Stage (David Bowie album)
Stage is David Bowie's second live album, recorded on the Isolar II Tour, released by RCA Records in 1978. First UK pressings were on translucent yellow vinyl and some European pressings were available on blue vinyl. Though it was rumouredat the time that this would be his final outing with the label, following dissatisfaction over the promotion of Low and "Heroes", Bowie remained with RCA until 1982; the recording was culled from concerts in Philadelphia and Boston, US, in late April and early May 1978. It included material from Bowie's most recent studio albums to that date, Station to Station, Low and "Heroes" but five songs from The Rise and Fall of Ziggy Stardust and the Spiders from Mars. Aside from Bowie's core team of Carlos Alomar, Dennis Davis and George Murray, band members included ex-Frank Zappa sideman Adrian Belew on guitar, Simon House from Hawkwind on electric violin, Roger Powell, best known for his work with Todd Rundgren in the group Utopia, on keyboards and Sean Mayes on piano, string ensemble and backup vocals.
All would reunite the following year on Lodger. Considered more relaxed than Bowie's previous live album, David Live, Stage was praised on its initial vinyl release for the fidelity with which the band was able to emulate in concert the electronic and effects-filled numbers from Low and "Heroes", as well as for the singer's vocal performance. However, it was criticised for lacking a'live' atmosphere, thanks to the recording being taken from direct instrument and microphone feeds which increased sound quality but minimised crowd noise; the original concert running order was changed, with fades between tracks similar to a studio album. In a review of the 1991 rerelease, Mat Snow of Q stated that "performances are faster than the studio originals and suffer for it; the cover picture came in for criticism, more so because the rest of the package contained only variations of the same shot. Stage was a commercial success. In the UK, it reached No. 5 and was subsequently certified gold by the British Phonographic Industry.
It reached No. 44 on the US charts. "Breaking Glass", which appeared in shorter form on Low, was released as a 3-track EP and reached number 54 on the UK singles chart. In the US, "Star" failed to chart. In Japan "Soul Love" was released, with "Blackout" on the B-side, but failed to chart. A 2005 reissue saw most of the criticisms of the original LP addressed. In his review of the reissue, Chris Roberts of Uncut said that the combination of Low/Heroes-period material and songs from Ziggy Stardust resulted in a live album, an "eerie clattering between two stools", he said that the improvements in sound carried out by Tony Visconti and the addition of "Stay" and "the brilliant'Be My Wife'" made the new version of Stage "essential for Dave-freaks, anyway". The album is included in The Quietus' list of its writers' "40 Favourite Live Albums". All tracks written except where noted; the cassette release places "Speed of Life" between "Fame" and "TVC 15". Stage has been rereleased on CD four times to date, the first being in 1984 by RCA Records in 1991 by Rykodisc in 2005 by EMI, most in 2017 by Parlophone.
The running order of the 2005 and 2017 editions reflects the actual performance, removing fades between tracks, including unreleased performances as bonus tracks. The 2005 EMI release of this album was copy protected with CDS 200 in the EU; the 1984 rerelease on CD contains the same running order as the original LP, comes on two discs. Some of the European-distributed CDs were manufactured in Japan, but cover and assembling were made in Europe. Most of the CDs were made in Germany. In 1991, Stage was rereleased on CD, with the same running order as the original LP, with "Alabama Song" included as a bonus track; the 2005 CD reissue features a new running order, reflecting the original setlist of the concerts as performed. Two unreleased performances were included on the album as bonus tracks. In 2017, the album was included, in two versions, in the A New Career in a New Town box set released by Parlophone. One version contained the original mix and the same list and ordering of tracks that had appeared on the original vinyl album.
The latter was released separately, in 2-CD and 3-LP formats, in 2018. David Bowie – vocals, keyboards Carlos Alomar – rhythm guitar, backing vocals George Murray – bass, backing vocals Dennis Davis – drums, percussion Adrian Belew – lead guitar, backing vocals Simon House – violin Sean Mayes – piano, string ensemble, backing vocals Roger Powell – synthesizer, backing vocals Jan Michael Alejandro – band tech Vern "Moose" Constan – band tech Rob Joyce – stage manager Leroy Kerr – band tech Edd Kolakowski – piano and keyboard tech Album Single Works cited Roy Carr and Charles Shaar Murray. Bowie: An Illustrated Record David Buckley. Strange Fascination – David Bowie: The Definitive Story Nicholas Pegg; the Complete David Bowie
The Berlin Trilogy, or Berlin Triptych, consists of three consecutively released studio albums by English singer and songwriter David Bowie: Low, "Heroes" and Lodger. The albums were recorded after Bowie took up residence in West Berlin in late 1976, saw him experiment with elements of electronic, krautrock and world music in collaboration with American producer Tony Visconti and English musician Brian Eno. Bowie began referring to the three albums as a Berlin-centered trilogy during the promotion of Lodger, although "Heroes" was the only installment recorded in the city; each album reached the UK top five. Bowie would call the music of the trilogy his "DNA". Consequence of Sound characterized the trilogy as an "art rock trifecta", Rolling Stone wrote that the Berlin Trilogy "stands as some of the most innovative music in the artist's influential canon". Following Bowie's Thin White Duke period and the commercial success of the singles "Fame" and "Golden Years" in 1976, he was eager to escape the drug culture of Los Angeles, where he had developed a cocaine addiction.
