EULENSPYGEL "Eulenspygel 2" WITH OLD COVER VERY RARE

	€		57
	$		66

Artist

EULENSPYGEL

Title

"Eulenspygel 2" FIRST PRESSING WITH THE OLD COVER VERY RARE AND HARD TO FIND

Only Original Pictures - What You See Is What You Get! Catalog# Spiegelei 28760-7
A-0262 A/C 3 A Label INTERCORD Country W. -GERMANY Year 1971 Format LP  Grading Record VG Vinyl has a little wave but plays very good, no weight needed / Vinyl hat eine kleine Welle, spielt aber sehr gut, kein Gewicht notwendig. Grading Cover VG+ Description When the Royal Servants (from the Göppingen area of southern Germany) decided to begin singing in their native language, they figured that they should have a German name as well. And because as the Royal Servants they'd already released the
album 'We' in 1970 (GoD CD031), the band decided to dub their first release under their new name Eulenspygel '2' to some confusion. The change in language was really not such a big thing compared to the change in musical style. I found most of 'We'
to be poorly-copied versions of contemporary music from the American west coast (Doors, Santana, Steppenwolf). Eulenspygel on the other hand was full of the quirky idiosyncrasies that made krautrock so wonderful, and hence '2' is actually a very
good album! Musically, the mix is similar to so many of the other bands of this era, progressive jazz-rock rhythms, heaps of organ, some flute, and many different motifs lined up end to end to create complete tracks without necessarily any logical
connection. And in that way, I always find this stuff to be great fun... hardly ever predictable! Lyrically (the translations are provided), the band was obviously very interested in liberal causes, because the songs are typically about the environment, capital
punishment and over-commercialization. The album's cover (which was later changed by the record company) is obviously some sort of statement, showing a live chick standing in a frying pan over the sizzled remains of another chick.

Compared to Royal Servants, the musicianship is also much improved even though the base lineup of guitarists Detlev Nottrodt and James Thurow, bassist Ronnie Libal, and drummer Gunther Klinger remained intact. However, the addition of organist
Karlheinz Großhans and flute-player Cornelius Hauptmann helped give the unit crucial additional voices. Vocalist Mulo Maulbetsch was also new to the band, and because I find German-accented German as intriguing as German-accented English, I like his
singing just fine. "Son My" is perhaps the most interesting track, an 11-minute peculiar composition with an excellent flute solo, and an odd, choppy "Magic Carpet Ride"-style jam in the middle. "Konsumgewäsche" is off the beaten track as well, ending
up with a "Deutschland Uber Alles" organ finale. The 40-minute album signs off with the five-part "Das Lied vom Ende," a sort of microcosm of all the ideas going on in the progressive rock world at the time, including showing off Thurow's capabilities on
the violin. Definitely recommended to fans of Kraan, Out of Focus, and other like-minded artists on the GoD label like Siddhartha and Morpheus.
Tracks A1 Till 03:45 A2 Son My (My Lay) 11:14 A3 Konsumgewäsche 04:03 B1 Staub auf Deinem Haar 07:58 B2 Die Wunde bleibt 01:58 B3 Das Lied vom Ende 10:15 a. Erstens b. Alt c. Jung sein d. Hastig und kaputt e. Das Ende vom Lied     Shipping
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