Klaus Schulze: The Authorized Live Releases, Part 3: 1986-1997  

Klaus Schulze: The Authorized Live Releases, Part 3: 1986-1997

by David M. Cline (1998)

1986 begins with several recent KS releases still on the record store shelves. The "Macksy" single had been released the previous March. The smooth Inter*Face had been completed in August, and was released later in the year. Also, KS had completed two soundtracks in 1985, Walk the Edge and Havlandet.

1986 sees the release of KS' last release for INTEAM, Richard Wahnfried's Miditation (completed during 1985). Otherwise, 1986 brings little activity for KS until summer, when Dreams is recorded. The INTEAM label was not doing well, but would remain on the books until April of 1987 when it was declared bankrupt. The rhythmic and hypnotic Babel takes over six months to complete, and is finished about the same time. By mid 1987, activity picks up but no concerts in sight. The popular and graceful En=Trance is recorded in the autumn of 1987, and released in 1988. Both Babel and En=Trance are well received by the critics. KS is invited to do some production work for the German pop group Alphaville in 1988.

After a few years of no concerts, inquiries begin to accumulate. This situation eventually leads to an announcement by KDM, sent to journalists in November of 1988, stating "There will be no further concert-tours of Klaus Schulze... Klaus will not stop completely with concerts. But he will only play specific events..." (see KS Circle #23 for this notice). Thus began the new era of "event concerts." Plans had begun by this time to play a concert in Dresden, August 1989, the last year of a separated Germany.

In 1989, the "live" environment is very different than what it was during KS' tours of the Seventies and early Eighties. The "Big Moog" is left at home. The need to use the familiar and favoured "sequencer" is replaced by a computer and software. Musical sequences could be longer, more complex and varied. Sampling technology is rapidly advancing and this tool enhanced both the sounds available and the ability to play them live with a keystroke. What began with the Fairlight in the early Eighties would be improved by a new generation of samplers by 1989. The familiar orchestra break from the '83 and '85 tours would be the ancestor to vast progeny of sounds.

Another change for the special event concerts is that music is composed especially for the concert, and the performances are preserved on digital audio tape for possible release. Rather than Moondawn predicting the sound to be heard in concert, the concert predicts the sound to be heard on album. Of course KS had previously composed music for concert tours. But in the past, the idea for release on album came after the tour, rather than before. Also, the era of virtually flawless concert recordings is well established by 1989. KS could record the music directly from his mixer to a DAT with perfect sound. At this time, bootleggers have an unexpected influence on live releases. KDM discusses the problem of bootleg live releases with the manager Declan Colgan at Virgin. Declan mentioned that the best way to beat the bootleggers at their own game is to quickly release an official live album after a concert. KDM thought it's a good idea, and soon after fans began to reap the rewards.

The differences between live works and studio works becomes progressively more subtle, and this should be no surprise. "Live" in the studio is not new to KS in 1989, nor would it be forgotten. From Bayreuth Return in 1975, to FM Delight in 1987 to Tradition and Vision, in 1997, live in the studio "at one go" remains a favoured method. KS commented in 1994, published in the August 1994 issue of American Keyboard magazine that his music is "still at least 50% improvisation in the studio, and the same on stage." So KS' commitment to spontaneous creativity combined with technology's ongoing enhancement of live performance narrows the gap between live and studio recordings. For KS two differences will always remain, the mood of the audience and the ambiance of the concert hall influences the music, regardless of how easily the music is produced.

KDM's description of the circumstances surrounding the preparation and performance of the historic Dresden concert can be found in the KS Circle #6. As KS made plans for the Dresden concert, he was also working on Miditerranean Pads, and these two releases beg to be compared. The fabulous Dresden I has many features in common with Percussion Planante. Both pieces feature intricate rhythms and a wide range of percussion sounds that perfectly accent the complex melodic sequences. Also these two tracks feature a recurring piano melody theme that really propels each piece forward. Dresden I represents a high point in a style that had been developing in KS' work for several years. Listen to the interplay between the syncopated rhythms and melodic sequences of Five to Four from Dreams, then Nebuchadnezzar's Dream from Babel, then Velvet System from En=Trance, and then Percussion Planante as an introduction to Dresden I. The density of sound in Dresden I is awe inspiring. Repeated listenings will reveal previously unheard new sounds and themes deep in the mix. The grand recurring melody line in this piece, heard first at 07:44, punctuates this long track into sections and makes the music especially memorable. Just about the time that the listener loses direction, the familiar theme rescues him. The individual sounds of each instrument voice, the violin sound, the cello sound, the piano sound, are rich and full. The use of human voice as an instrument is also especially effective. But perhaps what makes this piece most compelling is its use of percussion sounds, from timbales, to police whistle, to cowbell, to bongos, to the drum sounds. While infectious rhythm is common to KS' past live work, never before is there such variety in percussion sounds and composition, measure to measure.

