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A rich and colorful music, as well as a genuine promenade through the fields of an imaginary land, in a world of fairy tales.... In the mid-eighties WERWOLF split after they had started releasing some songs in German language. There you will surely find a dialog partner that is best suited to you.
Partnersuche Psychisch Kranke, Dating Around Rustenburg, Single Frau Sucht, Single Elsterwerda, Singles Aigen Im Ennstal, Treffen Mit Mann Aus Internet, Stuttgart Dating English, Euro Agentur Partnervermittlung. It is the first release to feature keyboards played by Michael Kenney and, along with and, later, and , debuted at No. But the stuff we all started coming up with, once we'd agreed that we were definitely going for a fully fledged 'concept' album, really startled me. You may not use our service or the information it provides to make decisions about consumer credit, employees, insurance, tenant screening, or any other purposes that would require FCRA compliance.
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Before, Peter Besting had already been playing for a year in the band Age. The band name had no deeper meaning but was simply a reference to STEPPENWOLF whose recordings the original member of WERWOLF appreciated a lot. They bought their first large PA equipment form the SCORPIONS' mastermind Rudolf Schenker in the early seventies. After rehearsing in a self-built and soundproof wooden hut with freezing temperatures during the winter, WERWOLF changed their rehearsal room into Peter Besting's newly built house in Wenden in 1972. In the course of time other musicians joined the band: Jürgen Göckler from Olpe on keyboards and as background singer, Michael Schlimm from Olpe on saxophone and on cross flute and singer Ellen Wiederstein from Attendorn. When Peter Lorenz quit, Hartwig Kugoth played double-neck guitar combining bass strings. Similar to the DOORS, Jürgen Göckler played the bass accompaniment on the keyboard whenever Hartwig Kugoth played the high notes. With this line-up, WERWOLF recorded a thirty minute demo tape in the Studio Eden in Lüdenscheid in May 1979 in order to gain a record deal, but without success. WDR and SWF presented the album which is a collectors items worth more than USS50 now. Having been a collector's item before, lately after that time a wider reputation followed and the original records sold for big bucks. Then finally, in 1997, the three tracks of the demo tape saw the light of day and were published by Garden of Delights in Germany PGCD 03. In the mid-eighties WERWOLF split after they had started releasing some songs in German language. In total WERWOLF performed about 150 gigs, among them as support acts for BIRTH CONTROL, ELOY, GROBSCHNITT and the FRANKFURT CITY BAND, some of which are available as soundboard recordings. Before, Peter Besting had already been playing for a year in the band Age. The band name had no deeper meaning but was simply a reference to STEPPENWOLF whose recordings the original member of WERWOLF appreciated a lot. They bought their first large PA equipment form the SCORPIONS' mastermind Rudolf Schenker in the early seventies. After rehearsing in a self-built and soundproof wooden hut with freezing temperatures during the winter, WERWOLF changed their rehearsal room into Peter Besting's newly built house in Wenden in 1972. In the course of time other musicians joined the band: Jürgen Göckler from Olpe on keyboards and as background singer, Michael Schlimm from Olpe on saxophone and on cross flute and singer Ellen Wiederstein from Attendorn. When Peter Lorenz quit, Hartwig Kugoth played double-neck guitar combining bass strings. Similar to the DOORS, Jürgen Göckler played the bass accompaniment on the keyboard whenever Hartwig Kugoth played the high notes. With this line-up, WERWOLF recorded a thirty minute demo tape in the Studio Eden in Lüdenscheid in May 1979 in order to gain a record deal, but without success. WDR and SWF presented the album which is a collectors items worth more than USS50 now. Having been a collector's item before, lately after that time a wider reputation followed and the original records sold for big bucks. Then finally, in 1997, the three tracks of the demo tape saw the light of day and were published by Garden of Delights in Germany PGCD 03. In the mid-eighties WERWOLF split after they had started releasing some songs in German language. In total WERWOLF performed about 150 gigs, among them as support acts for BIRTH CONTROL, ELOY, GROBSCHNITT and the FRANKFURT CITY BAND, some of which are available as soundboard recordings. The cover art is the American version painted in 1992 by Lee Gaskins. He renewed some details for us. The mastering was done by Bob Katz in Florida. Although not as complex as their English elders', the compositions features different ambiances, alternating pastoral, spacey, enchanting and hard rocking moments. A bit late for the 80's, however really good, accessible, inspired