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KRAUTROCK SIGNED 70\'S KARTHAGO RARE ORIG. AUTOGRAPH POSTCARD PSYCH PROG For Sale
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KRAUTROCK SIGNED 70\'S KARTHAGO RARE ORIG. AUTOGRAPH POSTCARD PSYCH PROG:
$601.23
KARTHAGO ORIGINAL signed older autograph card from the 70\'s
Karthago were founded in Berlin by Joey Albrecht (guitar, vocals) and Gerald Luciano Hartwig (bass). In 1970, they engaged the Bolivian percussionist Thomas Goldschmitt (mainly hand percussion) and got a recording contract with BASF. Two additional members were added to their line-up: Ingo Bischof (keyboards) and Wolfgang Brock (drums). \"Karthago\" was recorded in October 1971 graced with excellent heavy guitar work and the funky, gutsy vocals of J. Albrecht, recalling the Jimi Hendrix Experience and the heavy progressive funk band Funkadelic.
More Santana-esque instrumental work was present on \"Second Step\", recorded in May 1973. W. Brock had left for The Rattles in February 1973 and was replaced by Norbert \'Panzer\' Lehmann on this album. Then Lehmann departed to the heavy progressive band \"Epitaph\", and he was replaced by Konstantin Bommarius (ex-2066 & Then, Abacus). Hartwig also left in the Summer of 1974. His replacement was something of a sensation at the time - Glenn Cornick (ex-Jethro Tull). They signed with Bacillus label and relocated to Oxford, England, in November 1974, where they recorded \"Rock\'n\'Roll Testament\".It marked a change of style towards a smooth, well-produced rock with some minor symphonic touches.
In January 1976 they recorded the double album \"Live At The Roxy\". As Glenn Cornick had quit the group, Gerald Hartwig was now back again. Albrecht, Bischof and Goldschmitt were also helped by Reinhard Bopp (guitar, vocals, ex-Hardcake Special) and Ringo Funk (drums, ex-Atlantis, ex-Jeronimo). This record literally became the \'Karthago testament\', as the group disbanded in the Spring of 1976.
However, Albrecht later assembled Ringo Funk and Chico de los Reyes (piano, vocals) in the studio in the Summer of 1977 for the forgettable \"Love Is A Cake\" - a commercial disco, pop-rock disaster!
Karthago (Berlin) - 10 Alben
In den 70er-Jahren zählte die Band Karthago zur Elite der deutschen Rock-Szene. Sogar im Ausland hatten Gitarrist und Sänger Joey Albrecht und seine Mannen viele Fans. 2003 gab es eine Reunion.(Quelle: www.abendblatt.de)
Karthago (Berlin)Karthago LP,CD1971
01. String Rambler 5.1802. I Don\'t Live Tomorrow 2.4403. But I Know 5.3204. Morning Surprise 2.2705. I Give You Everything You Want 3.1806. I Know You Can Do My Babe 4.1107. Why Don\'t You Stop Buggin\' Me 5.0008. Black Fire 4.4309. Nos Vamos 1.40Karthago (Berlin)I Don\'t Live Tomorrow / I Give you Everything you Want 7\"1971
01. I Don\'t Live Tomorrow02. I Give you Everything you WantKarthago (Berlin)Second Step LP,CD1972
01. Pacemaker 02:4602. I don\'t care 05:4803. Crosswords & Intermissions 06:4504. Don\'t send me your money, send me your heart 05:1605. Wild river 05:3006. Lamento Juvenil (Start to fight) 03:5007. California gigging 03:0708. \"Oberbaum\" bridge 07:4009. Johhny B. Goode (Bonus) 02:4010. Going down (Bonus) 03:47Karthago (Berlin)Johnny B. Goode / Going down (single) 7\"1974
01. Johnny B. Goode02. Going downKarthago (Berlin)Rock \'n Roll Testament LP,CD1974
01. Hard-Lovin Woman 03:3802. We Gonna Keeo It Together 05:1203. Now The Irony Keeps Me Company 03:2104. Rock\'n Roll Testament 04:2305. The Creeper 04:0206. Back Again 04:0307. Sound In The Air 05:0808. Highway Five 03:4309. For Kathy 03:0210. See You Tomorrow In The Sky 03:46Karthago (Berlin)Back again / For Kathy (single) 7\"1974
01. Back again02. For KathyKarthago (Berlin)Hard Loving Woman / Highway Five 7\"1975
01. Hard Loving Woman02. Highway FiveKarthago (Berlin)Live LP1976
