|1||Der Letzte Löscht Das Licht||4:40|
|2||L'orgue Du Barbarie||7:24|
|3||Empty's The Power||9:05|
|4||Flackernd Steigt Die Feuersäule||21:03|
|5||Diese Etudenhafte Kategorie||10:02|
|7||Signs Of Dawn||22:35|
|8||Nun Kann Der Guss Beginnen||5:35|
|9||Gesang Zur Dämmerung||12:52|
|13||You Don't Have To Win||9:40|
|14||Qelle Idée De Peindre Une Pomme||4:41|
|16||Le Retour Au Pays||9:00|
|19||A Rose Is A Rose Is A Rose||8:00|
|21||Karen Black (Intro:) Barbara Harris||22:50|
|23||On The Wire||11:19|
|26||Marsch (Es Regnet Deppen)||11:45|
|27||Straight And Square||3:12|
|28||Der Welt Lauf||41:50|
|29||Midnight At Madame Tussaud's||16:17|
|30||Schwingf Den Hammer, Schwingf!||7:55|
|31||There Was Greatness In The Room (Fragment)||8:29|
|32||Pas De Deux||11:29|
|33||Et Picasso Mange La Pomme||12:02|
|34||An Des Jahrhunderts Neige, Pt 3||3:58|
|36||Land Der Leeren Häuser||11:11|
|37||Ces Petites Bandes Dessinées Modernes||13:19|
|38||Bonjour, Monsieur Courbet||8:56|
|40||Dancing As The Planets Go By||12:18|
|42||Die Spirituelle Kraft Des Augenblicks||15:30|
|43||Vie De Rêve||48:52|
|44||Et La Fête Continue||4:37|
|45||A Corny Concerto||6:52|
|46||Ballet Pour Le Docteur Faustus||38:17|
|47||Land Beneath The Ground||10:21|
|50||German Interview With KS In 1984||3:59|
|51||Without A Word||6:29|
|52||Glücklich Ist Die Form Gefüllt||11:24|
|53||Keep Up With The Times||16:08|
|54||An Des Jahrhunderts Neige, Pt 1||9:41|
|55||Peg Leg Dance No. 2||5:19|
|56||Cave Of Ali Baba||9:45|
|57||The Power Of Myth||9:45|
|58||Angry Young Moog||13:11|
|60||My Constant Spirit||8:30|
|64||The Other Oberhausen Tape||22:00|
|65||Die Staunenden Barbaren||13:37|
|66||Das Grosse Identifikationsspiel||41:55|
|69||Musing On My Love||7:40|
|70||Re: People I Know||40:19|
|71||Peg Leg Dream & Out||5:33|
|72||Et La Pomme Lui Dit Merci||6:15|
|75||Peg Leg Dance||39:18|
|76||It Was Going To Matter||9:27|
|77||While He Was Sleeping||4:02|
|79||Les Jockey's Camouflés||7:59|
|82||Prolog Im Himmel||9:20|
|83||Promise Me Anything||4:50|
|84||Study For Philip K. Dick||8:28|
|85||We Saw It, It Was There||5:17|
|86||The Real Colours In The Darkness||11:59|
|91||The Rusky-Dusky Neon Dust||3:34|
|92||Faster Than Lightning||29:50|
|93||Walk The Edge||46:25|
|94||Peg Leg Dance No. 1||14:24|
|95||Count Me In||4:01|
|97||Man Muss Seinen Garten Bestellen||2:04|
|98||Che Mai Sarà||3:21|
|99||The Unspoken Thing||36:43|
|100||Die Kunst, Hundert Jahre Alt Zu Werden||64:05|
|101||No Ladies Did I See||3:07|
|102||Study For Brian Eno||7:17|
|103||National Radio Waves||53:00|
|104||Alkibiadesm Mein Spießgeselle||8:31|
|105||...et S'en Va En Souriant||4:45|
|108||Feed Your Head||7:38|
|109||The Last Puritan||6:51|
|110||German INterview With KS In 1979||2:27|
|111||Šrodkowa Część II||7:31|
|113||Hartmut And Manuel||8:37|
|115||Der Ursprung Der Welt||13:01|
|116||One In The Jungle||9:00|
|117||Die Grüne Leiche||7:06|
|118||Studies For Organ, Keyboard And Drumset||14:47|
|121||E Che Farò!||6:57|
|122||Picasso Casse L'asslette||4:54|
|124||The Late World Noise||12:05|
|125||Wann Soll Man Sprigen?||15:05|
|126||The Garden Of Earthly Delight||2:03|
|127||Brücken In Den Nebel||19:18|
