy to keep the balance in the band. Some members wanted to change the style, and tried to get Eloy to sound like a hardrock band. I personally didn't agree, and tried to continue in the old style of the band, albeit with a few modern up-dates."

1981: "Planets" is released as part I of a two-part concept (A science-fiction-story).

1982: "Time to Turn" is released as part II.

1983: "Performance" is released and toured in German-speaking countries and the UK.

1984: The band breaks up after finishing the production of "Metromania".

"Until the autumn of '84 that concept was working, but then everybody went his own way. Our common spirit didn't exist anymore... There were no financial reasons for the split this time, although the end of our record deal with EMI was the first time we had the opportunity to rest the band for a while.

As a farewell, Eloy gave several concerts in the UK, which were recorded by the BBC. One of these shows in the famous Marquee is attended by Fish and other members of Marillion, and photos of Fish with Eloy are in circulation.

After a break of 1 1/2 years, I met Michael Gerlach by chance in Berlin, while I was producing a heavy-metal band there. The decision to continue Eloy as a duo was based on the possibilities of modern technologies, which allow us to create musical layouts in a perfect way, without having a full line-up. I'm talking about drum machines and music computers to replace the other musicians during the composition phase and the recording of the basic tracks.

Nowadays, I am working as a producer and I own a publishing company, in partnership with Warner/Chappell, and a production company. I give my main attention to young artists. I try to ensure them a serious artist development, which is working well. Michael is doing similar things, and we cooperate from time to time."

1988: "Ra" is released by the new company SPV and introduced at a live-TV-show.

1991: "Rarities" released by EMI. A collection of singles and rare-tracks.

1992: "Destination" is released with bassplayer Klaus-Peter Matziol on some songs.

"With "RA" and "Destination", we had very good chart positions and sale figures in Germany. I am surprised that there is still so much interest in our music. I guess it has something to do with our very special profile. We receive a lot of letters from fans everywhere around the world, although our albums are only available as imports in foreign countries...

As the other members of Eloy and I never had problems with each other during the long years we spent working together - we only had differing opinions regarding the music sometimes - it was easy to invite most of them for the "Chronicles" project. I'm also still in contact with Manfred Wieczorke (we are still good friends). Jürgen Rosenthal wasn't able to join us for the project, as he hasn't played for years. It was a wonderful feeling to play the old songs after all these years again. I was very surprised at how good our harmony was during those sessions!"

Eloy (Germany) / Eloy - Historical Overview
« on: October 23, 2015, 10:45:07 AM »
Copied from the original entry by Melo the Prog Goddess on the old bazaar.

"The name Eloy is based on the book "Time Machine" by H.G. Wells. Wells describes in his book the situation of mankind about 800.000 years later, and Eloy is a human race in his story. The Eloy in Wells' story have made a new start with the help of the time traveler. In a way, it was a new beginning for the human race. German rockbands in the late 60's played mainly covers from other bands instead of playing their own compositions. Record deals for German bands were absolutely rare and German bands generally were considered to be second class bands in their own country. At that time it was a strong effort for a German band to come out with only their own compositions. It was a start into an unknown future, and from this point of view, comparable to the human race in Wells' story. That is why I got the idea to name the band Eloy.

I started to play in the early 60's, inspired by bands like The Shadows and American rock'n'roll singers, and later The Beatles. I found the other musicians of Eloy by chance, but I felt from the beginning that this would be a longtime project!"

1969: Eloy is formed. Initially it is a school band, whose repertoire inclued songs by The Beatles, The Moody Blues, The Who and Cream.

1970: Eloy wins the first prize at a newcomer competition and they recorded two of their own compositions for a single which is released on an independant label. ( Daybreak/Walk alone )

1971: Eloy's first LP (self-titled) is recorded in the "Stars-studio" (Hamburg) and released.

"From the beginning, we tried to find a very special style, influenced by progressive rock music. Of course, it took time to find an individual identity. In the beginning, we had with lead singer Erich Schriever, guitar and keyboard player Manfred Wieczorke, and me, 3 composers in the band. I got the leadership of the band after Erich left us in 1972. He was very good, qualitywise, but not willing to do the step to a professional. Furthermore we had some problems with him, while playing live. He was no entertainer at all, too politically-oriented and not visionary enough. At that time I was only the guitar player in the band. When Erich left overnight, I had to replace him for a couple of gigs and so I played guitar and sang. At that time, we intended to find another lead singer to replace Erich, but that wasn't that easy in the early 70's. The first two concerts with me as a singer turned out to be more successful than ever before! In the end, we decided that I continue to sing. Helmut Draht on drums was replaced by Fritz Randow.

