Фирма Made in Germany (MIG )

2 × CD, Album, Reissue

Re-Release of the Klaus Schulze’s “Another Green Mile” (originally released 2002 as part of the strictly limited and long exhausted 5CD Boxset “Contemporary Works II”). “From 08:00 on, the previous cold and somehow lost and abstract oboe suddenly sounds a bit more concentrated, more emotional, even elegiac and yes, charming. Apart from the oboe you hear a voice, Wolfgang Tiepold’s cello, and a guitar. Although the CD shows 5 tracks, it can also be heard as one long peace, and we know that not just a few of the loyal KS-listeners like it this way.” (KDM, 2002) “Another Green Mile” was originally released 2002 as a part of the limited and long exhausted 5-CDBoxset “Contemporary Works II”. The bonustrack “Voice’n’Harmony” is from the 10thCD “Adds & Edits” of the limited wooden boxset “Contemporary Works I”. Record Label: MIG Style: Electronic / Ambient

CD, Album, Reissue

CD, Album DVD, DVD-Video All Media, Reissue ex

CD, Album, Reissue

CD, Album, Reissue

2 × CD, Album, Reissue

CD, Album, Reissue

CD, Album, Reissue, Digipak

Style: Rock

Style: Rock

Style: Rock

Digipak.Re-release of the impressing Klaus Schulze album “The Crime Of Suspense” (originally realesed in 2000 as part of the long exhausted 10 CD (wooden) boxset “Contemporary Works”). In co-operation with Thomas Kagelmann (flute, violin) and the Australian female singer Julia Messenger, Klaus gave birth to the magical “The Crime Of Suspense”. Another extraordinary jewel from the Schulze cosmos! CD, Reissue

The Rockpalast performance of June 21, 1998 at the Loreley is a significant example of the first international phase of success. It was Tito & Tarantula’s third concert in Germany and it shows that their musical reputation did not crumble to dust in broad daylight at all. At that time the violinist and mandolin player Lyn Bertles gave the band a more folkloristic touch. That and the simmering mixture of blues, rock and Americana with Mexican influences put the German crowd under the same spell as the shady spectators in the famous movie scene. In the following years, Tito & Tarantula released albums in changing formations and touring regularly on our continent as well. The included bonus concert recorded in 2002 in Sarajevo certainly is one of the more unusual gigs in a musician’s life. Originally intended to be a club show, the band attracted a far larger crowd than expected. The concert had to be moved to the streets and made a virtue of necessity, transforming it into a spontaneous open air show. “Looking back that was one of our craziest shows, and there have been quite a few. We were invited to play in Sarajevo on the pretense that the people would come to our show because the posters said “Tito Returns”. It had a picture of the dictator Tito with a Tarantula stuck on his forehead. It was a funny idea that no one expected to work the way it did. 5,000 people showed up to a 350 capacity club. They quickly blocked off the streets, built a stage and the local television station showed up, filmed and broadcasted the whole concert live. As we waited backstage to go on, the crowd sang “the People for Tito, Tito for the People”, an old Communist chant for the great leader, so I was told. This kind of night you never forget.” The Rockpalast performance from fall 2008, recorded at the Harmonie, Bonn, is documenting Tito & Tarantula no less unforgettable and in their probably most natural habitat: In atmospheric dim lights the hot and muggy climate is practically palpable. The band is playing a hot blooded set with songs of their, at that time current album titled “Back Into The Darkness” (containing the track “Machete” which film friend Robert Rodriguez would again enjoy). In “After Dark” parts of the audience come and dance on the stage, being part of an early established tradition as Tito explains: “I do remember a show we did in Hollywood, in the early days of Tito and Tarantula. This young woman came up on stage and began to dance as we played ‘After Dark’. She proceeded to take her clothes of , and by the time we were done she was completely naked! It was pretty wild and the crowd went crazy. Later we found out she was celebrating her birthday and wanted it to be special. Today audience members have either been invited by me or just volunteered on their own to express their inner ‘Santanico Pandemonium’, if you will. It’s the fun part of our show, because we get to break down that invisible wall between performer and audience.” Record Label: MIG Style: Pop/Rock

