Amon Düül IIAmon Düül II, bestehend aus Chris Karrer, Peter Leopold und Ulrich Leopold, Falk Rogner, John Weinzierl und Renate Knaup. The 2nd album is totally devoted to improvisation and in itself stands up as some of the most intriguing music you will ever hear. The first few AMON DÜÜL II. I was quite shocked when I stumbled upon the reviews for AMON DUUL II's classic "Carnival In Babylon" (). This is an album which for years lived in the.
Amon Duul Ii Menu de navigation VideoAmon Düül II - Phallus Dei 1969 (full album)
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That's why we called the musical part of Amon Duul AMON DUUL II. This is the only way to get the good original unique material.
PSF: Did Amon Duul II included some musicians that were not part of the original Amon Duul commune?
All the members of Amon Duul II were members of the commune. Later, other and more people joined the commune, but Amon Duul members were always also members of the commune, with the exeption of Lothar Meid who always was an old fart anyway.
PSF: The title Phallus Dei is still an incredible one it's blasphemous and hilarious. How did the band came up with that title? I think it's a very creative title.
It was a brainstorming idea and made the album sell really well, 'cause it was on the index the minute it was released. PSF: The line-up of ADII on the first album was very unique also for the time--two drummers, two bassists, and a female singer.
How did that come about? Two drummers because we had Dieter Serfas on drums and when Peter Leopold left the desolate recording session in Berlin to join us, we decided to play with two drummers, because it suited the tribal attitude in our music.
There were all kinds of bongo-konga players anyway. Not really two bass players. It was Dave Anderson who had just joined the commune playing the bass on Phallus Dei , the long tune, while I used to play the other short tunes.
We never played with two bass players at once And not really a female singer; on Phallus Dei , Renate only performed a few "oohs" and "aaahs.
PSF: How did the songs on Phallus Dei come about? Were they group improvisations? Was everyone just bringing ideas together that the band was trying out?
Phallus Dei consists of 4 parts that were developed in improvisations, but then were arranged. PSF: Do you think that the album Phallus Dei was very similar or very different from the concerts that the band was giving at the time?
Also, was the band doing a lot of concerts then? What kind of venues and audiences were you playing for? Phallus Dei was very much like the concerts.
It was sometimes longer, sometimes shorter, but it was always the same four parts played in similar fashion. The band played almost every day.
We played universities, academies, underground clubs, and every hall with a power socket and an audience. PSF: Around the same time, other bands like Can, Tangerine Dream, and Kluster were also starting out.
Did you feel that you were all part of a music scene? We felt that we were all part of a big movement, something new was happening and it was happening all over the globe.
We knew it wasn't a local thing, even when there were different local triggers. But it was definitely not only the music scene. I remember playing bass for Tangerine Dream on a few concerts.
The bands knew each other and we were playing together a lot. If so, what did they say about the band? We were in all the papers all the time and they said the holy range--according to their single minds--about us.
PSF: Going back a bit, it has been rumored that Amon Duul was originally associated somewhat with another collective called Kommune 1. Is this so?
If so, what details do you remember about this? The K1 was based in Berlin and strictly political. People like Fritz Teufel and Kunzelmann were leading members of the commune.
Whenever we were playing in Berlin, we used to stay with them. In the early days we never needed hotels when we were touring, 'cause we used to stay with one of the many communes spread all over Germany.
Later Uschi Obermaier joined the K 1. Not very long later the K 1 ended. PSF: Was Amon Duul II in demand for film soundtracks?
If so, could you speak about some of this work and how the band put together songs for films? Amon Duul II made lots of film music, soundtracks, and scores.
We made music for Maria Schell, Veit Rhelin, Alexander Kluge, Werner Fassbinder, Wim Wenders, R.
In fact we received the German Grammy, called Bundesfilmpreis, in for the music of San Domingo. The work is multiple. Sometimes you do dramatic scores, which means the music is written to the movie "as the drama goes," sometimes they just took our music, underlying it to the pictures.
I always liked writing scores the most, 'cause it is real making music, not just formatory shit. PSF: Yeti seems very different from the first ADII album.
How did you see this? What did you see as the main differences? Well it was the second album, and everybody wanted to see if we could come up with another album.
