[engl] The concert was filmed on June 4th, 1982 at Sartory Säle in Cologne (Germany) during the 82' COLLISION DRIVE tour. In 1981 Alan Vega had released his second solo LP under the title Collison Drive. It forms part of the "play loud! (live) music series". The “play loud (live) music series“ is based on three precepts: Alan Lomax´s work as an archivist and chronicler, John Peel´s BBC radio sessions, and the work of Direct Cinema pioneers, such as the Maysles Brothers, Leacock, Wildenhahn, Blank and Pennebacker. play loud! aims to create an extensive archive of interesting popular music and culture that includes both material from the filmmakers' large amount of unreleased footage and material from other sources. Other artists in this series: Damo Suzuki, Lydia Lunch, Floating di Morel, Hans-Joachim Irmler, FM Einheit, Faust, Die Regierung, Limpe Fuchs, Guru Guru, Friedman + Liebezeit, Camera feat Michael Rother & Dieter Moebius, and many more. Rockpalast (Rock Palace) is a German music television show that broadcasts live on German television station Westdeutscher Rundfunk (WDR). Rockpalast started in 1974 and continues to this day. Hundreds of rock, heavy metal and jazz bands have performed on Rockpalast. For this vinyl and DVD release play loud! has licensed the Alan Vega show from 1982.

[engl] In 1968, the Austrian Classical and Jazz pianist Friedrich Gulda organized the First International Music Forum of Ossiachersee with the theme “Improvisation in Music – Yesterday, Today and Tomorrow”. Influenced by current musical movements such as Free Jazz, Freak-out and Free-form Improvisations, the festival rapidly gained recognition. During the third edition of the festival, Gulda got to know the band Anima-Sound and was fascinated by their “absolute free music”, which they played on home-made instruments. Anima-Sound was Limpe and Paul Fuchs, who had already released two albums in 1971, Stu?rmischer Himmel (Stormy Heaven) on Rolf-Ulrich Kaiser’s OHR label (now re-released as play loud-47) and the self-released Musik fu?r Alle (Music for All; play loud-51). Musik fu?r Alle developed during a 4,000 kilometer tour throughout Europe when the band and their two children hitched a handmade mobile home and stage to an old Hanomag tractor, bringing their anarchic, uncompromising improvisations to an impromptu public free of charge. German documentary filmmaker Helga Tiedemann captured part of the tour for the film Mit 20 km/h durch Europa (VOD pl-72). Friedrich Gulda’s excitement about Anima-Sound could be seen throughout the seventies, and they often toured together. The band became regulars at Gulda’s festivals of Free Music. In 1972, they released the simply titled LP Anima (pl-52). In 1973, Tiedemann captured one of the shows, and the film Gruppe Anima in Salzburg has also been released on play loud! (pl-72). The International Music Forum of Ossiachersee ended in 1974. In the same year, Gulda and Limpe and Paul Fuchs went on tour with some of their festival musicians and recorded the double vinyl LP It’s Up To You (see info on reverse*). Also in 1974, they recorded a 7” single at the famous Munich Jazz club Domicile (**). Throughout the seventies, Friedrich Gulda and his partner Ursula Anders cherished Free Music. The festival in Ossiach attracted top-class guests, including among others Pink Floyd, Weather Report, Tangerine Dream and many great Jazz and World Music musicians. The follow-up festival, Tage Freier Musik (Days of Free Music) at Castle Moosham in the Lungau region of Salzburg, Austria in 1976 again offered a high-class bill: Albert Mangelsdorff, Cecil Taylor, Ursula Anders, Barre Phillips, Stu Martin, John Surman and Friedrich Gulda himself. A year later in 1977, the guests were Don Cherry and Moki, Hannibal Marvin Peterson, The Revolutionary Ensemble, Otto Muehl, Gu?nther Rabl, Paul Fickl, Makaya Ntshoko, Andy McCloud, and Anima-Sound with Limpe and Paul Fuchs. The recordings you are holding in your hand were made during the 1977 festival and have been restored and are released for the first time ever.