|128||Analyse Der Schönheit||6:15|
|132||Suite Nr. 3, D-Dur, 2. Satz "Air" (Bach)||8:01|
|133||Geburt Der Moderne||6:00|
|137||Die Gunst Des Augenblicks||11:10|
|139||Die Moderne Kunst||4:26|
|140||Angry Young Moog||8:01|
|141||Das Schweigen Des Druiden||6:25|
|143||The Modern World||2:22|
|144||Tradition And Vision||78:45|
|148||Et In Arcadia Ego||6:51|
|150||Tag Des Offenen Denkmals||0:29|
|151||Peg Leg Dance No. 5||3:26|
|152||Petite Plante Dessinée...?||6:15|
|153||What's His Game?||7:24|
|155||Le Combat Avec L'ange||11:01|
|156||Fear At Madame Tussaud's||6:19|
|157||Der Ursprung Der Welt||26:24|
|159||Der Schrecken Vom Amazonas||16:40|
|164||The Martial Law||31:16|
|165||Loch Im Meer||1:53|
|168||Another Dark Sound||4:14|
|169||Hätt Ich Schwingen, Hätt Ich Flügel||7:44|
|170||Dante Erblickt Beatrice||4:58|
|171||Des Escargots Qui Vont À L'enterrement||16:05|
|173||Ein Ruhiger Nachmittag||31:20|
|174||Der Liebe Geheimnis||20:28|
|175||Tradition And Vision||13:27|
|177||Etude Pour Une Fin Du Monde||10:05|
|181||Idee Funeste Di Duo!||6:08|
|182||Les 7 Boules De Cristal||3:17|
|184||Die Welt Als Schaukel||9:39|
|187||Pick Up The Pace||6:47|
|188||Die Richtige Pforte||4:47|
|193||In Genteel Surroundings||18:22|
|194||Dans Un Jardin||39:58|
|195||Étaignez Les Lumières||2:53|
|196||Die Erde Ist Rund||11:52|
|197||Schöne Seelen, Kühne Flügel||5:42|
|198||Study For Terry Riley||5:07|
|200||T'accheta E Parti||19:08|
|201||Mind And Machines||5:30|
|202||The Oberhausen Tape||22:58|
|203||An Des Jahrhunderts Neige, Pt 2||3:47|
|204||Le Miroir Brisé||5:16|
|205||Swifter Than Lightbeams||13:28|
|207||The Frozen Jug Band||2:50|
|209||Devil May Care||7:21|
|210||Kurzes Stück Im Alten Stil||7:00|
|211||The Idea Of North||16:53|
|214||Yet Another Sound Part|
|215||Das Glühnde Erz||7:11|
|216||The Crypt Trip||7:19|
|217||Wie Aus Offnern Höllenrachen||6:50|
|218||King Vulkan Himself||6:55|
|220||German Interview With KS In 1984||7:11|
|222||Peg Leg Dance No. 3||5:03|
|223||On A Marché Sur La Lune||7:00|
|226||A Quick One||3:49|
|227||C'est Alors Que Picasso||12:21|
|228||La Fleur Personnelle||13:14|
|231||Une Fleur Tubéreuse||8:39|
|232||Tootling The Multitudes||4:11|
|233||Der Anachronistische Hang||3:43|
|235||The Midas Touch||20:06|
|238||Des Pudels Kern||12:36|
|239||Alouette De Souvenir||4:57|
|241||Kosmisches Gleiteisen, Pt. 2||1:54|
|243||Peg Leg Dance No. 4||5:33|
|246||Šrodkowa Część I||11:58|
|247||What Do You Think Of My Budda?||4:56|
|249||Empty Of Wanting||4:45|
|250||North Of The Yukon||20:39|
|251||Et L'oisseau-Lyre Joue||6:53|
- Guitar [Gibson And Synth-guitar] – Manuel Göttsching (tracks: 09.4)
- Keyboards, Electric Piano – Rainer Bloss (tracks: 03.1 to 03.3, 15.1, 21.1, 22.1)
- Mastered By – Peter Harenberg
- Percussion – Michael Shrieve (tracks: 12.52, 22.3, 22.4), Tommy Betzler (tracks: 24.1)
- Performer – Hans-Jörg Stahlschmidt (tracks: 16.1 to 16.3), Jörg Schaaf (tracks: 01.1)
- Performer, Composed By – Klaus Schulze
- Photography, Artwork By [Cover], Producer – Klaus D. Mueller
- Saxophone [Soprano], Flute – Steve Jolliffe (tracks: 12.5)
- Vocals – Arthur Brown (tracks: 02.2, 08.3, 17.2)