What about the presence of atmospheric beginnings and endings at Dresden that we grew to love in past concert pieces? There is no question about their presence, but in an altered and subtle form. The two minute introduction to Dresden I could be described as more melodic than atmospheric. The two minute ending is more like the sound that we heard in the seventies, but much shorter in length. By the next concert, "atmosphere" would take on a whole new meaning.

Prior to the concert, KS had composed five pieces of music specifically for Dresden. Therefore, Decent Changes from Miditerranean Pads can be regarded as a studio version of the live track Dresden II. These two pieces share the same basic sequences and many melody lines. Dresden II is over fifteen minutes longer, and to my ears is more emotional in execution. Unlike Decent Changes, "Elfi" style vocals are heard in Dresden II (first heard in Miditerranean Pads) as are several other vocal sounds, giving the live track a more spontaneous sound. The infectious bass sequence in these two tracks is unlike what we have heard before from KS' music, it is prancing, playful, and certainly "walk-able" as Michael Shrieve would say. The unsubtle ending of Dresden II is all EMS Synthi and unique.

Where is the Mini-Moog solo at this concert? Perhaps KS was planning to play this during the encore that was not to be (for the practical reasons of the late hour, chilling weather, and the audience's need to catch the last trains home, not the "police restriction" story created by the Virgin staff writer). Mini-Moog solo aside, the sound and style of the music played at this concert is certainly different than the music from previous tours. The individual sounds are more clearly heard so subtle rhythm and melody can comfortably stand alone. After this concert, samples became much more wild, but the example of the melody and texture found in Dresden II would be heard in concerts to come.

The other pieces found on The Dresden Performance were composed for, but not performed live at concert. Because they were not completed until nine months later, they reveal some of the developments of that time interval. Dresden III is remarkable for its lovely ethereal vocal sounds that interweave with piano, string and bell sounds. Dresden IV takes these elements and adds an urging pace and greater emotion, plus harp and sax sounds. It is amazing how much percussive sound KS can deliver in tracks that lack percussion. The attack, rise and fall of non-percussion instrument sounds can be explosive. Meanwhile, KS contrasts these sounds with the texture of soothing human voices and bowed strings. The striking vocal samples at the beginning of "Dresden V" immediately alert the listener to a new phase of KS' music. After this two and one-half minute atmospheric beginning, Dresden V takes off with a rhythmic melody line using a sitar like string sound and sequenced percussion. The first eight and one-half minutes of this track became an inclusion on the 72-93 The Essential collection. I do wonder how different Dresden V would have sounded, had it actually been played at Dresden.

While KS fans begin to enjoy the releases of Miditerranean Pads and The Dresden Performance in March and October of 1990 respectively, KS is busy filling up his digital sampler with a wealth of new sounds. The Face of Mae West is recorded in April and is released in November of 1990 on the collection: Dalí: The Endless Enigma. This track marks the first appearance of several sensational samples that were to be criticized later by reviewers. The female voices uttering "more" and "you mean that's it" are found here, and would be used much in the next several concert releases. KS would reflect in an April 1997 interview "I had to realize that the use of samples has its rules, too. If you use normal sound samples, nobody takes notice because it's just not very special. If you use sensational good and exotic samples, everybody will notice: Ahhhh! Great! ...but very soon the same people get tired of it. Extraordinary samples you can use only once, but never a second time, except maybe for a quotation". While it is possible to train yourself to recognize subtle aspects of musical sounds, the average person is much better at recognizing human voices than other sounds, musical or not. KS has long been attracted to certain "sounds". During the Seventies, he worked long and hard to get the right sound out of the various analog synthesizers he used. He could use these sounds repeatedly without anyone commenting or even realizing their repetition. But sampled human voices are different. Comparing KS' recordings from the early Nineties, you can easily recognize characteristic voice samples in many of his works. With repeated listenings, I have found that sounds that initially startled me, now captivate me. Like the welcome flavor of espresso that once seemed too strong now delights. I can understand why KS came to love many of the samples he used repeatedly.