[engl] On May 28, 1969, four American musicians — reed/wind players Roscoe Mitchell and Joseph Jarman, bassist Malachi Favors, and (accompanied by his wife, singer Fontella Bass) trumpeter Roscoe Mitchell — boarded the ocean liner S.S. United States, bound for Le Havre, France. After landing five days later, they moved on to Paris, where they got to work. On August 22, 1970, in the waning days of their stay overseas, the group, with Bass on vocals, would record their second release for EMI’s Pathé Marconi: the movie soundtrack Les Stances à Sophie. The record, an exciting, eminently listenable combination of soul, classical, and jazz strains that survives as the Art Ensemble of Chicago’s most stylistically diverse album, has long been admired by a devoted cult. Its durability is largely due to the popularity of its “hit”: Over the years, “Theme de Yoyo” has been covered repeatedly, essayed by acts as varied as German funk band the Boogoos (and the offshoot Deep Jazz, both featuring singer Julia Fehenbeger), British nu-jazz combo the Cinematic Orchestra, Polish jazz man Wojtek Mazolewski, Norwegian rockers Motorpsycho, French dance music artist Étienne Jaumet, and London-based remixer Shall I Bruk It.

[engl] Sabine Blodorn and Kai Drewitz return with their fifth album as Floating di Morel, presenting their work under that name with Thorsten Neu on the A-side and their work with Ulf Goretzki as Ulf / FdM on the B-side. As they put it, "The new (5th) Floatin' LP is divided in two parts. On one side you hear the last works together with Thorsten Neu, which you know from the records 'said my said' and 'goal less play'. The other side is a new more electronic experience with ULF." Recorded by Ulf / FdM. Mastered by Jan Wagner.

[engl] "Gods Gift were around when lots of Manchester groups were gaining fame and fortune. Manchester spawned a bleak soundtrack for the music loving youth of the time. The Gothic catacombs were the breeding place of much anger and consternation. Some groups wanted to be amusing, some wanted to be arty, some wanted to be doom-laden, but most wanted to be famous. Gods Gift wanted to shout their rage and hatred at a world that wasn’t listening to anything as irrelevant as people. Too many groups chose the route of audience appeasement but GG never had any intention of doing that, choosing to harangue and assault the audience. When people cooly chattered whilst they played, the volumes were turned to ear bursting volumes, creating a wall of dissonant noise punctuated with the anthemic shouting of another livid chorus. GG played a club in Manchester that was the spiritual home of whatever was the topical sound that week. Surrounded by inestimable numbers of David Bowies and Gary Numans, the singer stopped the group and decided he would tell them that he looked more like Bowie than they did. He didn’t; he had an ill-fitting work suit on. The room emptied of the fakers, but those who stayed appreciated it. The infamous rant, at people dancing in very cool London, to a 40-minute version of White Light / White Heat. “What you dancing for, it’s tuneless you pillock”. The huge fight at the Mayflower, when supporting the Dead Kennedys. The singer gleefully telling an identi-punk audience that the DKs didn’t care and were being paid a fortune, whilst the group hammered through Discipline. The singer always maintained that it was a fair fight “1500 onto 1”. It seems that some people have caught up with what the group was. Never a stance, never fancy haircut or fancy clothes, never a nod to their betters. GG were honest, committed and angry. Anti-authoritarians who didn’t break rules. They completely ignored them. Gods Gift NEVER backed down to anybody or anybody’s attempts to intimidate them. Their daily work in psychiatric hospitals made them unafraid of anything or anyone. The songs on this new album were a long time in the making. They are angry songs and anti-everything. The entire back catalogue of Gods Gift songs and a video will be available as digital downloads very soon through the German outlet play loud! They are priceless jewels from a group that cared and mattered. Buy them, listen to them as loud as you can and go out and demand to be heard!" (Steve Murphy, June 2023)