CD1.....Tradition and Vision
Klaus sat down together with Jörg Schaaf in April 1997 to record an album that should sound "different from the rest", as I asked Klaus before, bold as brass. When the music was done and KS saw the title that I had already found and reserved for this record, he said that it fits perfectly to the music that they just had finished (on the 15th of April 1997). Jörg and KS only played analogue synthesizers here. And they did it more or less live, in one go. No computers.
You may remember Jörg Schaaf. He played on the 1996 Wahnfried album "Trance Appeal" which is regarded by many as the best yet of the six Wahnfried albums.
Instruments used were: the EMS Synthi A, Minimoogs, Memorymoogs, Mellotron, Rave-o-lution, Polymorph, JD 800. And that's it.
1) This is the first of the two long pieces that Klaus played during his Düsseldorf concert on the 30th of September 1977. It's similar - some say, better - than the (same) piece that KS played two later at Brussels' St. Michaels Cathedral.
2) During the lengthy 1979 tour, Klaus played a long solo piece that filled the first half of the concerts as usual. The singer Arthur Brown joined him for the second piece after the intermission. This is one of those energetic second halfs. Arthur could be, and was often, very high-spirited, very good, I dare say even excellent. As here, on the 25th of October 1979 in a larger youth club of the Belgian town of Liège. During the peaceful part after the break Arthur sings partly in French. My diary reports: "Kleiner Jugendclub, gerammelt voll. Gutes Koncert". Please, also check the other tracks with Arthur, that were recorded in Brussels one day before Liège. They are on CD 8 and CD 17. You'll become aware of Arthur's ingenious ability to improvise. Even in French. Merveilleux!
1) Budapest on the 24th of October 1982 in a huge sports arena, with Rainer Bloss on additional keyboards, mainly the electric piano. This was the only concert that was actually done from a scheduled tour through south-east Europe, with Tangerine Dream, Rick Wakeman, KS, and Classix Noveaux with Thomas Dolby. For some reasons this tour never did happen, just a few independent single concerts by KS and TD.
2) The second Budapest title, a very hectic and techno-like piece. I suggest two things. First, press your "loudness" button, and second, watch for Klaus' famous Minimoog solo.
3) It's still Budapest. The first encore. The announcement is made by Klaus Schulze.
CD4..... Borrowed Time
The music on discs 4 & 5 belong together. They form a kind of "Trance Opera Sana Lyrics".
It was played and recorded by Klaus in 1993 and completed and mixed in April 1994 at his Moldau Studio. The reason for this long music at all, was because of the work on the soundtrack for the American-Hungarian movie "Living On Borrowed Time". But just a few minutes of the music were actually used in the film (as well as some special short cuts. See CD 13, Angry Moog). Normally, Klaus is not a man for very short tracks, so he played and got lost, forgetting completely about the movie. Luckily he recorded the whole thing, and then he mixed and stored it...