01. The World Is Like A Burning Fire02. Sound In The Air03. Rock \'n\' Roll Testament04. We Gonna Keep It Together05. We Give You Everything You Need06. Going Down07. See You Tomorrow In The SkyKarthago (Berlin)Live at the Roxy LP,CD1976
01. The world is like a burning fire 5:4102. Sound in the air 4:5103. Rock and Roll testament 5:0104. The second string rambler 12:2705. Wild river 6:5406. Highway seeker (Did nobody tell you) 16:2207. Going down 5:3008. See you tomorrow in the sky 3:32Karthago (Berlin)Love is a cake LP,CD1978
01. Rock \'n\' Roll Man02. The Friend03. Rosie04. Remember05. I Will Live06. Love Is A Cake07. Woman08. Dreams Of Love09. Doing The Best I Can10. Crazy Woman11. Ira LeeKarthago in the early 70ies. From the left: Wolfgang Brock, Tommy Goldschmidt, Joey Albrecht, Ingo Bischof and Gerald Luciano.(Quelle: www.karthago.de)The guys posing for their album \"Second Step\".(Quelle: www.karthago.de)Signed autograph cards would make the fans happy (especially female ones).(Quelle: www.karthago.de)
\"Karthago were founded in Berlin by Joey Albrecht (originally from Hannover) and Gerald Luciano Hartwig. Since 1968 they had performed together in clubs as the duo Blues Machine. In 1970 they engaged the Bolivian percussionist Thomas Goldschmitt (mainly hand percussion) and soon landed a recording contract with BASF. Just a month before the recordings of their first album began, two additional members were added to their line-up: Ingo Bischof and Wolfgang Brock. Karthago was recorded in October 1971 at Audio Tonstudio, Berlin with Dieter Zimmermann producing and Stan Regal engineering. It was released in a spectacular, inventive and expensive six part fold-out cover with several die cuts! Certainly a lavish package, recalling the multicoloured and psychedelic Santana album designs - but actually outdoing them! Karthago\'s sound was graced with excellent heavy guitar work and the funky, gutsy vocals of J. Albrecht, recalling the Jimi Hendrix Experience and the heavy progressive funk band Funkadelic. The best tracks in this style were \"Why Don\'t You Stop Buggin\' Me\" and \"String Rambler\". Others, like the catchy little instrumental \"Nos Vamos\", had a more distinct Latin character, very much like early Santana. In my opinion, this is a very underrated album! Few other German bands recorded music in this particular style.
More Santana-esque instrumental work was present on Second Step, recorded at Windrose Dumont Time, Hamburg, May 1973 with C. & M. Hudalla producing. This was much more of a joint group effort, balanced between jazzy keyboards, heavy guitars and South American rhythms. Most of the material was great, but I feel Ingo Bischof\'s compositions were a bit out of place - his songs were almost singer-songwriter type of ballads! Original drummer W. Brock had left for The Rattles in February 1973 and was replaced by Norbert \"Panzer\" Lehmann on this album. Then within months Lehmann departed to the heavy progressive band Epitaph. Into Karthago came Konstatin Bommarius (ex-2066 & Then, Abacus). The bass player Gerald Luciano Hartwig also left - in the Summer of 1974. His replacement was something of a sensation at the time - Glenn Cornick (ex-Jethro Tull, Wild Turkey) joined the band in October 1974.
A revamped five-piece Karthago signed with Bacillus and relocated to Oxford, England, in November 1974, where they recorded Rock\'n\'Roll Testament in the Chipping Norton Studios. The producer of this album was Peter Hauke, manager of the Bacillus label. About the same time, another of his German signings, Nine Days\' Wonder, recorded in England, although his British signing Nektar recorded in Germany for years! Karthago\'s new album did quite well and many people consider it to be their best. It marked a change of style towards a smooth, well-produced rock with some minor symphonic touches. Karthago had become another purveyor of the characteristic \'Bacillus rock\' - a trade mark of Peter Hauke and Dieter Dierks.