and rather homogeneous in terms of quality. Furthermore, the dominant female vocals enhances the fairytale impression. Side 1 is the most remarkable. A good space-rock opener! Opening with a medieval acoustic guitar, this gentle fairy song possesses a very catchy melody, supported by various soft and energetic passages. The beat and overall orchestration slightly approaches neo-prog at times. Side 2 is a bit weaker but still good. My least favorite title of the record. Less rocking than the other compositions but more varied, this ender contains numerous different sections and tempos, as well as charming folk incursions. The 1997 Garden of Delights CD reissue is rather worth the listen. It features the three mini-epics recorded in 1979 for the band's first demo. Not bad but does not really catch attention and too lengthy. The two other demo tracks are more interesting. The title is quite heroic, rockier, but folkier too, including many changes within the song and... Furthermore, Gitta Loewenstein's voice goes pretty raging here! German musicians are definitely unpredictable. In 1982, darker and more aggressive styles such as cold wave or heavy metal became more and more popular, prog's decline started long ago. Not very original and five years late, but really nice and inspired, with gorgeous bass lines and delightful melodies. A rich and colorful music, as well as a genuine promenade through the fields of an imaginary land, in a world of fairy tales.... Personally, I'll do the journey once again... Posted Monday, February 27, 2017 Review 1697148 Werwolf were named actually after the famous band Steppenwolf, which drummer Peter Besting liked a lot at the time around 1970. Original crew included also Hartwig Kugoth on guitar and Peter Lorenz on bass. The band hailed from Olpe and was rehearsing regularly at Besting's newly built house in Wenden since 1972. Apparently this led to the dissolution of this formation with Besting gathering new members to save the band, Gerd Heuel on guitar, Burkhard Huckestein on bass, Wolfgang Unthan on keyboards and Gitta Loewenstein as lead vocals. Finally, in 1982, the band privately pressed about 1000 copies of their debut ''Creation''. Werwolf played an elaborate and polished Symphonic Rock with strong CAMEL and RENAISSANCE influences, as many German bands did at the time, when facing the new era of New Wave and Synth Music, but refused to betray their progressive roots. Lengthy tracks with shifting climates, ethereal female vocals, some beautiful guitar soli, great keyboard themes and a certain symphonic background, propelled by the electroacoustic changes, the synth-based monster layers, the pounding grooves on guitar and organ and the smooth lyricism. I can't say the material trully belongs among the best of the era, but the arrangements are well-crafted with clever use of the organ in both rhythmic and symphonic lines the latter remind strongly of GENESIS and the unmistakable and dominant spacious keyboards of German Sympho Kraut Rock. All texts are sung in English and the 10-min. With the original vinyl hitting triple-digit bucks at auctions and being rather rare, several issues have popped out throughout time, some of them contain the three pieces recorded from the 79' line-up. All three are excellent 70's Symphonic Rock, even more diverse and convincing than the tracks of the original album, highlighted by the occasional addition of flute and sax. The band sounded a bit folkier, but their music was highly symphonic with impressive thematic variations and some superb interactions between the instruments. GENESIS, CAMEL, NOVALIS and Swiss ISLAND are good reference points for this material. Refined German Symphonic Rock from the 80's with strong Camel overtones. Add an extra half star for the bonus tracks' reissues with the three beeautiful mini-suites. Posted Saturday, February 21, 2015 Review 1371090 Werwolf is an obscure progressive rock band formed in early '70's in Germany. AS previous reviewers said befor me, this is a pretty good album, with lots of instrumental passages, good arrangements and pleasent voice of Gitta Loewenstein. The only not good thing, probably IMO is the year of release, 1982, a year when prog was in underground and no one listening to this genre, with some exceptions of course, so this album was unnoticed back then and now awell. So what we have in 1982, musicaly speaking , progressive giants were in shadow, the new ones just take their had out of sand like Marillion, Iq or others, what about german scene, the new bands , who takes their influences from their own musical kings like Eloy, Grobschnitt or Novalis, this is the case here, influnces from this bands with some passages from Genesis or even in places some Pink Flkoys, but sporadic. So as I said an fairly good album, with some strong pieces and with some mediocre ones aswell. The musicianship is ok, the voice of female singer is good, what else then catalogued this release with 3 stars. Some complains, are