[engl] Guru Guru is a German Krautrock band formed in 1968 as The Guru Guru Groove by Mani Neumeier (drums), Uli Trepte (bass) and Eddy Naegeli (guitar) later replaced by American Jim Kennedy (guitar). In time for their debut in 1970, Ax Genrich had replaced Kennedy to solidify the classic Guru Guru line up. Guru Guru were related to the free jazz music scene both through their work with Swiss pianist Irène Schweizer and through Neumeier, who had already won several jazz prizes. The band was also influenced by psychedelic rock artist, such as Jimi Hendrix, Frank Zappa, The Crazy World Of Arthur Brown, Rolling Stones and early Pink Floyd. Among the band's friends were Amon Düül, Can and Xhol Caravan, with whom Guru Guru played jam sessions. Guru Guru's live performances in the late 1960s and early 1970s were politically left-oriented. They organized concerts together with the Socialist German Student Union, read political texts between the songs, and sometime played at the jails. Their shows were extravagant and anarchistic, some of the musicians lived together in a commune in German Odenwald region, experimented with hallucinogens (one of their songs is titled The LSD March/German: Der LSD-Marsch). Mani Neumeier is one of the organizers of the annual

[engl] Limpe Fuchs is a legend in the experimental music scene. In the late sixties, this percussionist drummed on self-made instruments, together with her then husband Paul Fuchs, in the Ensemble Anima. During that time, Limpe and Paul Fuchs cooperated with the classic pianist star Friedrich Gulda, as well as with jazz luminaries like Albert Mangelsdorff, and continually attracted the interest of their audiences in new constellations. Limpe Fuchs' solo performance with "variable wood and stone rows, ringing bronze in the pendulum strings, and a variety of skin and bronze drums" is a rare occasion to witness one of the early avant-gardists of the scene from the old Federal Republic Of Germany. She attempts, while playing live, to develop her musical ideas from the "resonance of the location where the performance takes place" - "to make music in the flow of time, with simplicity and emotion"! Her main concern is to sensitize the process of hearing: "Every tone is a sensation. Listening instead of shutting one's ears. Establishing silence."

[engl] Mona Mur, born in Hamburg, met FM Einheit, Alexander Hacke and Mark Chung from "Einstürzende Neubauten" and Gode B. from "Front" during the punk explosion. As "Mona Mur & Die Mieter" they released their first 12" single “Jeszcze Polska” in '82, which immediately claimed the "Single of the Week" slot by London's New Musical Express. Mona Mur then lived a wild life in Paris and Berlin. In fall 1984, she formed a new Mona Mur band with FM Einheit and Alexander Hacke, joined by "Flucht nach Vorn" keyboardist Nikko Weidemann (today "Moka Efti Orchestra"), Siewert Johannsen (guitar, "Stricher") and Thomas Stern (bass, "Crime and the City Solution"). This "Mona Mur Band" was recorded and mixed live by Raymond "Nainz" Watts ("Einstürzende Neubauten", "Psychic TV", "KMFDM") at his Building Site studio in Hamburg. The band played acclaimed concerts in Germany and Europe, as well as festivals, such as the renowned PANDORA's BOX in Rotterdam. Their manically intense live performance in guitar thunderstorms and morbid slowbeat chic and especially their seminal Brecht/Weill interpretations ("Surabaya Johnny", "Der Song von Mandelay", "Die Ballade vom Ertrunkenen Mädchen") are still cult today. The band broke up in spring of '86, and Mona Mur embarked on a solo career.