Collectors Premium. For several months, MIG Music has been re-releasing the albums of widely underrated artist Zaine Griff from New Zealand. Next in line is “Mood Swings” on June 9, 2017. The video track “Devil Or Angel” is from the previously released album “The Visitor” which has been produced by fellow countryman Eddie Rayner whose name might sound familiar from band line-ups such as Split Enz or Crowded House (he is the one on the right at the keyboards). The musician and artist Zaine Griff left his native country as early as the end of the 1970’s to dive deep into the pulsating scene in London and indeed, he met the right people. With the glam rock bands like Baby Face and Screemer, he had several singles. He was sideman of Johnny Wakelin (“In Zaire”, “Africa Man” among others) before he came to pluck the bass for Kevin Ayers and The Kinks (also on the album “Misfits”). A short while later, Zaine Griff ran into David Bowie’s producer Tony Visconti who recorded his solo debut “Ashes and Diamonds” in 1980. At this point, Griff already collaborated with the keyboarder and arranger Hans Zimmer who was then responsible for the production of his second album, “Figures” (1982). Soon after, Zimmer went to America to become one of the today’s most influential and best-known composers for film scores (ten Oscar nominations, twelve for the Golden Globe and another ten for the Grammy award). Besides, on “Figures” many colleagues from the new wave and new romantic era were involved like Kate Bush, Warren Cann of Ultravox or Yukihiro Takahashi of the Japanese Yellow Magic Orchestra. Both of the albums, “Ashes & Diamonds” and “Figures”, will be included in the Collectors Premium edition impressing with their excellent selection of rich and in this form previously unreleased bonus material. Musicians like i.e. from The Manfred Mann’s Earth Band or Thin Lizzy, Midge Ure of Ultravox or Bill Nelson of Be-Bop Deluxe reflect the zeitgeist of the early 1980’s as well as Zaine Griff’s self-pinned biographical texts. The Collectors Premium ends the re-release cycle of Zaine Griff’s albums. If you read the diary-style memories of these years it is even more incomprehensible why Zaine did not have more success. If all goes to plan, Zaine Griff will be exhibiting in London, at The Water Rats, Kings Cross, in May 2018. Record Label: MIG Style: Pop

Rockpalast was a WDR (Cologne) show produced between 1974 and 1986, and revived again in 1995. The show was produced by Peter Rüchel and directed by Christian Wagner. Peter Rüchel left in 2003, and was replaced by Peter Sommer, who also produced the 2004 Krautrockpalast gigs in Bonn. These two German music shows were definitely more ‘Old Grey Whistle Test’ than ‘Top of the Pops’. Rockpalast 1 At the time of this first appearance in 1977, the band stand between two albums. This was after Outside the Law (MIG 00292 CD), and after the post-USA split. Cliff had returned from his road trip to Kathmandu, and it was time get back to work. It was the original line-up again, but there was a big bust up, and Jim McGillivray left. Then came the phone call from Rockpalast, and Fritz Randow was pulled in to do drums. With just two weeks for Fritz to become the new EPITAPH drummer, the band hired a studio and practised daily. While Jim had a massive drum kit, Fritz had a very small, Phil Collins-style kit, because he was a great Phil Collins fan, with an 18-inch bass drum the size of Jim’s stand tom. With such a small kit, Fritz lacked Jim’s wall-to-wall sound, but he played well and also fitted in well in the fluorescent green painted former school in Graue that was home to EPITAPH at this time. The Rockpalast gig was also a life-saver, because they were paid DM 2,500, quite a lot of money in those days. Cliff remembers that “it was recorded in the studio with a small audience of about 30 people. Because of the cameras, the audience was about 30 to 40 metres away and it was very hard to play like that.” This appearance was part of a series that included bands like Ted Nugent, Nils Lofgren, and Tom Petty. EPITAPH was the only German band included, fitted in between all the American bands. Rockpalast 2 In 1979 EPITAPH was on the Brain Tour, organised by the record company Metronom. The tour included Uli Roth (who had split from the Scorpions to form his own band the year before), Accept, EPITAPH and a couple of other bands, all on the Brain label. One night when they were playing in Essen, the band came off stage to find Peter Rüchel from Rockpalast waiting in the wings. He was actually there to book Uli Roth, who was going on next, but EPITAPH had played so well that night that Peter turned to Cliff and said “Want to do Rockpalast again?” Just prior to the Rockpalast recording, EPITAPH had been on tour for six days, and Cliff had been singing all the lead vocals. The night they arrived, Cliff had lost his voice completely. He went to the hospital, where the casualty department was full of accidents and failed suicides, so Cliff was quite embarrassed to admit he was in casualty due to voice loss. But the night before a Rockpalast gig, this was an emergency. “They gave me something to drink, and my voice nearly held out. I made it through to almost the end of the concert before it started going again,” remembers Cliff. The line up for this second gig was Harvey Janssen on bass, Fritz Randow on drums, Heinz Glass on guitar, Michael Karch on Hammond organ, and Cliff doing vocals and lead guitar. Return to Reality had just come out, and the band was working on the new album which was going to be See You in Alaska, and some of the tracks from this Rockpalast gig hadn’t been recorded by then. When I Lose Your Love has got vocals on it here, but the album just has the instrumental version – and still nobody can remember why. Enjoy time travelling through the history of EPITAPH, with what is considered by many to be the best English language rock ever made in Germany. And they’re still at it today. Alistair A. Tarwid Record Label: MIG Style: Rock

CD, Album, Reissue CD, Album, Reissue All Media, Compilation

CD, Album, Reissue