The music continues on CD 5.
This is the second part of the "Trance Opera Sans Lyrics".
Here we have a lot of operatic singing (without lyrics), done with sampled voices and played by Klaus on a master keyboard. For the first 49 minutes the music flows in a comfortable andante. After 49 minutes, the speed increases and develops into the allegro which forms the second half.
1) As printed on Klaus' InterFace LP cover, the original track Colours In The Darkness has the length of 11:59. But a completely different Colours In The Darkness was used on the InterFace album, which has a length of just 9:12. After listening to the colourful and dark Colours In The Darkness from the newly found tape, and to the light rhythmical version of "Colours...", from the released album, I would say that something strange must have happened in 1985 when the album was released. Neither KS nor I remember... The newly found 11:59 version seems to be the "original" and first choice for release (?) because the music fits perfectly to the title and the length fits to what was printed on the LP cover. How and why a completely different piece - in mood and duration - found its way onto the actual album twelve years ago in 1985 is another one of those mysteries. Man weiss so wenig...
2) These are three separate tracks that I found on one tape spool, one after another. they were probably recorded in the Panne-Paulsen studio, circa 1977. The whole is composed with just sounds. You can hear Klaus whisper at the beginning of part three. I also recognize the sounds of the Korg PS 300.
3) & 4) First, a "typical", partly beautiful gem by KS from 1975. The other track I found on the same tape. It's from the same year and session.
CD7.... Cyborgs Faust
1) Klaus played and recorded this forceful piece of music in his home "studio" on 1972 or earlier, with an organ (probably the Teisco), some kind of improvised "drum set", and unknown electronics (the EMS VCS 3 already? I doubt it. I think it's the broken "Fender" amp or some other heavily but consciously misused tool). Musically, the track has nothing to do with the actual Cyborg album from the same era. I suppose that "Cyborgs Traum (means: Cyborg's Dream) was done for a radio play. For reasons unknown today, nothing ever became of this.
2) This piece was played and recorded six years after, in 1978, using slightly more equipment than Klaus had on hand for the preceding track. Because the scribbling on the original tape box reads "Ballet pour le Docteur Faustus", it was almost certainly also recorded with a fixed intention in mind. Perhaps it was intended for use in a planned ballet? ...that never was staged.
CD8.....Vie De Rêve
1) Recorded at the concert in Reims, France, at "La Basilique St. Rêmy", on the 21st of April, during our wonderful tour in the spring 1976. The gravity of a larger part of this piece was also created by the atmosphere inside "La Basilique". I remember that Klaus played at least one other concert at this wonderful wooden building outside of Reims.
2) & 3) Both tracks were recorded during the 1979 tour, in Brussels on the 24th of October. They are the first and second encore. Due to technical reasons, the second encore is a fragment only (but soooo beautiful). You can hear Klaus briefly on the vocoder, and then the real voice of Arthur Brown. And what a voice! It gives you the creeps.
CD9.....Der Welt Lauf
1) This is one track from a handful of poppy experiments that Klaus did in 1991, as a kind of research exercise on popular music. Most of the later results later led to the official Wahnfried album "Trance-lation". Except this one, in rhythm and voices it sounds like some parts of "Silver Edition" that Klaus recorded two years later.
2) In 1991, Klaus began to record a soundtrack for a scheduled feature film about whales. For reasons unknown to KS and me, this movie was never done...as is the case with so many planned artistic things that never reach the public. A dark, ambient affair.
3) Found among other (for KS' circumstances: short) tracks on a mysterious tape without any date or other hints given. It was probably recorded in the mid seventies. Please expect what the title does promise.
4) Klaus invited Manuel Göttsching to join his European tour in November 1981. This is a recording from one of those concerts, probably in the Dutch town of Leiden (see "Historic Edition"). Even though the sound isn't as clean as a studio recording, the emotional eruptive noise that the two made on stage has to be documented in a set like this. Besides his usual Gibson guitar Manuel played a synth guitar here which produced a sound similar to Klaus' Minimoog.
