 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
| Klaus Schulze: The Authorized Live Releases, Part 2: 1978-1985 |  |
Klaus Schulze: The Authorized Live Releases, Part 2: 1978-1985
(All dates given below use the American method: month/day/year)
This is the second part of a three piece series on KS' live releases. Again I will use the following
abbreviations: SE for Silver Edition, HE for Historic Edition, JE for Jubilee Edition, and I
will list each sets' CD number after the # sign. Between the October 17, 1977 recording of Inside the Harlequin
and the October 22, 1979 recording of Die Erde ist rund a great deal occurs. There are
many landmark developments in KS' career that impact his live work. The historic "X" is recorded over
the summer of 1978. KS goes on tour with Wolfgang Tiepold in the fall of 1978, but sadly, because of
technical reasons, there are no live releases from this period. Ludwig II von Bayern is first performed
live in Den Haag, September 24, and shortly afterwards it is performed with an orchestra at Oostende
(Belgium), September 29. Arthur Brown and Tiepold join KS on the popular yet controversial Dune, as
Brown's vocals polarize reactions. KS assembles the first Richard Wahnfried project, Time Actor,
including Brown and Tiepold, along with Vincent Crane [of "Atomic Rooster" fame] and most importantly
Michael Shrieve on percussion and "rhythmical advice." Shrieve's influence would be fondly
remembered by KS years afterwards. As if this wasn't enough, KS begins his synthesizer school and of
course sets up the IC label. Furthermore, he helps in the production of multiple artists on the IC label.
Amid this flurry of activity, KS sets out on his fall tour of 1979. This tour includes a regular singer for the
first time, Arthur Brown, and essentially all new music. Certainly there would be familiar elements and
techniques, but there would be many new sounds. As before you hear atmospheric beginnings (now
shorter), fast and furious Moog solos (now more developed) and intricate sequences (now more varied),
but fresh sounds capture your attention. Many capabilities were enhanced, especially in synthesized
percussion. KS was able to layer in a full "drum set" of sounds. Die Erde ist rund, the encore from
October 22 at Koblenz, (JE #14) provides a good example. KS begins this piece with a sequence
comprising melodic elements, then layers in percussion. At 00:58 you hear a "tic-tic" that sounds like
drum sticks hitting the metallic rim of the drum, a sound that we hear much in the pieces available from
this tour. Then we hear a high-hat sound at 01:38 and an incessant bass drum sound at 01:55. By the
time we hear the keyboard melody line at 02:30 we truly have mystery in motion. As we listen on in this
piece, we hear a demonstration of a phenomenon common in KS' work. The sequence does not simply
act as a metronome to keep time in the background of the music. Rather, the sequence acts as a rhythm
and melodic counterpoint to the solo melody line. The listener's attention is naturally drawn back and
forth between the two. Therefore, the sequence with its rhythmic elements rises into consciousness and
then falls back into the subconscious periodically as the piece progresses. Interestingly, the fans become
inspired midway through Die Erde ist rund and clap along to the sequence. Oddly, the clapping is
slightly off the beat. Rather than being obtrusive, it mixes in well with the contemplative and thoughtful
melody lines during the second half of the piece to its conclusion.
From two days later in Bruxelles, we have the complete concert on CD except for the second encore.
Dans un jardin, (JE #17) the first piece played that night is varied with beautiful passages, harsh
elements, even funk. The recording technique is worth mentioning here. A battery driven stereo
radio/cassette recorder with paper blockers to enhance the stereo effect was placed between the stage
monitor speakers to record the concerts during that tour. The intent was not for future general release,
but to document the events. Not only did it document the music, but also the outpouring of physical
ailments afflicting the audience that clammy October night. Do not take offense at this unsuppressible
cough. As a comparison, the 1979 concerts given by the famous music experimenter, John Cage (as I
witnessed) declared audience noise an essential part of the concert experience. These concerts included
a 10-15 minute period of audience ambient noise as the sole sonic experience. Cage looked down at the
stage floor during this time. I much prefer a little cough in my KS music. The beginning of Dans un jardin
is calm and beautiful. The first three minutes are indeed atmospheric but less abstract than
examples from previous tours, such as the beginning of Re: People I Know. Quickly the tone is more
introspective than atmospheric. After nine minutes of wonder and intrigue, the sequence is layered in,
and momentum builds toward the climax ten minutes later. The sound at 19:00, with its intensity and
organ tones is reminiscent of J.S. Bach's dynamic organ works. The solo keyboard fades by 21:15 to
leave the sequence alone, ready for KS' electronic bongo playing. The bongos were connected to a little
laser for added effect. This Le bouquet section is KS in a real funky groove. Could it be that concert
performances like this set off the industrial electronic dance craze of the early 80's and beyond. DAF
released their first album in 1979, and Einstürzende Neubauten released their first single that same
year. It is a frightening thought to think that respective lead singers Robert Görl and Blixa Bargeld were
in the audience sometime during that tour but possible. I danced to similar yet far less inspired music
than this section of Dans un jardin in the clubs of Chicago, Detroit, New York and Washington DC in
the early 80's. The Le bouquet section has all the elements that defined the genre, syncopated
repetitive percussion, harsh electronic sounds adding tenure and I can imagine the laser light effects.