He had become embroiled in controversy regarding comments he made in favour of fascism. He blamed his erratic behaviour on his addictions and precarious mental state, saying "I was out of my mind crazed." He called the period "the darkest days of my life" and confessed to having no memory of recording of Station to Station in Los Angeles in late 1975 due to his "astronomic" cocaine addiction. As his health deteriorated, Bowie attempted to reduce his cocaine intake and phase out the Thin White Duke persona, whom he had come to see as "a nasty character indeed." He said: "It was a dangerous period for me. I was at the end of my tether physically and and had serious doubts about my sanity." Bowie moved to Switzerland in the second half of 1976. There, he began exploring other art forms and visiting galleries in Geneva and the Brücke Museum in Berlin, becoming "a prolific producer and collector of contemporary art... Not only did he become a well-known patron of expressionist art, locked in Clos des Mésanges he began an intensive self-improvement course in classical music and literature, started work on an autobiography."
That year, along with friend and singer Iggy Pop, retreated to Berlin in a further attempt to escape his addiction and the spotlight: For many years Berlin had appealed to me as a sort of sanctuary-like situation. It was one of the few cities. I was going broke. For some reason, Berliners just didn't care. Well, not about an English rock singer, anyway. While sharing an apartment with Pop, Bowie became interested in the German music scene, including acts such as Tangerine Dream, Cluster and Neu!. Before moving to the apartment on Hauptstraße, Pop and Bowie stayed with Edgar Froese of Tangerine Dream and his family at their home in Schöneberg. Froese helped Bowie with his recovery and introduced him to the Berlin underground scene. Bowie named Froese's solo album Epsilon in Malaysian Pale a big influence and a soundtrack to his life in Berlin. During the months of his recovery, he had become interested in Brian Eno's minimalist album Discreet Music, he soon after began collaborations with Eno and producer Tony Visconti.
In 1976, Bowie produced Pop's solo album debut, The Idiot. As work on the album started before Bowie's own Low, Pop's The Idiot is referred to as the unofficial beginning of Bowie's Berlin period, though the two albums were recorded concurrently; the album Low was recorded as Bowie grappled with difficult personal issues, including a troubled marriage and drug dependence: "There's oodles of pain in the Low album. That was my first attempt to kick cocaine, so, an awful lot of pain, and I moved to Berlin to do it. I moved out of the coke centre of the world into the smack centre of the world. Thankfully, I didn't have a feeling for smack, so it wasn't a threat". Visconti contended that the title was a reference to Bowie's "low" moods during the album's writing and recording; the album marked a movement for Bowie into ambient music. Side one of the album contained direct avant-pop song-fragments. Incorrectly given credit as Low's producer, Eno was responsible for a good deal of the direction and composition of the second side of the album and wrote the theme and instrumentation for "Warszawa" while Bowie was in Paris attending court hearings against his former manager.
Influenced by the Krautrock sound of Tangerine Dream and Neu!, Low evinced a move away from narration in Bowie's songwriting to a more abstract musical form in which lyrics were sporadic and optional. Low and The Idiot were recorded in France, of Bowie's trilogy only Low and "Heroes" were recorded at Hansa Studios in Berlin, nicknamed "Hansa by the Wall" for its proximity to the imposing structure that divided West from East Berlin. Although he completed the album in November 1976, it took his unsettled record company another three months to release it, it received considerable negative criticism upon its release—a release which RCA, anxious to maintain the established commercial momentum, did not welcome, which Bowie's ex-manager, Tony Defries, who still maintained a significant financial interest in the singer's affairs, tried to prevent. Despite these forebodings, Low yielded the UK number three single "Sound and Vision", its own performance surpassed that of Station to Station in the UK chart, where it reached number two.