KS records Beyond Recall during August and September of 1990, but the world does not hear it until June 1991, one month after the concert in front of the Cologne Cathedral. The recording of this concert, May 11, 1991, The Dome Event, would not be released until 1993! Both these two releases would make KS' top ten listing of his own recordings, at number 7 and 10 respectively, which is higher than fans would rank them. (see "KS Circle" # 19 and # 20). With both these recordings, samples, and in many cases sensational samples, are heard well out in front of the mix. The Dome Event is indeed a great concert performance. This piece moves through progressive stages towards a grand finale of mammoth proportions.

After this concert, atmospheric beginnings would never be the same. The visionary sounds conjure up worlds full of contrasting images, from shouts in the crowd to intimate whispers, from vernacular speech to foreign language, from peaceful brooks to dangerous jungles, from familiar instruments to strange sounds, it is all here in a dense sound collage. From whatever world the listener inhabits prior to the concert, he is now firmly held in KS' mindscape.

From the "Andante" section we move into the sprightly "Allegro" section and inhabit a new concert landscape for KS. The pace flows smoothly and comfortably, pushed along by a sequence of processed drums and cymbals, with accent percussion and easy going melody lines. The vocal elements merge nicely with the guitar, flute, bell, and string sounds of the melody. As described for the Dresden Performance, the individual instrument voices are pure, rich and beautiful. In many respects, Gringo Nero from Beyond Recall sets a successful pattern used here at Cologne, and at other concerts in the early Nineties. Gringo Nero's brisk walking pace, the varied sequence, the effective use of accent percussion and vocal samples , the recurring melody lines, are all reminiscent of this section of The Dome Event. The sequences and melody lines are obviously different, as well as the use of vocal elements. In the "Sehr behaglich. Keck im Ausdruck" section the vocals build tension much like the use of mellotron choir did in KS' works of the late seventies. But now sampled vocals add much more variety in sound and texture, giving each emotional rise more individuality.

Before the end of "Allegro," we have the "Scherzo: Un Poco Loco" section with its movie dialogue: "Wait, wait a minute, you don't want my brain." Is this from a version of "Frankenstein" I missed? The effect is to give a mysterious transition to the final section of "Allegro,": "The Event: Rhythmisch üppig, dann vergnügt. Bewegt." The tempo increases and purrs along briskly, the melodic flute flows into some very tasty runs. At 43:00, we hear a sneaky and delightful bass sequence, followed by some nice sequenced voice runs. The use of rapid bass and sequenced voices would be further developed in Picasso geht spazieren. All these elements prepare the listener for the upcoming "Presto" section.

The "Presto" section is the logical extension of the Mini-Moog solo of years past. Obviously this section includes some great soloing on that favoured synth, but by surrounding it with an equally emotional sequencer section, KS maintains the intensity longer with greater captivation of the listener. "Übermütig, stürmisch bewegt. Heftig" begins with such a fast complex sequence, giving way to the great Mini-Moog solo at 50:42. We have a slowing in pace for the "Un Poco Loco (reprise)" section, returning to a rapid sequence with Mini-Moog soloing on top for the beginning of the "Crescendo" section. While the sequence continues to flow, the Mini-Moog slows to reflect just before the beginning of the "Finale: Tutti Synthi." This conclusion is a rich tapestry of gorgeous bell sounds, melodic sequence, and female choir vocals, driven by pulsating drums and percussion to the sweeping orchestral ending (plus the teasing EMS Synthi coda). A fabulous conclusion to a great piece, well developed in the concert setting. I would agree with KS' ranking. This concert performance stands above those later that year. If anything, it combines the best elements of the two 45 minute pieces played at the Royal Festival Hall into one long piece. The other track on The Dome Event, After Eleven would have made a great encore piece, but this track is a studio recording from a year later. It shows the continuing enrichment of KS' sample library.

The next concert is set for September 10, 1991 at London's Royal Festival Hall. He tells the Freeman brothers what to expect in concert (in an interview and featured story in "Audion" #21): "At the moment I'm very much into ethnic sampling, you'll hear Arab voices, Russian voices, the Russian mass nearly comes and then it goes back to water and thunder, and then probably back to the 'old times' of Timewind and pieces from X". This concert is well received which elates KS. The concert is released on two CDs, Royal Festival Hall, Volumes 1 and 2. KS recalls this show during a 1994 interview, published in the August 1994 issue of (American) Keyboard magazine: "At the Royal Festival Hall in London, which has the best acoustics that I have ever heard in my life, the people were quiet and the atmosphere was like a classical concert, so I didn't play so much heavy stuff. I played a long intro with an orchestra flute and every thing was clearly audible. This was totally different from what I did in Dresden". Indeed, atmosphere is the dominant force at this concert.