All this years before industrial dance hit the big time. Dans un jardin ends in a quieter mood, with a
gentle vocoder section giving way to playful, thoughtful melodies at the end.
After the intermission, KS returns with Arthur Brown for Faster Than Lightning. One might expect a
live rendition of Shadows of Ignorance, or quotes from Richard Wahnfried's Time Actor, but in fact
there is little resemblance other than similar instrumentation. Faster Than Lightning can be compared
to Avec Arthur, from Liege (Belgium), October 25 (JE, #2) and Dymagic, from Amsterdam, October 27,
(...LIVE...). All have similar structure, sequences, and many common melodies and sounds. The two
earlier pieces begin with a brief introduction of abstract synth tones (this may have been cut on
Dymagic), then all three yield to a mid tempo sequence. This is quickly followed by Arthur's vocals,
and what vocals they are. Comparing the three tells you just how proficient Arthur is at improvising
lyrics. Common to many singers is the ability to change the emotion or phrasing of a known lyric, but to
change the words, musical notes, phrasing and emotion in response to another musician's (KS')
improvising is almost unheard of, especially in different languages. Arthur Brown is certainly a master.
The stream of consciousness lyrical method melds perfectly with KS' style of intricate improvisation.
Perhaps KS would be bored by the restriction of sticking to a live performance of a song defined by
known verses. Arthur Brown's ability to improvise his vocal delivery gives KS the freedom to respond
to this own emotions and Arthur's as well. The listener is not distracted by a complex story line. In these
three pieces, meaning is measured moment to moment. The melody and the context of the lyrics
change minute by minute and flow ever on like a stream over rocks. With each listen I am more
intrigued by Arthur's ability.
The scream before the calm conclusion has generated some controversy. I read in an unofficial KS web
page an assertion that the scream in Dymagic was cut and "the tune changes to a section that
obviously must have come 10-20 minutes later in the real concert." Obviously this statement is incorrect
in total, but was the scream shortened on Dymagic? The scream in Faster than Lighting lasts 15
seconds, in Avec Arthur it lasts 19 seconds, and in Dymagic it lasts 3 seconds. If the scream in
Dymagic was cut, spouses of KS fans across the world are thankful for this act. The effect and most
of the impact are not diminished by the shorter length. Either way, it clears the pallet for the next calmer
course. It is more like serving Tabasco Sauce between courses rather than the expected orange sherbet,
but still effective. The lyrics of the final section are emphasized by the calm that surrounds them, and
as always, the emotion expressed is more meaningful than the dictionary's definition of the words. Avec Arthur
is blessed by a longer wordless conclusion, full of beautiful, rich tones. A still gentler ending to
a piece (like the others) full of twists and the "turning in us all, as the light in the darkness reveals what
you see..."
The first encore from Bruxelles, L'affaire Tournesol, (JE #8) is similar to the remaining first encores
available on CD from that tour: Bona Fide, from two days later in Aalst (Belgium), Oct 26, (JE #24) and
Bellistique from Paris November 13, (...Live...). All three begin with the layering of the melodic and
percussive elements of a sequence, then we hear synth melody lines that eventually rise in wild soloing.
This Moog solo quiets to leave the sequence temporarily alone, then either playful piano or abstract
sounds follow. Finally, the sequence fades to conclude with a somber to grand keyboard exit. Several
differences exist that are worth mentioning (and listening for). Bona Fide has a keyboard solo that is
more restrained, yet this emphasizes the solo melody's interaction with the underlying sequence. Check
the fourth minute for reference. The tone of Bona Fide at the end is much more Bach like ("Toccata
and Fugue") than the other two. In contrast, the endings of L'affaire Tournesol and Bellistique recall
that searching quality of the first half of Mindphaser. Yet, these two pieces from 1979 have an updated
sound and are remarkable for their sheer beauty and grandeur.
