Dark Clothes wrote:
Moshkito, Krautrock is still remembered and enjoyed - this Easter I picked up a cassette of Tago Mago and it made for great listening in the car. A lot of people like that music still.
I don't think that you will find a more loving and caring person talking about Krautrock than myself ... and you can find a lot of it on the progarchives board that I don't frequent any more.
There are some inspirations that are important. San Francisco (so to speak) is a very big thing for the likes of Guru Guru and total experimentation ... even stoned. If there was a band that deserved having played at the Fillmore with Ax Gernrich, Guru Guru was it ... and there is a nice interview with Helmut Hattler that even said that on a couple of occasions they were stoned, on stage, and looked at each other ... and said ... now what? ... and then someone, or something would come up and they would follow it, or work with it ... surely you can see that in the 1st three albums ... all of them massive, and many times I have said, that this would have been what Jimi Hendrix would have liked to do and play, if he had not been forced to play "blues" ... or had met Bootsie Collins!
Amon Duul 2 mentions the "dead" folks in 2 songs ... and specially in "Explode Like a Star" ... and there is no doubt that they loved the California music big time ... to the point where Grace Slick even made fun of AD2 and Renate ... sort of, in one album ... and it was funny!
These people all came from pure jamming, a commune, and the albums that are sold as "Amon Duul" (the early one, before it morphed into Amon Duul 2) are all just jams in a living room and basically a drum/rock circle ... a la Grateful Dead (joke!) if you will. It could be said that AD2, decided to take this stuff an make it more meaningful than just a jam with no direction or desire to do, and say anything, in a time when it became VERY IMPORTANT to speak out against the establishment because it was corrupt and screwed up! While also clamoring for "change".
You could easily say, Frank did the same thing in his own way!
Pink Floyd took that experimental phase until they probably got bored and found something better to do than jam aimlessly every night ... and become a pop band! Krautrock, did not exactly lose this idea, and kept on doing it, albeit it was starting to get stale a bit, and no new names were appearing that had the same ferocity as Faust, Can, AD2, Guru Guru and the AshRaTempel/Klaus Schulze family of music. The 2nd generation was about "songs" and trying to get commercial ... and you had Scorpions, Jane, Eloy, Grobbschnitt and others ... and there is a funny thing you gotta do ... grab Scorpions 2nd album (Fly to the Rainbow) ... then play Apocaliptyc Bore from Vive La Trance (AD2) and immediately play the title cut of that Scorpions album, supposedly recorded in the same place. One tells you the drugs are over and it's time for something else ... and the other ... tells you to go get stoned and fly ... and Scorpions did! AD2 never jammed again! The Yeti's were over! The Fillmore in Germany had died!
I think that Frank was sensitive enough to know these things ... he travelled enough to know these things existed and that people did different things ... wether he wanted to spend time playing with others might not have been as important as the fact that he created a lot of stuff on tapes that he himself wanted to play with ... and had not figured out how to play with yet, is my guess ... so trying to play a few notes with someone else might not have been as important for him ... but that's not to say that he might not have enjoyed the free form Syd doing Interstellar Overdrive ... but I think that it gave Frank a better sense of direction musically than just do radio/tv parodies that were 2 and 3 minute pieces that really did not showcase musicality as much as it did the craziness all around. And I think that it was about this time that Frank figured out that the stuff had to get longer and better developed than just a satirical song ... which he could still have ... and continued to be the main emphasyz since then ... but sadly, takes away from his compositional genius that so very few understand and appreciate. In the end, too many of us are more interested in the rock star and glorious guitar player than we are in the compositional side of things and how he colored it with his own instrument ... and that is sad, and probably one of the main reasons why he trashed so many people and fans for not allwing him the freedom to be himself and creative!
Frank will never be appreciated by the classic music folks as long as we only think of him as a rock guitar hero ... because the classic music history is not about guitar heroes ... is about the music itself! ... and we're not standing up for the music itself.
Times changed ... the few years of total free form were now gone ... and some magazine started saying that London's groups were progressive and American stuff didn't count ... but that is no excuse for us to not credit and raise the consciousness of the great composers that America has ... and pardom ne, but fuck the progressive London bullshit ... it has absolutely nothing in the way of originality that California and Frank had not already done!