1) This is the trailer for the announcement of a German TV film. Played and recorded by KS on 21st July 1993. The music for the actual film is included in SILVER EDITION on disc 1.
2) This is one of Klaus' early trial runs. At this time he had not yet found his style. Klaus played all the acoustic rhythm instruments and added his newly acquired EMS (?).
3) This is another of those early experiments by Klaus. He is not yet using his first real synthesizer here, the wooden chassis version of the EMS VCS 3, but we hear the other source Klaus was using then: a Fender guitar amplifier (a bargain because of its damaged speakers) and its limited ability to create strange "electronic" sounds. He couldn't do it too often, because the amp's tubes used to give up the ghost. In addition, Klaus' old Teisco organ is heard, guitar, his drum playing (note Klaus' rhythmic precision!) and he used an echo machine as well as various tape speeds. This early document should be taken as just this, a document of an experiment anno 1971-72, that was never intended for release then. This is also true for some other older studio works which are included in this set. They are document rather than perfectly worked out pieces to entertain you. In other words: Heavy Stuff.
1) & 2) & 3) These are encores from the concerts in Spain in October 1991. I include only the encores because the two long major titles that Klaus played at each of his five Spanish gigs were similar to the music he played the previous months in London's "Royal Festival Hall" and have already been released on to Virgin CDs. The Spanish encores were specially planned for the tour, as you can easily detect from the sampled sound of an instrument that is always and forever associated with sunny España. In one of the short announcements Klaus mentiones [sic] the beautiful concert hall, and therefore I know that the first two encores are from Barcelona. The third track is perhaps from Santiago de Compostela. The recording technique was special. We recorded the music in two ways, directly from the mixer and also with some microphones, to get the atmosphere of the hall and from the audience. Digo que: The Spaniards were a fantastic audience. Olé!
4) A fast, strong, rhythmic sequencer piece from Klaus Schulze's studio in 1981.
5) This eerie piece was recorded at the London Planetarium in April '77. For some more tracks from this concert that are less ghostly please check disc 23.
1) The tape box says, "Ballett Titanensee", and it dates from circa 1973. It's mainly, if not only, the Farfisa "Professional Duo" organ and an echo device. Of course, there was no ballet ever produced under this title.
2) This is from a tape that was recorded together with a friend of Klaus (Hans-Jörg Stahlschmid?) in 1973 or even earlier. Both played guitar and bass-guitar, Klaus also played organ. The singing voice does not belong to Klaus. For more recordings in the same vein see also CD 16.
3) Recorded 1974 in Berlin, this music was then stored away in another of those dusty tape boxes, where I found it 22 years later, and under exactly this title. We hear Klaus play a drum set, a pair of bongos, the Farfisa "Professional Duo" organ, and another keyboard which could be the "Solina Strings" (?). Reverb, echo, phasing and stereo panning were also used by Klaus in his usual way.
4) Another historic tape with no date or other markings, with no real start and no end. First there was a Mozart track provided for this place, arranged and played by KS. Because of technical reasons this idea (and tape) was dropped. A joking word from Peter Harenberg: "Seid froh, daß ihr den Mozart nicht hören müßt." What you hear now instead was probably recorded in 1972 or '73.
5) KS with guests. The amiable Steve Jolliffe plays the soprano saxophone and growls and blows the flute à la Rahsaan Roland Kirk. On percussion is the great Michael Shrieve. Steve Jolliffe visited KS in 1981 and they did some demo recordings in Klaus' studio, from which this precious little track emerged. Already in the late sixties they had some fun together while they both played sporadically in a group called Tangerine Dream. Michael Shrieve's immense influence on Klaus' rhythmic revival should be well known by now.