[engl] In 1989, before the wall came down, Mona Mur and her producer Dieter Meier (“Yello”) came to Poland. Under the musical direction of Polish rock star Grzegorz Ciechowski (“Republika”) and with renowned Polish musicians, arrangers and the Warsaw Philharmonic Orchestra, she recorded her album WARSAW in early 1990. “WARSAW deals with the old topic of love as a marginal experience. Why does this intrigue me? Because this is how I experienced it at a very young age. There is hardly a more relevant subject for me as an artist, maybe apart from war. Both confront you with the possibility of annihilation.” Mona Mur During six months of production in Warsaw, from September 1989 to March 1990, Mona Mur observes historical changes in Europe and the whole world. The recordings take place at Polish Television’s legendary studio S4 – 10 songs of great intensity, three of which are given genre-redefining orchestration by renowned composer and conductor Krzesimir Debski. Producer Dieter Meier is enchanted. But WARSAW faces challenges. Its release does not happen as planned. Mona Mur‘s record company back then, German RCA, feels the album is not mainstream enough. More illustrious bidders follow, including Stevo Pearce of Some Bizarre, then the album vanishes. In 2000, four of Mona Mur‘s songs from WARSAW are covered by Polish singer Katarzyna Groniec on her album “M??czy?ni“ (SONY). Producer: Grzegorz Ciechowksi. The album gets high chart rankings, the single with Mona‘s song “Paintings“ (polish: “Dzi?ki za mi?o??”) sells over 70,000 copies. Soon after, in late 2001, producer Gzegorz Ciechowski dies suddenly at the age of only 44, under tragic circumstances. His work as a musician, singer, frontman and rock poet is unique in Poland. An annual memorial concert in the medieval city of Torun, as well as several new interpretations of the "Republika" hits keep the memory of "Citizen GC" alive. In 2011, Mona Mur is invited to Torun, where she performs live with Grzegorz Ciechowski's band members. Finally, in 2015, Mona Mur’s album WARSAW is released by Mystic Productions, but only on CD and exclusively in Poland.

[engl] This is the first official and authorized re-issue of the Polydor International 1966 single release "complication / oh-how to do now" by the legendary avant-garde rockers monks. Original artwork, original master files.

[engl] This is the first re-issue of the first Silver Apples 7“ vinyl single. Originally released in 1968 on Kapp Records. Re-mastered and fully authorized by the band and the record label. The Silver Apples were one of the most influential electronic music groups of all times. "Silver Apples are THE electronic group of all time… Silver Apples are to electronic music what Thomas Edison is to Facebook." (Trebuchet Magazine) "Silver Apples… a beautiful and mysterious artifact." (New York Times)

[engl] A vibrant soundtrack to the Cockney Jewish experience, when the swinging hot dance bands were still all the rage, and the Yiddish language was spoken on the streets of Whitechapel. Feast on long forgotten 78 rpm discs that have only recently been unearthed, starring a host of recording artists united for the first time on ‘chai fidelity’ vinyl. Hear the legendary dance band figures of the era like Bert Ambrose and his Orchestra, and Lew Stone and his Monseigneur Band, to the relatively unknown Jewish speciality acts like the Johnny Franks and his Kosher Ragtimers, and Rita Marlowe, the siren of the Yiddish song. And just like the old time Yiddish Theatre where the audience were left with both a smile on their face and a tear in their eye, we can delight in the cheeky street patter of the incomparable slapstick drummer Max Bacon rejoicing in the East Enders love affair with ‘Beigels’, we celebrate the world famous Petticoat Lane street market with not one, but two 1920s fox trots - but also shed a tear with Leo Fuld, the remarkable Dutch Yiddish singer, whose recordings in post-war London were haunting reminders of a way of life decimated by the Holocaust. ‘Music is the most Beautiful Language in the World’ is compiled by Alan Dein, the multi award winning radio documentary presenter, whose own family harks back to the major wave of immigrants fleeing the pogroms in Eastern Europe from the end of the 19th century. The album title is inspired by a 1920s Yiddish slogan of an East London gramophone record shop. A time when Whitechapel was a fertile breeding ground for singers, songwriters, conductors, and cantors to musicians, managers, proprietors of record shops and club owners - and according to Dein, “their stories are now entwined with the development of the British recorded music industry. But for the first time ever, we can the discover the remarkable sounds of Jewish-themed jazz recorded in London between the 1920s and the 1950s - which thankfully had been preserved within the grooves of ancient discs”. The accompanying booklet designed by Will Bankhead includes a detailed essay by Dein, illustrated with rare photos and memorabilia. This release is co-compiled by Howard Williams, better known for his Japan Blues radio show on NTS, and a series of compilations spanning Moondog (The Viking of Sixth Avenue), cult Japanese jazz singer Maki Asakawa, and glimpses into the worlds of Japanese surf rock (Takeshi Terauchi), rockabilly (Masaaki Hirao), and soul funk and disco (Lovin’ Mighty Fire).