From the first piece played at the concert, Yen, the opening Out of Limbo and closing Back to Limbo sections make an interesting comparison to the background music and sounds of the In Venedig and Grodek tracks of Totentag. With the obvious exception of the vocals on the Totentag tracks, all four are filled with many atmospheric sounds, cries, thunderclaps, and don't forget the beckoning theme that recurs in all four. Much has been made of the female moans and cries in the Royal Festival Hall pieces, as if KS is fixated on sexual imagery. The use of these samples on Totentag contradicts that opinion. If KS was attempting to create an atmosphere of sexual imagery, why not use these cries and moans as background for the love scene in Totentag, where in fact you won't find these samples. Instead you find a density of these sounds in the part of the story when Trakl begins to loose grip on reality. The samples fit very well into the concept (from the English translation of the synopsis) "one memory transforms into another, bypassing the reality of the hospital room."

In contrast to Totentag where a clear story line provides a frame work for these atmospheric sounds to resonate in, the samples at the beginning of Yen set the mind of the listener adrift in a chaotic world of "weird" sounds, (to quote KS in his interview with Alan Freeman). After passing through this landscape of strange sounds, we enter the heavenly world created by plucked harp, ethereal vocals, flute, and lush strings, in "Pastorale: Awakening." All these sounds rise and fall with emotion, then give way to a momentary interlude of sequenced vocals in "Lull before the Storm." The next section, "Tempest," features an early appearance of Mini-Moog. Restrained in tempo, yet distorted in attack, these are interesting sounds from the Mini-Moog. Then we have the rapid staccato flute of the "Pastorale Too," and these melodies are further developed with string sounds in the "Pastorale and Departure" section. "Yearning" rolls along, full of animal sounds and varied vocal effects, ultimately being propelled by rapid fire bass drum and percussion. "Yearning" then is punctuated by orchestra breaks and thunderclaps, with strings and more rapid bass drum, sliding into "Placid Yen." Now quiet, a chance to hear some nice bass guitar sounds amidst percussion, sequenced vocals, and a synth sound I don't recognize, becoming a flute sound. "The Breath of Life" section brings more urgency to the flute sounds, full of staccato breath effects. Ultimately, the flute merges into the original atmosphere of the piece, in "Back to Limbo."

Yen has left some critics looking for an obvious conclusion that is not to be found. Furthermore, the notion that KS "just turned on the sequencers and left the room" (MJD, "Beyond the Horizon," 4/93) is just as insulting to the critic as it is to the artist himself. Yen is a complex track full of atmosphere, yet not lacking in melody or mystery. Although the sound is a million miles away from Bayreuth Return on Timewind, I was no more baffled by that great track on first listen than I was by "Yen." What "Yen" lacks is an easy hook, simple rock like sequence, or wild Mini-Moog solo to ease it into the memory cells of the listener. Only through the investment of time will this track repay big dividends to the listener.

Ancient Ambiance is more popular among the critics, perhaps because of its "rock" ending. But "Castle Rock: Pedal Away" is only the last ten minutes of a grand 45 minute piece. Like Yen this track starts with an early Nineties atmospheric beginning full of unusual samples contrasting with beautiful choir vocals, lasting over nine minutes. Then we settle into a nice section "In Days of Yore" with its melodic, echoed bell like sequence and enchanting choir vocals. Drums come in at "Pavane and Galliard," pause and return with flute and strings, amidst the choir vocals. The drums initially add accent, then at several points, tempts the listener with the beginning of a driving beat, only to retreat. At 18:40 the accent beats fall together into a pulsating rhythm and we have an engaging two minutes of vocal sequence, driving percussion, accent effects, and background synth. For the short "Dusty Spiderwebs and a Shorn Monk" the precise sequenced vocals take the place of drums temporarily. For the beginning of "Basse Danse join Medieval Maracas" the drums again pause to reflect on the tinkling piano work, and then another thirty second teaser of drum beats. The bass guitar sounds come to the front, floating on top of the background percussion until "Primeval Murmur" bursts forth with an Arabic chant, filling in with eerie effects, samples, and vocals. After six minutes of abstract yet profound sounds in "Primeval Murmur," the listener hungers for the sequence and soloing found in the pressing conclusion of "Castle Rock: Pedal Away." The sequencer introduces this section, then we hear accent drums, and deep down synths adding theme. Percussion and drums merge together, giving chase to the sequencer's beat. Harp like melody adds in to complement the already pulsating beat. The use of computerized drum fills here predates their expanded use in Picasso geht spazieren. The Mini-Moog solo makes its appearance at 40:37 and carries the piece to its ending over the top of samples, sequence, driving drums and percussion. The backdrop to the solo is much richer than in years past. Patience has its own rewards, there is so much here for the ears to feast on.