We usually wrote music and played it live. So every album in those days was a manifestation of what we had done and how the band had developed.
As there was more tribal music in the period of Phallus Dei , though there were the arranged tunes on the B-side, there crystallized a more personal attitude on Yeti.
There were single writers on Yeti heading for a new direction, as well as the tribal results like "Yeti Talks To Yogi. Also parts of Yeti were recorded on the very first track recorders, while Phallus Dei was still recorded on a shoestring.
PSF: Was Yeti purposely set out to be one album of more conventional songs and one album of improvisations?
Also, how did the "Soap Shop Rock" suite come about? Yeti was supposed to be a normal album with arranged songs. When we were finished and wanted to do the mix, the sound engineer told us he had recorded everything on a shoestring again to show what a good engineer he was, and that he didn't need 16 tracks to get a good recording.
After going berserk for a while, the band decided to do a double album to use the new track facilities after all.
So we added another 40 minutes. In dem im Mai gedrehten WDR -Film Niklashauser Fart von Rainer Werner Fassbinder ist die Gruppe mit einem Liedtitel zu sehen.
Das Band-Groupie Uschi Obermaier musiziert dabei ebenfalls mit. Die Musik des erschienenen Films San Domingo brachte den Musikern sogar den deutschen Filmpreis ein.
Die erste Hälfte der er Jahre war die produktivste Phase von Amon Düül II. Um die Produktion kümmerte sich seit der Saxofonist Olaf Kübler , der in den er Jahren auch mit Klaus Doldinger und Udo Lindenberg arbeitete.
Binnen sechs Jahren erschienen zehn Alben und mehrere offizielle Kompilationen, die Stammbesetzung bestand zu dieser Zeit aus:.
Personelle Veränderungen und Verbindungen zu anderen Bands waren in den frühen er Jahren zahlreich: Chris Karrer und Lothar Meid waren immer wieder bei Embryo beschäftigt, im Gegenzug war Christian Burchard unter anderem auf Phallus Dei zu hören, Renate Knaup arbeitete mit Florian Fricke , dessen späterer Popol Vuh -Kollege Daniel Fichelscher sprang bei Amon Düül für Peter Leopold am Schlagzeug ein, Bassist Lothar Meid arbeitete mit Klaus Doldinger , sein Vorgänger Dave Anderson wechselte später zu Hawkwind , es gab eine Tournee mit Can , für Renate Knaup war vorübergehend Jutta Weinhold am Gesang zu hören, die zuvor bei den Musicals Hair und Jesus Christ Superstar mitgewirkt hatte.
Das Label verfolgte rein kommerzielle Ziele und übte musikalische Kontrolle bei der Produktion des Albums Made in Germany aus. Einflüsse der damaligen Disco-Musik wurden unüberhörbar.
Produzent Jürgen S. Korduletsch zeichnete später unter anderem für die Erfolge von Claudja Barry und George Kranz verantwortlich.
The musicians who participated to this delirious and psychedelic experience were among others Peter Leopold ex Amon Düül , the front woman and singer Renate Knaup , John Weinzierl on the guitars Then almost with the same musicians the band recorded the seminal "Yeti" An album in a similar vein than the previous but more accomplished with a couple of structured songs always with numerous pieces of epic improvisations.
The same year the bass guitarist Dave Anderson leaves the band to join Hawkwind. Recorded in , "Carnival in Babylon" announces a slight new musical direction taken by the band.
A more conventional work with a few memorable prog-folk ballads. The classical period of the band will end with "Wolf City" and "Vive La Trance" After the departure of Renate Knaup who joins Popol Vuh in and the release of a few albums, Amon Düül II split up.
In , with the album "Vortex" Chris Karrer tried without success to reform the band. Chris Karrer , Christian Thiele , Daniel Fichelscher , Dave Anderson 3 , Dieter Serfas , Falk-Ulrich Rogner , Gerard Carbonell , Jan Kahlert , Jimmy Jackson 2 , John Weinzierl , Jörg Evers , Keith Forsey , Lothar Meid , Nando Tischer , Peter Leopold , Renate Knaup , Robby Heibl , Rolf Zacher , Sigi Hümmer , Stefan Zauner , Wolf Wolff.
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