We have only one recorded example of the second encore from the 1979 tour,
There was Greatness in the Room (Fragment), also from the night in Bruxelles. This title tells us much. The tone
compliments the calm concluding section of the longer piece with Arthur (i.e. Faster Than Lightning).
This combination of sounds is truly beautiful and moving. Again Arthur creates lyrics spontaneously to
match the mood created by the synths. The Korg PS 3300 is heard, plus mellotron choir and other
synths. Like kissing the bride you wish was yours, the taste is all to brief.
Heart from Paris November 13, (...Live...) should be comparable to Dans un jardin as it was the first
long piece played that night prior to Arthur Brown joining KS, but the differences are marked. The unique
heartbeat-like bass tones give it a gentle start. Rather than the grand themes that are heard during the
first section of Dans un jardin, we hear a longer introspective and flowing keyboard introduction lasting
eleven minutes. This gives way to a sequence which sets the underlying tension for a remarkable
keyboard run, both grand and furious. The mood shifts to a more playful tone, to be taken over by harsh
synth tones before a second run at wild soloing complementing an increase in the sequencer tempo at
21:36. Fabulous. In the section that follows at 24:30, my ears hear precursors to the rhythms that give
Trancefer its magic. With slowing and changes in the sequence, this flowing rhythm is carried to
near its inquisitive ending. Heart stands quite unique to Dans un jardin.
So what about the selection of tracks from this tour that "made the cut" for inclusion on ...Live... I
cannot disagree with the choices made back in 1980. But as I said before, they only present part of the
story. No doubt the presence of coughing in Dans un jardin and problems limiting the length of
There was Greatness in the Room (Fragment) prevented them from being considered in 1980, but for a more
interested audience today, they are great inclusions.
After the 1979 tour, the ...Live... album is released, and KS remains very busy with other production
work for his IC label and for other artists such as Earthstar. He lends his talents to some IC productions
and records Dig It using the G.D.S. computer synthesizer. While he is involved in the production of
Dig It, he participates as the lead artist in Linzer Stahlsinfonie September 8, 1980, in Linz (Austria),
(JE,#24). This event is a multimedia cultural program with many honored guests in attendance, including
Robert Moog himself (see KS Circle #17). Tommy Betzler plays percussion. A video is projected.
Pictures and sounds from a steel factory are transmitted live into the concert. This long 59:58 track is
a fabulous historic document and is interesting in many respects. The beginning is abstract and features
live steel factory sounds mixed together with KS's synths, then mellotron, and Betzler's percussion.
Betzler's drum style is very different than the smooth sounds of Harald Grosskopf, perhaps to
complement the industrial sounds. Well into the piece at 14:01, we hear a sequence begin during the
Schwingt den Hammer, schwingt! section. This calm section gives way to a brief restrained Mini-Moog
solo. The Nun kann der Guss beginnen section is full of pleasant organ and synth tones over a gentle
sequence. This is followed by the Flackernd steigt die Feuersäule section, which is a live version of
Friedrich Nietzsche from "X". This section uses a backing tape and adds live drums, percussion,
tympani, and synth enhancements. The percussion additions are more obvious, but there are some
great keyboard additions, like what is heard at 35:15. This section is similar to fan tapes I have heard
from the tour that followed the release of "X", but obviously lacks the presence of Wolfgang Tiepold. The
final section Glücklich ist die Form gefüllt is once again calm with some nice organ passages, and
reminiscent of what is heard from the tapes recorded 8-10 years earlier in KS' bedroom. The organ is
mixed with percussion and industrial sounds and is mysterious in tone till its end.
Following concert at Linz, KS performs with Betzler and Manuel Göttsching in Bruxelles November 29,
1980. Several more releases appear on the IC label including Richard Wahnfried's Tonwelle in early
1981, which includes Manuel and Michael Shrieve. Later in 1981, the smooth Trancefer is
completed, which again includes Shrieve and Tiepold. In November of 1981, KS goes on tour with
Manuel. Would you expect to hear tracks from these two albums? Certainly elements from both can be
heard in the live tracks we have from this tour, but mainly new music is heard.
A common sequence ties together several live tracks from 1981-1983. If you would like to hear the
sequence alone, listen first to Keep up with the Times, (JE#11). The following four tracks Leiden mit Manu,
from Leiden (The Netherlands) 11/22/81, (HE #5), Peg Leg Dance, from Budapest 10/21/82, (JE
#3), as well as the two similar tracks The Martial Law, from Katowice 7/2/83 (JE #22) and Warsaw from
Warsaw 7/9/83, (Dziekuje Poland Live) all share this same backing sequence. Leiden mit Manu
and Peg Leg Dance share repetitive staccato organ lead-ins during the first section of each.