Concerts in Berlin and Hamburg in January 1976 were recorded and released as the double album Live At The Roxy (1976). As Glenn Cornick had quit the group, Gerald Hartwig was now back in action again. Albrecht, Bischof and Goldschmitt were also helped by Reinhard Bopp (ex-Hardcake Special) and Ringo Funk (ex-Atlantis, Jeronimo). This record literally became the \"Karthago testament\", as the group disbanded in the Spring of 1976. \"
Krautrock (also called kosmische Musik, German for \"cosmic music\"[9][10][11]) is a broad genre of experimental rock that developed in West Germany in the late 1960s and early 1970s[10] among artists who blended elements of psychedelic rock, electronic music, and avant-garde composition among other sources.[12] These artists moved away from the blues influences and song structure found in traditional Anglo-American rock music,[13] instead utilizing hypnotic rhythms, tape-music techniques, and early synthesizers.[14][12] Prominent groups associated with krautrock music included Can, Neu!, Amon Düül II, Faust, Harmonia, Ash Ra Tempel, Agitation Free, Guru Guru, early Kraftwerk, Tangerine Dream and Cluster.[5]
The term was popularized by British music journalists, who adopted the term \"Krautrock\" as a humorous umbrella-label for the diverse German scene,[15] though many so-labeled artists disliked the term.[16] The movement was partly born out of the radical student movements of 1968,[17] as German youth rebelled against their country\'s legacy in World War II and sought a popular music distinct from traditional German music and American pop.[10] The period contributed to the development of ambient music and techno,[8] and influenced subsequent genres such as post-punk, new-age music, and post-rock.[5][18]Contents1 History1.1 Origins and influences1.2 Etymology2 Musical elements2.1 Kosmische musik3 Legacy and influence4 See also5 References5.1 Citations5.2 Bibliography6 External linksHistoryOrigins and influencesSee also: Experimental rock and Rock music in Germany
A German student protest from 1968Krautrock is a broad label encompassing diverse sounds and artists that emerged in West Germany during the 1960s and early 1970s.[19] The music was partially inspired by broad cultural developments such as the revolutionary 1968 German student movement,[10][20] with many young people having both political and aesthetic concerns.[21] Youth rebelled against both dominant American influence and conservative German entertainment such as schlager music,[21] seeking to liberate themselves from Germany\'s Nazi legacy in World War II and create a new popular culture.[15] Dieter Moebius, of the bands Cluster and Harmonia, noted that \"we were a lot of the times on the streets instead of studying. As young people we were not very proud to be German [...] we were all tired of listening to bad German music and imitations of American music. Something had to happen.\"[21] The movement saw artists merge elements of varied genres such as psychedelic rock, avant-garde forms of electronic music, funk rhythm, jazz improvisation and \"ethnic\" music styles,[5] typically reflecting a \"genuine sense of awe and wonder.\"[19]
We were trying to put aside everything we had heard in rock \'n\' roll, the three-chord pattern, the lyrics. We had the urge of saying something completely different.—Jean-Hervé Peron of Faust.[13]Core influences on these German artists included avant-garde composers Karlheinz Stockhausen and Terry Riley, and bands such as the Mothers of Invention, the Velvet Underground, the Beatles,[22] and Pink Floyd.[10] A significant influence was the work of American minimalists such as Riley, Tony Conrad, and La Monte Young, as well as the late \'60s albums of jazz musician Miles Davis.[23] Some artists drew on ideas from 20th century classical music and musique concrète,[21] particularly composer Stockhausen (with whom, for example, Irmin Schmidt and Holger Czukay of Can had previously studied), and from the new experimental directions that emerged in jazz during the 1960s and 1970s (mainly the free jazz pieces by Ornette Coleman or Albert Ayler).[18] The Quietus noted the influence of Jimi Hendrix and James Brown on krautrock musicians.[24] Moving away from the patterns of song structure and melody of much rock music in America and Britain, some in the movement were drawn to a more mechanical and electronic sound.[18]