Anchorage provides a quiet and pleasant end to the performance. Again from the referenced Keyboard article, mentioning that he did not use the computer system for this encore, KS said: "I did one encore at the Royal Festival Hall like this, just playing a cello on the Prophet and everything else by hand". Anchorage is a beautiful piece with fine bell sounds, percussion, samples, and cello. Variation on BF refers to a variation on The Big Fall from Beyond Recall and is a classical piece, but is not live. Like Silence and Sequence, it is recorded in the summer of 1992. Silence and Sequence is a celebrated studio track, its popularity is no doubt for its use of the familiar sound of an analog sequencer.

The month after KS gave the concert at the Royal Festival Hall, he goes on a short "tour" of Spain, to Barcelona, Valencia, Sevilla, Madrid, and Santiago de Compostela, October 21 to 29, 1991. He plays four titles at each city, which had been given the names Barcelona 1, Barcelona 2, Sevilla, and Madrid (these titles using city names were played at each city). The two Barcelonas use the same computer settings that were used for Yen and Ancient Ambiance, therefore they are very similar. In contrast, the encores for the Spanish tour are prepared especially for those concerts and include a Spanish guitar sound. Listening to this guitar sound makes it hard to believe that it is being triggered by a keyboard, as it sounds as if it were being picked live. Three of the encores from the Spanish tour can be found on Jubilee Edition, CD #11. Judging from KS' introduction (don't you just love an accomplished yet humble man), Ole! is probably the first of two encores from Barcelona. This piece is a sister track to Gaudi Gaudi, which is probably from the concert at Santiago de Compostela, at the end of the short tour, six days after Ole! was recorded. The basic structure, underlying sequences, and many melody lines are the same for these tracks. Unwittingly, the Spanish audience gets a preview of part of Totentag without the lyrical vocals. Compare directly Ole! at 6:21, or Gaudi Gaudi at 10:54 to Totentag's Im Bordell at 4:33. At the referenced point in Im Bordell you will hear a studio version of the Spanish guitar runs, a different sampled female accent cry, and for approximately the next seven minutes the background music is the same as the corresponding sections of the two sister live tracks from the tour of Spain. Gaudi Gaudi is obviously longer than Ole! and benefits from expanded intros, and endings. I wonder if KS consciously wanted to give the Spaniards a taste of the past (he never played live in Spain before) as Gaudi Gaudi begins with sounds similar to what we heard in the grand endings to the pieces played on the tour with Arthur Brown in 1979. The beginning of Gaudi Gaudi is an seamless merging of late Seventies and early Nineties atmospherics. Beautiful. At 20:34 in Gaudi Gaudi the sequence ends and the solo violin sound pauses, and then an extended exit is played, again merging the sounds of sampled violin from the Nineties with analog synth sounds from the Seventies. A welcome additional two minutes to dream on. In contrast, Ole! contains some fine soloing not heard in Gaudi Gaudi. At 08:37 in Ole! you can hear the solo violin sound soaring above the Spanish guitar.

Like Gaudi Gaudi, Habla Espanol? has a nice atmospheric beginning that merges Seventies and Nineties sounds. Compared to the other two encore tracks mentioned above, this piece remains more atmospheric throughout. Some fine operatic chant vocals are heard five minutes into the music. Even the sequenced drum beat that appears at 08:20 does not disrupt the mysterious feel, rather it heightens the tension. It takes the sequence of analog synth sounds entering at 10:40 to change the mood, but this lasts only two minutes. Again the operatic vocals return to restate the ominous feeling created earlier. By 14:20 the drums quiet, leaving only the purely atmospheric sound to permeate the mind of the listener. Very nice.