Leiden mit Manu, Warsaw, and The Martial Law are similar in their emphasis on varied and
numerous solos. Peg Leg Dance and the two mentioned tracks from the Poland tour share a recurring
and distinctive melody line, although the later two include orchestra breaks as part of the melody line.
Compare the melody theme heard first at the end of Peg Leg Dance No. 1, with the melody line heard
at 11:10 in Warsaw and at 8:35 in The Martial Law. But once your own ear confirms the presence of
near identical backing sequences in each of these four pieces of music, it becomes amazing how
different their moods can be.
These tracks all have their individuality. Leiden mit Manu benefits from Manuel's fine guitar work as
well as his contributions on guitar synthesizer and rhythm computer. It requires a careful listen to dissect
out the different sounds as this track is not as clean as the others. Of the four tracks, Leiden mit Manu
has the most beautiful and only atmospheric beginning. For some fantastic playing check the solo guitar
at 21:00 and KS's solo at 26:00. KS commented in 1982 about Manuel's participation during the recent
tour, published 1983 in [American magazine] "Keyboard": "Actually he was doing more than me
sometimes." Because the guitar synthesizer sounds like the Mini-Moog, it can be difficult to sort out
Manuel's solos from KS' solos. Peg Leg Dance is the most consistently pulsating of these tracks and my
personal favorite. Listen to the third and forth section for a unique technique rarely heard in KS's live or
studio tracks. You can hear tones that are altered or "bent." This is likely done with the Yamaha CS 80
synthesizer giving an eerie or space effect to the fast moving sounds being played, a winning
combination. The majority of Peg Leg Dance emphasizes the interaction of keyboard textures on the
fast paced sequence, but the Peg Leg Dance No. 5 section triumphantly ushers in a raving Mini-Moog
solo over renewed bass tones. Absolutely marvelous. The two similar tracks from the Poland tour
provide an interesting contrast. As KDM points out in the booklet to Jubilee Edition, the Mini-Moog
solo is wilder on The Martial Law and this sets the tone for the whole piece. The Martial Law is faster
to boil, with the machine gun like Mini-Moog introduction to the soloing occurring earlier in the piece, and
there are several more solos in the piece than in Warsaw. The recurring melody line is heard more
frequently and the wild orchestra breaks occur more often. Why was Warsaw chosen for inclusion on
the Dziekuje Poland Live release? What sounds like an inspired rumble in concert does not always
translate well into the private refined listening experience in the living room. The smoother tracks fair
better in that environment, and certainly Warsaw has an undeniable power of its own, despite being
"restrained" by comparison.
Back to Leiden, November 22 1981, The other long piece from that concert, is Der Welt Lauf, (JE #9).
This is a multidimensional piece with many moods. The beginning is calm and pastoral. Tension builds
with atmosphere defined by the percussion and melodic sequence which is slowly brought forward.
Sustained guitar notes mix well with the keyboard melody by the tenth minute with fine interplay
between Manuel's Gibson and KS' keyboards. This musical communication is not the usual exchange
of gunfire type solos. Instead it is an emotional mix of sounds building on each others pace and tone.
The mood heightens to a frenzy 15 to 20 minutes into the piece with keyboard and guitar synth soloing.
All is scrubbed silent with a wash of synth at 26:30. Here the mood is calm and thoughtful. The pace and
mood again build to a second climax only to fade into a stately organ sound at the end. Two musicians
creating a powerful and emotional mix of sound.
Also from the concert in Leiden, we have the encore, From and To. With an explosive start, we launch
into Shrieve like percussion. This is probably the "drum tape" that KS mentions to John Diliberto in the
previously quoted 1982 "Keyboard" interview. Because of the drum track, the sound is similar to what
will be heard on parts of Audentity, except that Manuel's distinctive Gibson guitar is heard throughout
most of the piece. A real treat.