EtymologyUntil around 1973, the word \"Deutsch-Rock\" (\"German Rock\") was used to refer to the new groups from West Germany.[25] Various sources claim that \"Krautrock\" was originally a humorous term coined in the early 1970s either by British disc jockey John Peel[26] or by the UK music newspaper Melody Maker, in which experimental German bands found an early and enthusiastic following.[27] The first use of the term however, was found in a full page advertisement from Popo Music Management and Bacillus Records promoting German Rock in the UK, in April 1971.[28] The music emerging in Germany was first covered extensively in three concurrent issues of the UK music paper New Musical Express in the month of December, 1972, by journalist Ian MacDonald, who may have been the first to coin the term.[29] The term derives from the ethnic slur \"kraut\". \"Kraut\" in German can refer to herbs, weeds, and drugs.[30] Other names thrown around by the British music press were \"Teutonic rock\" and \"Götterdämmer rock\".[30] West Germany\'s music press initially used \"krautrock\" as a pejorative, but the term lost its stigma after the music gained success in Britain.[30]
Its musicians tended to reject the name \"krautrock\".[31][30] This was also the case for \"kosmische Musik\".[30] Musicologist Julian Cope, in his book Krautrocksampler, says \"Krautrock is a subjective British phenomenon\", based on the way the music was received in the UK rather than on the actual West German music scene out of which it grew.[32] For instance, while one of the main groups originally tagged as krautrock, Faust, recorded a seminal 12-minute track they titled \"Krautrock\", they would later distance themselves from the term, saying: \"When the English people started talking about Krautrock, we thought they were just taking the piss... and when you hear the so-called \'Krautrock renaissance\', it makes me think everything we did was for nothing.\"[13]
Musical elementsKrautrock has been described as a broad genre encompassing varied approaches,[10][19] though The Quietus noted that most music in the genre, \"diverse as it is, shares an interest in electronics, texture and repetition.\"[24] Shindig! summarized the style as \"avant-garde musical collages of electronic sounds, rock music, and psychedelia\" which typically featured \"improvisation and hypnotic, minimalistic rhythms\".[12] Los Angeles Magazine summarized the genre as \"where American psychedelica meets icy Germanic detachment\".[33] Critic Simon Reynolds described the style as \"where the over-reaching ambition and untethered freakitude of late \'60s acid rock is checked and galvanised by a proto-punk minimalism ... music of immense scale that miraculously avoided prog-rock\'s bombastics\".[5] AllMusic described it as expanding on the musical explorations associated with art rock and progressive rock, but diverging from American and British groups\' emphasis on jazz and classical elements in favor of \"a droning, pulsating sound that owed more to the avant garde than to rock & roll\".[14] According to The Line of Best Fit, some typical characteristics include \"steady 4/4 beats, hypnotic, droning rhythms, and shimmering keyboards\".[34] Artists used early synthesizers and experimented with tape music techniques.[14] Pitchfork stated that the genre \"in its platonic ideal should be basically instrumental; it should seamlessly meld electronics and rock instruments; it should favor long, drawn-over structures over short dynamic shifts, and steady-state rhythms over syncopation\".[35] Los Angeles Magazine describes it as a \"hypnotic, piston-pumping genre [...] where drummers pounded out tightly-wound beats, bassists thumped pulsing notes, and zoned out singers warbled over it all in an absurdist drone\".[33] The Stranger called krautrock an \"innovative reconstruction of rock and electronic music\".[36]
The \"Motorik\" beat is the 4/4 beat often used by drummers associated with krautrock,[37] characterised by a kick drum-heavy, pulsating groove, that created a forward-flowing feel.[37] The motorik beat was used by Can in the song \"Mother Sky\", and by Neu! on their debut album,[38] later being adopted by other krautrock bands. It has been widely used in many different styles of music beyond krautrock.[39] According to XLR8R, the term krautrock is often used by critics to signify the \"mesmerizing motorik rhythms pioneered by Can and Neu!\", but contested that \"they represent merely a tiny fraction of the music that emerged from Germany during Krautrock\'s Golden Age\".[15] Matt Bolton of The Guardian makes a similar point, arguing that \"Neu!\'s streamlined instrumentals [...] certainly have little in common with Can\'s eclectic experimentalism, Amon Düül II\'s improvisational space rock or Faust\'s cut-and-paste sound collages.[19]
Kosmische musikKosmische musikStylistic origins Electronicpsychedeliaspace rockavant-gardetape musicCultural origins Early 1970s, West GermanyDerivative forms Ambientnew ageOther topicsSpace musicKosmische musik (\"cosmic music\") is a term which came into regular use before \"krautrock\" and was preferred by some German artists who disliked the English label;[16] today, it is often used synonymously with krautrock.[40] More specifically, it may describe 1970s German electronic music which uses synthesizers and incorporates themes related to space or otherworldliness;[40][41] it is also used as a German analogue to the English term \"space rock\".[42] The style was often instrumental and characterized by \"spacy\", ambient soundscapes.[41] Artists used synthesizers such as the EMS VCS 3 and Moog Modular, as well as sound processing effects and tape-based approaches.[40] They largely rejected rock music conventions, and instead drew on \"serious\" electronic compositions.[41]