So much occurs between the Spanish tour and the next concerts two years later, it is difficult to conceive. The live recordings at Cologne and the Royal Festival Hall are supplemented by studio tracks and released. The soundtrack Le Moulin De Daudet is recorded in 1992, but not released until 1994. The first of the multi-disk sets, Silver Edition is released to universal acclaim. Totentag is released to mixed, but many positive reviews. KS produces two solo albums for George Stettner and quotes several of his classic albums. KS also works with Stettner and others for the recording of Trancelation now as Wahnfried, dropping the surname. KS records tracks for his Midi Klassik I, as well as several tracks eventually used for samplers, including Grosse Gaukler Gottes, released on Visions Of Sound. Grosse Gaukler Gottes will enjoy a live rendition during the concert in Paris, 1994. Another factor that further blurs the distinction between the live and studio work is that the studio releases become more exciting. Consider the incredible dynamics of Picasso geht spazieren, or Narren des Schicksals, or the last movement of Totentag (with or without the lyrical vocals). All of these studio tracks are vibrant and full of action suggesting images. Schulze music can blow you out of your seat even if you are not live in the auditorium.

At the end of May 1994, KS plays three concerts, in Lille (France), Paris, and Rome. The concerts at Paris and Rome are recorded, and are remixed in August of 1994 for release. The eventual double CD, Das Wagner Desaster - Live -, does not include studio tracks, but includes different mixes of the two major concert pieces. These pieces were shortened by KS, editing out part of the long intros and endings. The first CD is mixed by Andre Zenou (who also did the cover) at KS' request, the "Wild mix". The second CD is mixed by KS, the "Soft mix". An A-B comparison reveals the mixes are more similar than different. The "Soft" mix could also be called the reduced mix, as several of the wild solos and melody lines are simply left out of the mix. For example, Wagner and Liebe are near identical until about nine minutes into each, when sax and string melody lines are heard in Wagner but not in Liebe. In general, the mixes by KS emphasize the rhythmic elements of the pieces, as fewer solo lines are present to capture the listener's attention. In fact, one way to enjoy these pieces more is to listen to KS' mixes first, filling your memory with the elaborate sequences and accent samples. Then, listen to Zanou's mixes to hear the over the top melody lines and inspired soloing. One reviewer commented that he liked the "Soft" mixes more because it contained less wild vocal samples. In fact, the vocal samples are almost identical except for the last seven minutes of Wagner which has more of these elements than at the end of Liebe.

The disadvantage of the soft mixes is you miss some fine melodic passages, such as the sax sounds mentioned above, or the additional strings at 13:05, the flutes at 13:40, in Wagner. Finally, who could resist the draw of the Mini-Moog solo in the "You have to Remain Crazy" section, absent from the corresponding section of "Liebe." There are elements of these pieces that are similar to the contemporary releases in Silver Edition, although nothing could be called a "live version." Obviously, many samples are in common to both, but beyond that, there are similarities worth noting. For example, the Moog sequence heard at 20:15 in Nietzsche. is near identical to the rapid Moog sequence heard at the end of "The Valley of Wild Flowers" section of the first movement of Picasso geht spazieren, at 5:07. The use of sustained operatic vocals eleven minutes into Nietzsche is similar to the effect of vocals in the "Oliver Norvell H." section of Arthur Stanley Jefferson. These vocal elements are on one hand calm in tone, yet they create a slow building tension. It is also interesting to compare Wagner and Nietzsche to those pieces heard in concert at Cologne, or at the Royal Festival Hall. One difference is that the more sensational samples are contained in the atmospheric beginnings of the 1994 pieces, rather than through out, as they are heard in "Ancient Ambiance." I like these two major pieces from Das Wagner Desaster -Live- very much, and I prefer the Wild mixes for additional melodies and solo lines. The Mini-Moog solo has me crying for more.

Entfremdung, from the encore in Paris, is a live version of Grosse Gaukler Gottes from the sampler disk mentioned above. This piece has a few teasing stops and starts, rendering the shorter studio stifled. The longer live version is much better, giving the piece some time to more fully develop. The driving sequence is riveting, and well balanced by the staccato flute work. The ending of the live version mixes some eerie distorted samples with analog synth sounds, over the pumping sequence to grand effect. The encore in Rome, Versöhnung, begins with a few wild vocal samples, then settles into some friendly classical cello lines, until the rapid sequence comes in at 3:42 to dominate the piece. Several excellent flute passages follow, until the Mini-Moog solo appears at 8:29. Compare the ending of this piece to the historic Stardancer for a very similar sound of the Mini-Moog.