1)- 5) These are live recordings done in April 1994 in Klaus' studio, for the soundtrack to the movie "Living on Borrowed Time". When I listened to "Angry Young Moog" carefully for the first time on Christmas Eve 1995, and I took notes, I wrote down: "Bestes Stück beim Hören, bisher. Mann, muss KS wütend gewesen sein". Means: Best piece so far. How angry KS must have been?!
Besides his usual gear, Klaus played - after 25 years - his electric lap guitar again. For this he used a little piece of heavy metal ("Gleiteisen"), which he "borrowed" from me and which he refused to give back... until I gave up.
6) This avantgarde music was done in 1973 for the radio play "Das Grosse Identifikationsspiel" (The Big Game of Identification), a Science-Fiction thriller by Alfred Behrens. It won the award: "Preis der Kriegsblinden Deutschlands"' and in the last twenty years it has been regularly repeated on German radio.
7) A finding. Sounds like it was played and recorded in the mid seventies.
CD14.....Die Erde Ist Rund
1) & 2) Both titles are taken from the tape which also contains the Oberhausen concert (November 1976) included on the HISTORIC EDITION set. I doubt that these tracks are also from this concert, but they are most certainly from the same period. The "OTHER" track could even be from a concert preceding Oberhausen, because it sounds like a typical middle and last part of a concert piece from that era. Due to technical reasons, it's just a fragment, but historically it's too important to throw away.
3) This piece was taped during the 1979 tour. It is the first and only encore of the concert given in the German town of Koblenz on the 22nd of October. My diary says the following sbout this gig: "22.10 Koblenz. Viele klatschende Echos in der Halle. Grosse Bühne. Enthusiastisches (Rhythmus-) Publikum. Erste Zugabe nur etwa 10 Minuten lang, zweite nicht mehr, da Publikum allzu unruhig und rockig."
4) It was recorded during a concert (?) in 1975 or '76, the exact date is not known anymore. You can find it under "751200" in the official discography "Klaus Schulze - The Works".
1) The track was recorded during a concert at a German radio station in January 1985. The second keyboard player is the studied musician and amicable friend Rainer Bloss, who worked, played, and drank with KS from 1982 to 1986.
2) This is exactly what the title promises, just Klaus beating the skins of a drum set. He did so in 1970, in Berlin, probably at the Meisel studios or the Mixed Media studios. I don't know if the cymbals weren't available in the studio, or if he didn't use them intentionally. Klaus used this recording for playback during some of his later solo concerts, but it's also a piece that stands by itself.
1) - 3) These three tracks are from the collaboration between Klaus and his fried Hans-Jörg Stahlschmidt. They were played and recorded in Klaus' Berlin studio at Schwäbische Strasse in 1973. The proposed name for Klaus and Hans-Jörg's collaboration changed between "Tau", "Tao", and "Timewind" (!). A deal with a German record company had already been made, but for reasons unknown today, an album never came out. The music sounds like early "New Age", but of course this definition wasn't known then. Klaus' very own keyboard playing style is already identifiable. Both played guitars. The whispering voice on the third track is Klaus (please don't send me letters asking what he says). The titles are the original titles as given on the tape box. See also CD 12 for another recording (from a different tape) of this short-lived collaboration.
4) Another pure studio drumming piece. This is from 1979, on just a pair of tympanies and a large gong that Klaus got from his friend Thomas Paiste. This frugal track is not exactly "typical KS". For those of you who don't know it yet, Klaus used to play drums until the early seventies. Check the concert titles on the CD set: Ash Ra Temple "The Private Tapes", and the track "Just Skins" on CD 15 of the present set. Wie man hören kann: Auch die Pausen sind sehr wichtig in der Musik.
5) & 6) Two early organ studies. At the end of the first track from 1970 or '71 Klaus also treated his electric "Höfner" guitar. The second track was recorded around 1972 or '73 and it consists of heavy organ sounds along with what sounds like no less heavy EMS sounds.