The term \"kosmische Musik\" was coined either by Edgar Froese in the liner notes of Tangerine Dream\'s 1971 album Alpha Centauri[41] or by record producer Rolf-Ulrich Kaiser as a marketing name for bands such as Ash Ra Tempel, Tangerine Dream, and Klaus Schulze.[30] The following year, Rolf-Ulrich Kaiser\'s Ohr Records released the compilation Kosmische Musik (1972) featuring tracks by Tangerine Dream, Klaus Schulze, Ash Ra Tempel, and Popol Vuh.[40] Kaiser eventually began referring to the style as \"cosmic rock\" to signify that the music belonged in a rock idiom.[42] German producer Conny Plank was a central figure in the kosmische sound, emphasizing texture, effects processing, and tape-based editing techniques.[16] Plank oversaw kosmische recordings such as Kraftwerk\'s Autobahn, Neu!\'s Neu! 75, and Cluster\'s Zuckerzeit.[16]
Several of these artists would later distance themselves from the term.[40] Other proposed names for the style at the time were \"Berlin School\" and \"Dusseldorf School,\" though none remained definitive.[41] The style would later lead to the development of new-age music, with which it shared several characteristics.[41] It would also exert lasting influence on subsequent electronic music and avant-garde rock.[42]
Legacy and influence
This article may contain indiscriminate, excessive, or irrelevant examples. Please improve the article by adding more descriptive text and removing less pertinent examples. See Wikipedia\'s guide to writing better articles for further suggestions. (October 2016)Krautrock has proved to be highly influential on a succession of other musical styles and developments. Early contemporary enthusiasts outside Germany included Hawkwind and in particular Dave Brock who supposedly penned the sleeve notes for the British edition of Neu!\'s first album[43] Faust\'s budget release The Faust Tapes has been cited as a formative teenage influence by several musicians growing up in the early 1970s such as Julian Cope (who has always cited krautrock as an influence, and wrote the book Krautrocksampler on the subject). The genre also had a strong influence on David Bowie\'s Station to Station (1976) and the experimentation it inspired led to his \'Berlin Trilogy\'.[44][45]
Krautrock was also highly influential on the late-\'70s development of British new wave and post-punk, notably artists such as Siouxsie and the Banshees, Public Image Ltd., Cabaret Voltaire, The Fall, Gary Numan, Joy Division, Orchestral Manoeuvres in the Dark, Simple Minds and This Heat. Kraftwerk in particular had a lot of influence on American electronic dance music of the 1980s: electro, house, techno and especially Goa trance. Ash Ra Tempel was strongly influential on the later development of 70s ambient as well as post-rock.[46]
See alsoSpace musicAmbient musicElectronic art musicElectronic musicExperimental musicKrautrocksamplerGerman rockKosmische KuriereRomantic Warriors IV: KrautrockSpace rock
Karthago were founded in Berlin by Joey Albrecht (guitar, vocals) and Gerald Luciano Hartwig (bass). In 1970, they engaged the Bolivian percussionist Thomas Goldschmitt (mainly hand percussion) and got a recording contract with BASF. Two additional members were added to their line-up: Ingo Bischof (keyboards) and Wolfgang Brock (drums). \"Karthago\" was recorded in October 1971 graced with excellent heavy guitar work and the funky, gutsy vocals of J. Albrecht, recalling the Jimi Hendrix Experience and the heavy progressive funk band Funkadelic.
More Santana-esque instrumental work was present on \"Second Step\", recorded in May 1973. W. Brock had left for The Rattles in February 1973 and was replaced by Norbert \'Panzer\' Lehmann on this album. Then Lehmann departed to the heavy progressive band \"Epitaph\", and he was replaced by Konstantin Bommarius (ex-2066 & Then, Abacus). Hartwig also left in the Summer of 1974. His replacement was something of a sensation at the time - Glenn Cornick (ex-Jethro Tull). They signed with Bacillus label and relocated to Oxford, England, in November 1974, where they recorded \"Rock\'n\'Roll Testament\".It marked a change of style towards a smooth, well-produced rock with some minor symphonic touches.
In January 1976 they recorded the double album \"Live At The Roxy\". As Glenn Cornick had quit the group, Gerald Hartwig was now back again. Albrecht, Bischof and Goldschmitt were also helped by Reinhard Bopp (guitar, vocals, ex-Hardcake Special) and Ringo Funk (drums, ex-Atlantis, ex-Jeronimo). This record literally became the \'Karthago testament\', as the group disbanded in the Spring of 1976.