Between these May 1994 concerts, and the next concert April 27, 1996, many studio recordings are released. Several trends are worth noting. Six weeks after the May concerts, Wahnfried's Trancelation is released, and this emphasizes dance tracks, and sensational samples used "only once, but never a second time." The crystal smooth and well received In Blue is recorded late in 1994. In Blue contains soothing choir and operatic vocals, (and inspired guitar by Manuel Göttsching on one track), but gone are the startling samples that identify some of his best work from the early Nineties. Released in March of 1995, Historic Edition contains no recent music, but its overwhelming positive reception certainly supports the concept that those old analog sounds could be beautiful. Wahnfried's Trance Appeal is recorded in the summer of 1995, but not released until the next year. Like the previous Wahnfried, this CD would generate some controversy amidst its positive reviews (as would Are You Sequenced?) because of its techno and trance references. This idea that KS' music is degraded because he flirts with techno is absurd. After all, he inspired the genre. Shouldn't a father be encouraged to frolic with his offspring? Had KS refused to associate with this movement in music, wouldn't he then be criticized as being stuffy and "over-the-hill," like Buddy Rich who arrogantly described the musical genres that followed his peak as crap. Instead KS embraces these new movements and continues to inspire them.

In April of 1996, KS plays a concert at the Derby Assembly Hall in England. Eighty six minutes are recorded, plus an encore. Unannounced at the time of its release, this concert forms the basis for Are You Sequenced? The eight track concert tapes are mixed in the studio during the summer of 1996. The CD does not state the live reference and this fact is announced in the "KS Circle," #12, October 1996. With Are You Sequenced?, analog synth meets the Nineties with grand success. We get the glory of so many beautiful analog sounds, put together with Nineties equipment, and played with that Schulze flair, 29 years strong in 1996 . All the eleven tracks play as a continuous piece of music. We begin with a heavenly sequence dominated track in Welcome to the Moog Brothers before launching into the drum stomping, danceable Vocs in the Dark I. This track has some fine EMS Synthi effects, preparing us for the increasingly Nineties style of Vocs in the Dark II. The flute melody lines here are similar to what can be heard in the RFH concert, or The Dome Event. No Frets - No Bass pumps along with the same beat, but includes a great sampled bass guitar sound. The sequence and drums disappear for the divine Valle de la Luna. Here the emotional strings, choir vocals, accent bass drum sounds, and delicate sequence, really work their magic. This calm interlude begs the introduction of the pulsating title track, Are You Sequenced? As promised in the title, Moogie Baby Goes Solo, includes an passionate, somewhat restrained Mini-Moog solo. Some really marvelous effects alter the sound of the Moog here. All quiets into Moldanya, showing us that KS can capture our imagination and set us adrift just as well in the Nineties, as he could two decades before. The oboe sound marks it as Nineties KS, as it meshes so elegantly with the processed analog sounds. Indeed KS merges sounds so naturally, sometimes it is difficult to tell where sounds come from, or what the sounds are intended to portray. All the listener knows is that the sound is superb. The beat picks up as Moldanya melts into Vidanya, adding bass and drums, then taking off into The Wizard of Doz. The manipulation of sound here is remarkable, with plenty of echoed effects and analog synth melody lines cascading above the incessant beat. Are We Getting Lost? adds a comfortable flute melody, weaving the sampled sound in amongst the pulsating echoes. Reverberating voices add an eerie texture as the flute dances to the conclusion of the CD. Forgive me for not discussing the remixes on the second CD, as they were not KS' idea. Let those inclined comment. Incidentally, KS himself rates Are You Sequenced? highly, ranking it number six, in his listing of his own albums in Fall of 1996.

A concert was scheduled to occur on January 20, 1997, at the radio station FRITZ, located in Babelsberg, near Berlin. Unfortunately, this concert had to be cancelled because KS' computer hard disk crashed and the planned music was lost. Of course, this would not have been an issue in the old days, but this is the cold-hearted truth in the Nineties. About the same time as this disaster, KS records Drums 'n' Balls as Wahnfried. Drums 'n' Balls is thick with rhythm, more subtle, and steers away from techno. In March of 1997, KS and Jörg Schaaf record "Tradition and Vision" which eventually is released as disk #1 of Jubilee Edition. Here we have some similar music to the live recordings of 1996, and 1997, as it is played live in the studio at one go. However, KS and Schaaf limit themselves to analog synthesizers, so the sound is more Seventies, but the feel and rhythm is still Nineties.