Like every other band we had problems at the beginning to coordinate all ideas, but at the time of our first EMI album, "Inside", everybody in the band was agreeing on playing in a progressive style."

1973: "Inside" released on EMI's Harvest label. First tours supporting English acts like Beggars Opera or East of Eden.
- The song "Future city" reached the topten of some american radio-stations.
- The single "Daybreak" was released (B-side: "On the road")
- Wolfgang Stöcker left the band. Luitjen Janssen replaced him.

1974: "Floating" released. This album was recorded at night - at the same time as the Scorpions recorded their album "Fly to the rainbow", because Rudolf Schenker arranged Frank Bornemann for the production of their album.

1975: "Power And The Passion" released with second guitarist Detlev Schwaar. It reaches sales figures of 30.000.

"The reason for the break-up of the band in 1975 was mainly the way of working, plus the style of the music. I personally wanted to continue the way of Eloy with concept-albums and a mixture of symphonic arrangements, atmospheres and rock structures. Some members of the band didn't agree with this concept. Manfred Wieczorke changed to the band Jane, mainly for financial reasons, as Eloy was in an awful financial state after a lot of trouble with our manager Jay Partridge.

In 1976, I had to reform the band totally and found musicians in my hometown, who were sharing my vision regarding the future of Eloy. It was also the first time that I was accepted as the producer of the band, and so I could realize everything I had in mind.

Klaus-Peter Matziol is very individual and creative, and his way of playing gave Eloy a very special push. Jürgen Rosenthal came not only for drumming, but also wrote the lyrics for three albums : "Dawn" (together with me), "Ocean", and "Silent Cries And Mighty Echoes" (together with me). His way of playing the drums was influenced by Neil Peart and Bill Bruford, and also gave Eloy a special accent of the rhythm parts. Detlev Schmidtchen moved from the guitar to the keyboards and tried to replace Manfred in every way. He was excellent! These two musicians have a common spirit. With this line-up, Eloy became the most successful rockband in Germany.

In that period, the financial situation was better than ever before, so we could do whatever we wanted to do. To record an album like "Dawn", with a string orchestra, would cost much more money nowadays ! The inspiration in the lyrics to our albums was mostly the world we live in, and I usually use fantasy or science-fiction stories to bring out what I feel. Except for some lyrics by Jürgen Rosenthal, I wrote most of the songs, arranged and produced them all. Crediting the band collectively for writing the music was only a way to give every member of the band the same amount of money."

1976: "Dawn" sells 150.000 copies

1977: "Ocean" sells 200.000 copies. In german charts better than Genesis or Queen.

1978: "Eloy Live", a double-livealbum is released (due to technical problems not a complete live-album).

1979: "Silent Cries and Mighty Echoes" sales surpass "Ocean"

Eloy (Germany) / Eloy - Links & Info
« on: October 23, 2015, 10:43:37 AM »
Eloy is a German "Krautrock" band, which has been active since 1969 - present.

More on Eloy can be found in the other topics from this board and on the following website(s):

Eloy´s Website:

Eloy on MySpace:

Eloy on Facebook:

Eloy on ReverbNation:

Eloy on Proggnosis:

Kayak (NL) / Kayak - Links & Info
« on: October 23, 2015, 10:32:41 AM »
Kayak is a progressive band from the Netherlands, which has been active since 1972.

More on Kayak can be found in the other topics in this board and on the following website(s):

Kayak´s Website:

Kayak on Facebook:

Kayak on iTunes:

Kayak on Proggnosis:

Kayak (NL) / Re: Kayak - Biography
« on: October 23, 2015, 10:31:02 AM »
2012 • 40th Anniversary

In 2012 Kayak celebrates their 40th anniversary with the 'Journey Through Time' tour that would continue into 2013. Then there's a book: a biography  (written by Irene Linders, based upon the views and notes of founder Ton Scherpenzeel). In the meantime, preparations are being made for new ambitious project, the third rock opera in the band's history: Cleopatra- The Crown of Isis. The double album is scheduled to be released mid 2014. Because of the fact that the costs of recording and releasing the new project are estimated to be considerably higher than the average album, Kayak starts a crowdfunding campaign, hoping for the financial support and loyalty of their fans.

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