the poor quality sound on some tracks, and sometimes the pieces are too long, and aswell the album together with those 3 bonuses is a little too long, and sometimes a little boring, but doesn't mean is uninstristing. The most solid tunes are to me Flying high, the instrumental Daydream , The dreamer from the bonus and The journey to the land of flying pigs is another winner. Also in some parts the band is toying with some folk arrangements that gives to the album a good atmosphere, more on mellow side but ok from musical side. Posted Saturday, May 29, 2010 Review 283989 This is a pretty decent album from a band that hung around for about a decade but released only this record in that time. This is also one of those bands with a singing drummer Peter Besting , and while he doesn't have much range or even a very distinctive vocal character I applaud any drummer who can manage to belt out vocals while keeping up a song's rhythm, so kudos to him for that. Bassist Burkhard Huckstein isn't very original, but his instrument is quite noticeably prominent throughout which is a bit unusual for either prog folk or psych bands of that era. These are longer songs, all well-developed and full of interesting shifts and twists which tend to give them a feel of being more like mid-seventies tunes rather than music from the early eighties. The band first formed in 1972, and I believe a lot of these songs were written much earlier in their career than when they were recorded, which might account for the somewhat dated sound. The Garden of Delights CD remastered version which is best and easiest version to find contains three bonus tracks, all quite progressive and considerably more rocking than the original studio release. Loewenstein and quite a few tempo shifts, although the middle section becomes a bit tedious and plodding at times. But the additional tracks make for an interesting historical snapshot of the band, and their inclusion doesn't really detract from the overall package. These guys weren't anything special, but they weren't too bad either. Don't expect to uncover a lost progressive gem if you decide to pick this one up, but the guitar, keyboards and vocals are pretty tight throughout and the album as a whole is quite good though not exceptional. Easily three stars though, and recommended to hardcore prog rock fans looking for another conversation piece to add to their collection. The record starts with an keyboard and guitar driven intro, which didn't give very good first impression. The melodies weren't very pleasant to my ears, and the rhythm chganges sound little irritating also. The overall sound resembles maybe little mid-70's Camel. There are three long bonus tracks in the CD version, which certainly grow the value of the album if you like it's style, as they don't sound as any poor leftovers but even slightly better than the shorter original vinyl album songs. If you are big fan of symphonic style rock music my personal style impression only or want to check out the German prog scene troughoutly, try listening this record. But I suggest doing that before the purchase decision. I didn't like this record, but there can certainly be other opinions to this, as my dislike was built on stylistical features, not lack of playing nor production qualities. It's also interesting to hear quite puristic prog music from the 80's always. Posted Saturday, June 13, 2009 Review 220882 This review is based on the CD reissue with 3 long bonus tracks. While folk influences are not hard to find in the Werwolf sound, I would classify this CD as far closer to symphonic prog than folk prog, but no matter, because it is entertaining, even if it lacks a bit of staying power and many of its ideas and methods easily go back 10 years. Closest points of comparison might be countrymen Ramses and even Novalis, although Werwolf is more energetic than Novalis. Organs and melodic lead guitar lines dominate. Regardless, musically this track is engaging through its entire length. It is notable for mixed male and female vocals, more wind instruments and even a Ramses like organ solo backed by military styled drums which builds to a crescendo. This is really 3. It's a nice but non-essential creation. Posted Friday, August 24, 2007 Review 134749 This is an album from 1984, made by the German band Werwolf. My Black Rills Records version contains 6 compositions, the re-issue from Garden of delights 1997 three bonustracks. This German prog rock band was similar to Curved Air or Renaissance in having a female vocalist singing in English. The composition in this recording are very enjoyable symphonic rock with both vocals and instrumentals. The sound is very good as are the performances and the album cover artwork but the lyrics are howlingly bad. Nevertheless it has to be recommended as an example of optimistic hippie prog during a low point for prog music-the commercial 1980s. Posted Wednesday, June 1, 2005 Review 34326.
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