On May 17, 1997, KS plays a concert at Duisburg, Germany, and plays the same basic tracks two days later at the radio station FRITZ. Jörg Schaaf, Roelof Oestwoud (who sang on Totentag) and Manuel Göttsching also play. The resultant live release, containing part of the music played these two nights is Dosburg Online. Unfortunately, Manuel is not represented in this release. Maybe in the future? But the music that is released contains polarizing elements. Roelof Oestwoud's fine singing is not appreciated by some including Alan Freeman. The inclusion of The Art of Sequencing brings rave reviews from the majority, and this track is the second highest ranking live track in the 1998 "KS Circle" readers poll.

The music on Dosburg Online is reminiscent of Are You Sequenced?, but this is mainly due to a similar mixture of old and new sounds. L'age core (misprinted as "L'age c'ore") begins with a bell like sound that harkens back to the Seventies, plus a sampled mellotron, but the flute sound is definitely Nineties. This track begins brightly and becomes more somber, to usher in the appropriate mood for the lyrics in Requiem fürs Revier. These two tracks were originally intended to be one. The lyrics were written by Lorraine Oestwoud. Like on Totentag, Roelof is in fine voice, and the music suits the tone of the lyrics well. Following KS' mode of appreciating music for the pure sound, I really like this track, even if I would have changed a word or two in the lyrics. Certainly it is in keeping the vocals of past albums, Ernst Walter Siemon's singing on Voices of Syn, the operatic vocal samples throughout the early Nineties, and Totentag. Groove 'n' Bass launches into a serious throb, the beginning of what was to be a single track, now tracks three through six. The titles summarize the contents. Groove 'n' Bass lays down the basics of the vibrant beat, but also includes some cunning flute sounds at the beginning. The drum sounds and effects are layered in slowly and effectively. Get Sequenced layers on more effects and density to the Moog sequence. Other artists, yes techno artists, may use a similar beat like this, but nobody produces the sounds that KS does. The Power of Moog introduces the Mini-Moog solo, and here you will find more emotion in KS' heart than blisters on his fingers. That is until Up, Up and Away, where the blisters can easily be imagined as the tempo and intensity of soloing increase. Exceptional sounds and feeling here, ending in a blaze of Bach style organ sounds. From Dawn till Dusk provides a nice transition to The Art of Sequencing, but what a beautiful introduction it is with strings and emotional chords. The Art of Sequencing includes Jörg Schaaf on keys, and is reminiscent of Tradition and Vision from Jubilee Edition. Like that track, The Art of Sequencing has a slow and very convincing rise to glory. With ethereal chords supporting, you hear a well-crafted juxtaposition of flowing sequence and solo keyboard. Certainly a form that was put to good use in years past. Even mellotron-like choir vocals are here to charm the analog fan. The beat however, anchors the Art of Sequencing in the Nineties. This track maintains its power well without any wild solos. Very nice. The last track Primavera misprinted as Prima Vera on the CD, again brings Roelof's rich voice to the front. Unfortunately, the track is faded early, KS was forced into this by the inappropriate demands of the record company (see KS Circle #23). I like this track better than the vocal track that proceeds it, and just about the time I am really convinced by the pleasurable combination of string sounds, subtle background sequence, and Roelof's voice, the track fades, roughly twenty seconds before its listed 7:25 length. Despite this little flaw, the overall response to the CD speaks loudly: "Great."

As I type this, in October of 1998, plans are being set for a concert in Bologna, Italy. Will this herald a new era of KS' live sound? Only time will tell. But, one thing we know, Klaus Schulze never fails to thrill his audience with unique sound and steadfast innovation. To quote the artist: "The idea of music is to set emotions free". In this, Klaus Schulze's success in concert cannot be questioned.

I would like to thank KDM for all of his assistance with this series of articles, and KS himself, whose stunning music has kept me occupied for countless hours.

It's me who must say thank you, David, for the wonderful & great work you've done. Even being an workaholic, I cannot imagine to have done this massive work myself: all that listening, repeated listening, remembering, comparing tracks... Putting together a 25-CD set looks like an easy task, after reading those many profound pages. Thanks, David. Honestly.

[Part 2: 1978-1985]