However, Albrecht later assembled Ringo Funk and Chico de los Reyes (piano, vocals) in the studio in the Summer of 1977 for the forgettable \"Love Is A Cake\" - a commercial disco, pop-rock disaster!JOEY ALBRECHT
After his birth on January 15th, 1952, it took just 8 years until Joey Albrecht grabbed a string instrument for the first time. Early on, he was part of a mandolin orchestra. \"Little Joey\" was 10 years old when he founded his first band. \"The Almights\" gigged in countless clubs across the German state of Lower Saxony. Everybody was excited - with the exception of the headmaster of Joey\'s school. He wrote a letter to the Albrecht parents in which he demanded an end to what he called \"the wrong influences\" for their son. Joey never really followed that demand.
At age 13 Joey recorded his first record. He hit the stages of the famous \"Starclub\" in Hamburg (yes, the same club The Beatles had gigged in extensively years before).
When asked about his musical influences, Joey names Latin American guitarists as well as Jimi Hendrix, John Lee Hooker, John McLaughlin, Ray Charles and Chick Corea.
In 1969, Joey moved to Berlin. After performing as a solo artist for a few months, he founded his life project Karthago.
A busy and wild period started at this stage. As opposed to his fellow Karthago members, Joey already had a lot of experience with record releases. The guitarist, vocalist, producer and composer today: \"I had to teach everyone all the time. And my approach was different. So I put everyone under pressure. Back then, I was not interested in any political issues, but rather in success.\" The key to success was quality, which Joey stuck to eversince
After the preliminary end of Karthago in 1976, Joey invested a lot of energy into many projects. Those included \"Bad Boy\" as well as the \"Joey Albrecht Band\". In between, there were some temporary Karthago revivals with different line-ups. In addition, Joey worked as a pick-up musician.
\"When Ingo asked me to think about a full-blown Karthago revival a few years ago, I did not want to do it at first\", Joey says. But by now, he is glad and enjoys working on the DVD, which will be released soon, as well as on the next Karthago album. \"We are trying to stick to the approach we followed back then. The difference: We do not have those image neurosis problems we used to have. And there is no lack of discipline anymore.\"
Joey is very happy about today\'s Karthago line-up. This of course applies also to the new band members Rolo and Chris. \"Nowadays It is hard to find people like them\", Joey says.Ingo Bischof was born into a musical family on January 2nd, 1951. His mother had many classical records, which Ingo consumed early on. One day the Bischofs were invited over by friends. After their daughter played some piano pieces during the evening, Ingo said to himself \"I can do this too\".
While Ingo\'s older brother played Elvis Presley records 24 hours a day, the future Karthago member prefered the Rolling Stones or Steve Winwood. Later, Ingo also got into Fusion (Mahavishnu Orchestra, Wheather Report,...) and Jazz pianists (McCoy Tyner, Keith Jarreth,...).
At age 15 Ingo founded his first band \"Thud\" with Marvin Kemper and other fellow musicians. In 1969, the \"Modivations\" followed. A year later Ingo became a founding member of Karthago.
In 1975, he switched over to \"Kraan\", in 1978 Ingo became a member of \"Guru Guru\". Later on, he re-joined \"Kraan\" until 1984. At the same time he founded the group \"Bad Boy\" in another cooperation with Joey Albrecht before becoming a pick-up musician.
Today Ingo says: \"Being a musician for rent was something totally different. I\'m glad about not being a pick-up musician anymore because many colleagues did not manage to get back into what they really wanted to do. The creativity and the personal style suffers while playing with other bands a lot. And these are important aspects\".
In the 1990ies, Ingo became a music instructor in Hamburg. Today, he is both a Karthago and a \"Kraan\" member. In addition, he plays meditation sounds with Ramish Weeratunga (\"Flowing Power\").
Ingo on the Karthago revival: \"Today we are more professional, more effective and not as wild and crazy as we were in the 1970ies. But the musical intensity is still there\".
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KRAUTROCK SIGNED 70'S KARTHAGO RARE ORIG. AUTOGRAPH POSTCARD PSYCH PROG $601.23
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Damo Suzuki Can Krautrock signed autograph Autogramm 8x11 inch photo in person $74.25
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