In 1982, perhaps because of the weight of the IC label, we hear little from KS until a few concerts in the
fall, including Budapest, October 21. Rainer Bloss joins KS for this concert. From this night we have the
previously discussed Peg Leg Dance, as well as Ludwig Revisited and the encore,
Die spirituelle Kraft des Augenblicks, (both JE #3). From the tour of Poland, Lodz
is another version of Ludwig, from
the concert in Lodz, July 8, 1983 (Dziekuje Poland Live). For these live versions, KS uses a
backing tape that includes strings and Harald Grosskopf's drums. The original version is longer than the
live versions by about 8-9 minutes. The backing tape is faded in approximately seven minutes into the
original track from "X". After a run of strings, at 11:22 in the original you have an nine minute section of
breathing strings with subdued piano in the background which creates a calm dark mood. Atmospheric
synths dominate this section of the original version. The live versions bring the piano (probably Rainer)
to the front which creates a lighter tone. KS adds synths here also, but with more intriguing melody and
less haunting atmosphere. The keyboard additions continue throughout the piece merging with the
strings. These additions do not create a fuller sound as the original has a beauty that is difficult to beat.
Rather, the additions create a more spontaneous sound and feeling that complements the live setting.
The encore at the Budapest concert Die spirituelle Kraft des Augenblicks, like From and To uses a
Shrieve inspired drum tape. The mood created here would be further developed on Audentity on
such tracks as Opheylissem. Indeed, beginning in the fall of 1982 through the winter, KS worked on
Audentity and on the sound track to Next of Kin. From February to May of 1983 KS went on a long
tour of Europe, followed by a grand tour of Poland in July. From this fantastic tour, we have several
great live works.
Katowice from the concert in that city, July 2, (Dziekuje Poland Live), shares a sequence with
Spielglocken. In many respects Katowice can be regarded as a live version of that track from
Audentity, with a different introduction and solos. Incidentally, Seltsam statisch, (JE #18) also uses
this sequence and is similar to Spielglocken. In the live context, this driving sequence accented with
keyboard flurries and orchestra breaks really takes off. This is a perfect piece for concert. The only thing
I miss from the original version on Audentity is the truck-horn like sound at 15:06 which always
startles me on the highway. Gdansk the encore from the concert in that city, July 10, has qualities in
common with Cellistica. Gdansk starts with abstract ominous tones, and the Shrieve inspired drum
track arrives at 3:40 (compare to Shrieve's work on Trancefer's A Few Minutes After Trancefer).
At 7:40 we hear a melody line from Cellistica, like what is heard at 8:46 on that track. But Gdansk
could hardly be called a live version of Cellistica. Cellistica builds tension much more slowly, with
cello and sequences in and out, so that by the time the melody arrives at 8:46 you are truly relieved to
be carried away. In contrast, Gdansk has a slower tempo, is more spontaneous and less developed.
The syncopated percussion track on Gdansk further separates it from the tense Cellistica.
In the autumn of 1983, the lingering thrill of the Poland concerts convinces KS to release Dziekuje Poland Live.
KS sells IC and forms the Inteam label. In 1984, the troubled Aphrica is
released, along with the Drive Inn album with Rainer Bloss and the Angst soundtrack.
Richard Wahnfried plays Megatone followed shortly after. In the winter of 1985 KS goes on
his last large scale tour. He begins this with a radio concert in Cologne, January 12. Unheilbar Deutsch
(JE #15), is from that performance. This live track doesn't sound much like anything released during the
mid '80s. Unheilbar Deutsch starts with harsh synth sounds which fade to leave solo piano playing,
probably Rainer here, sounding vaguely similar to parts of Drive Inn. If anything this performance
is similar to parts of National Radio Waves, (JE #20). Certainly this concert does not anticipate the pop
sound of Macksy or the smooth sound of Inter*Face.
We are lucky indeed to have a clearer concept of KS' live work with the release of the multi-disk sets.
...Live... and Dziekuje Poland Live are great albums, and I would not have replaced their tracks
with the live tracks on the multi-disk sets (okay, maybe Dziekuje is not essential, but meaningful in its
own way). But without the box sets, we would not see the development of ideas as fully as we now know
them. Furthermore, the previously unreleased studio tracks help fill in the gaps to explain what was
played live, as in the case of Seltsam statisch, and Keep up with the Times. As KS has said many
times, the live work is different than the studio work. The mood, the solos, the sound, everything but the
artist himself. Although a far cry from actually attending the concert, the live recordings invoke a very
different listening experience than the studio tracks. Like being there, it is much more adventurous,
perhaps even dangerous, when compared to the comfort of your home (studio).
Several developments in the life and work of KS lead to a decision to stop large scale touring after 1985.
The tours lost much of their pleasure, no longer supported the business like before and in fact became
financially unfeasible. From this point forward, KS' live work focused on specific events, the subject of
the final piece in this series (if the interest remains). Special thanks to KDM for answering my many
questions about the tours.
(My sincere thanks go again to David M. Cline in a temporarily stormy North Carolina -kdm)