1) Location & date: Brussels on the 24th of October 1979. Sorry for the amount of coughing at the calm beginning - but that was you, not us (Maybe we shouldn't do concerts in clammy October?). You can hear KS playing his electronic bongos - which were connected to a little laser - in Le Bouquet, and you can hear him 'sing' via his vocoder in Alouette De Souvenir. A very good and typical KS concert piece of that era, I must say.
2) The very same concert in Brussels, second part. Here with guest singer Arthur Brown in good shape. You can compare this recording to one of basically the same tune that Klaus and Arthur played one day after in Liège, which is included on CD 2. The two encores from the Brussels concert can be found on CD 8.
3) Another one of those rare historic organ tapes. The music was played and recorded by Klaus circa 1971 or '72, and he still used just the Teisco organ. A severe piece of music. Terry Riley opened an important door to all of us, then.
CD18.....A La Mode?
1) A bizarre and astonishing piece of music, with its heavy beginning and soft ending. It must have been recorded by Klaus in the mid eighties.
2) I found this on a tape that was marked "Katowice 1983". I doubt that it was recorded at this or any other concert during Klaus' outstanding tour of Poland. It is most likely a studio recording from around this period. The long steady beat is kind of hypnotic.
3) A track from a tape called "KS Solo Session LP" - whatever that means. It is just abstract and heavy sounds, and it's done as perfectly as only KS can do it. Recorded in the mid '80s. It's far from being à la mode... but who knows what will be fashionable in the next session?
4) Many asked for it. Here it is: the long deleted maxi single, now available again on disc. It was made by KS in March 1985, "for the Discos", as requested by a record company. Soon after, it was deleted from the catalogue. As with many others, I didn't like this track when it first came out, but when I listened to it again while I thought about including it in this set, I started to find it quite appealing. Sometimes music is like young wine, it has to ripen.
1) A non-typical, frugal, KS, probably played in the mid eighties on just one(!) keyboard. The tape was marked "New Style LP". It certainly is a 'new style' but it never found its way onto an album.
2) It looks as if KS has a liking for ballet? From time to time some music for ballet-use is to be found in his discography. This, for example, is one of the tracks that KS did in 1987 for the Elisa Monte Dance Co. It was sent too late to New York, and thereafter never had a chance to be used by this excellent ballet company. For a long time I thought it was lost forever, but luckily, KS stored a copy on a digital PCM tape, where I found it in 1996. Listen to the three simultaneous but different sequencers in the middle of the piece.
3) Played and recorded by Klaus in 1992, remixed by him in 1993. Scheduled for the CD release MIDI KLASSIK 1 (called by the company: "Klaus Schulze Goes Classic"), but not used then because of lack of space.
1) Found on a PCM tape with no further inscription except the word "Interressant". It was recorded by KS in his studio in the mid eighties.
2) This one is just rhythm, sounds, and a voice (Klaus?), and again it's from the mid eighties.
3) KS talks first about Michael Shrieve and then about Al DiMeola.
CD21.....Walk The Edge
1) These are the soundtrack recordings for the movie WALK THE EDGE. I had to omit two short parts, because they are identical to two tracks from the DRIVE INN album. This soundtrack was recorded by KS, with the help of Rainer Bloss, in May 1985.
2) This could be another one of the various concert recordings from the Polish tour in 1983. I'm not sure about it. At least I found it on one of those tour tapes from Poland. It could also be a left-over from a studio recording at this time. Who knows... Be that as it may, it's one of those typical more romantic pieces by Klaus. In its last part I hear allusions to his well-known "Ludwig II" composition.
CD22..... Höchstamtliche Sounds
1) A concert recording from the phenomenal Polish tour, fourteen years ago, in the heyday of the "Solidarność" revolution and under martial law in Poland. The track was recorded at the first of two concerts that Klaus gave (with Rainer Bloss) in Katowise on the 2nd and 3rd of June 1983. It is principally the same track as "Warsaw" from the congenial "DZIEKUJE POLAND" live double album, but not as 'polished' (no pun intended). In contrast to the released album, "The Martial Law" contains a very lively Minimoog solo. Besides, outtakes' grass is always greener. Or: Much will have more.
2) This is the sequal to the track "Memento Man" on HISTORIC EDITION. I can still see Klaus, sitting night after night in front of his equipment in the cellar of the house that we rented in Hambühren, after our move from Berlin. Therefore, I guess that the recording was probably done in early autumn or winter 1975. In stark contrast to the former (Poland) track, this is a very soft, silent, subdues piece of music, and a very typical one for this "cellar situation". Klaus used to play and play during this normal daily (nightly) routine, also as a kind of rehearsal. Accidentally, sometimes the tapes from these sessions were stored... Therefore, we have another beautiful gem of classical Schulze.
3) & 4) Something to wake you up again. Michael Shrieve visited Klaus Schulze in January 1979 and again in July 1981 with his brother Kevin. Altogether, they had a joyful time, sometimes joined by a merry Baffo Banfi (whatever happened to him?) and a charming "companionship" (as Michael caller her). But, back to the recording: The two short tracks were played and recorded during the later visit, in July 1981, by only KS and Michael Shrieve.
1) - 3) These three tracks are from the famous concerts at the London Planetarium on the 13th and 14th of April 1977. Klaus gave two sold out evening shows. These were the first concerts that were ever held in a Planetarium. In the meantime such concerts are common, especially among electronic musicians of the second and third generation. The three recordings are not exactly of our usual recording quality, but if you only knew how poor the quality of the source tapes is... it was one of those rare historic events, and the taped documents should not be locked away, but heard by the public, by you.
1) Luckily and finally I found a good tape of the opening concert for the "ars electronica" on the 8th of September 1980 in Linz, Austria. On percussion we hear Tommy Betzler who was placed on a balcony opposite the stage. Some of the strange sounds that you hear came from the "Voest Alpine", a huge local steel factory, where KS preselected some sounds, to be played live and transmitted into the actual concert, also visually on a huge video screen. The concert was a distinguished cultural event with many guests of honour...
2) This is the first encore from the concert in the Belgian town of Aalst on the 26th of October 1979.
This is not only the last CD in this set but also the latest, the most recently recorded music by KS. He recorded it during April 1997 in his own studio. In December '96 when Klaus had already played and stored a lot of new music for this set and plenty more on his harddisk, it crashed... which also led to the cancellation of an already arranged concert at Berlin's "Radio Fritz". Since then, Klaus does not like at all to be called "Harddisk-Schulze"...
This long track is, as Klaus puts it: "...for playing along to. The listeners and fans can add their own melodies and sounds. Harmony is in C. They can play to it in c minor, g minor and f minor...".
Instruments used were: two Memorymoogs, two Moogs SE-1, Akai S 1100 sampler, Melltron, JD 800 strings, and Rave-o-lution drums.
Klaus Schulze - 'Nuff said. 81 tracks 1950:19. Since 2009, all tracks from this set are being reissued as LA VIE ELECTRONIQUE, a series of 3-CD sets releasing all the material of the classic box sets in chronological order. CD 1 - TRADITION & VISION. Klaus Schulze. Group Compilation. Klaus Schulze - Nightwind. Klaus Schulze - Minuet. Klaus Schulze - Signs Of Dawn. Klaus Schulze - Phonetisches Plakat. Klaus Schulze - Study For Brian Eno. Klaus Schulze - Study For Philip K. Klaus Schulze - From A German Interview With KS In 1979. This discography contains all of Klaus Schulze's solo records, as well as most of his musical collaborations with other artists on records. Samplers containing only parts of previously released Klaus Schulze tracks are not mentioned here. Only recently available KS samplers are mentioned, anyway. The given times of both the single tracks of an album as well as the complete albums are only approximations. We do not mention if there is a difference of a few seconds between the CD and the LP release respectively, as we do not mention many other variations, irregularities or characteristics. Much more detailed information can be found in The Works. На этой странице можно ознакомиться с песнями, сохранить их на компьютер, смартфон или планшет. Жанр: Electronic. Стиль: Krautrock Experimental Ambient