Echoing Low's minimalist, instrumenta
Art rock is a subgenre of rock music that reflects a challenging or avant-garde approach to rock, or which makes use of modernist, experimental, or unconventional elements. Art rock aspires to elevate rock from entertainment to an artistic statement, opting for a more experimental and conceptual outlook on music. Influences may be drawn from genres such as experimental rock, avant-garde music, classical music, jazz, its music was created with the intention of listening and contemplation rather than for dancing, is distinguished by the use of electronic effects and easy listening textures far removed from the propulsive rhythms of early rock. The term may sometimes be used interchangeably with "progressive rock", though the latter is instead characterized in particular by its employment of classically trained instrumental technique and symphonic textures; the genre's greatest level of popularity was in the early 1970s through British artists. The music, as well as the theatrical nature of performances associated with the genre, was able to appeal to artistically inclined adolescents and younger adults due to its virtuosity and musical/lyrical complexity.
Art rock is most associated with a certain period of rock music, beginning in 1966–67 and ending with the arrival of punk in the mid 1970s. After, the genre would be infused within popular music genres of the 1970s–90s. Critic John Rockwell says that art rock is one of rock's most wide-ranging and eclectic genres with its overt sense of creative detachment, classical music pretensions, experimental, avant-garde proclivities. In the rock music of the 1970s, the "art" descriptor was understood to mean "aggressively avant-garde" or "pretentiously progressive". "Art rock" is used synonymously with progressive rock. The term has been used to describe at least two related, but distinct, types of rock music; the first is progressive rock, while the second usage refers to groups who rejected psychedelia and the hippie counterculture in favor of a modernist, avant-garde approach defined by the Velvet Underground. Essayist Ellen Willis compared these two types: From the early sixties … there was a counter-tradition in rock and roll that had much more in common with high art—in particular avant-garde art—than the ballyhooed art-rock synthesis.
While art rock was implicitly based on the claim that rock and roll was or could be as worthy as more established art forms, rock-and-roll art came out of an obsessive commitment to the language of rock and roll and an obsessive disdain for those who rejected that language or wanted it watered down, made easier … the new wave has inherited the counter-tradition. Art rock emphasizes Romantic and autonomous traditions, in distinction to the aesthetic of the everyday and the disposable embodied by art pop. Larry Starr and Christopher Waterman's American Popular Music defines art rock as a "form of rock music that blended elements of rock and European classical music", citing the English rock bands King Crimson, Lake & Palmer, Pink Floyd as examples. Common characteristics include album-oriented music divided into compositions rather than songs, with complicated and long instrumental sections, symphonic orchestration, its music was traditionally used within the context of concept records, its lyrical themes tended to be "imaginative" and politically oriented.
Differences have been identified between art rock and progressive rock, with art rock emphasizing avant-garde or experimental influences and "novel sonic structure", while progressive rock has been characterized as putting a greater emphasis on classically trained instrumental technique, literary content, symphonic features. Compared to progressive rock, art rock is "more challenging and unconventional" and "less classically influenced", with more of an emphasis on avant-garde music. Similarities are that they both describe a British attempt to elevate rock music to new levels of artistic credibility, became the instrumental analog to concept albums and rock operas, which were more vocal oriented. Art rock can refer to either classically driven rock, or to a progressive rock-folk fusion. Bruce Eder's essay The Early History of Art-Rock/Prog Rock states that "'progressive rock,' sometimes known as'art rock,' or'classical rock'" is music in which the "bands playing suites, not songs; the boundaries between art and pop music became blurred throughout the second half of the 20th century.
The first usage of the term "art rock", according to Merriam-Webster Online Dictionary, was in 1968. As pop music's dominant format transitioned from singles to albums, many rock bands created works that aspired to make grand artistic statements, where art rock would flourish; as it progressed in the late 1960s – in tandem with the development of progressive rock – art rock acquired notoriety alongside experimental rock. The earliest figure of art rock has been assumed to be record producer and songwriter Phil Spector, who became known as an auteur for his Wall of Sound productions that aspired to a "classical grandiosity". According to biographer Richard Williams: " created a new concept: the producer as overall director of the creative process, from beginning to end, he took control of everything, he picked the artists, wrote or chose the material, supervised the arrangements, t
David Robert Jones, known professionally as David Bowie, was an English singer and actor. He was a leading figure in the music industry and is considered one of the most influential musicians of the 20th century, acclaimed by critics and musicians for his innovative work during the 1970s, his career was marked by reinvention and visual presentation, with his music and stagecraft having a significant impact on popular music. During his lifetime, his record sales, estimated at 140 million albums worldwide, made him one of the world's best-selling music artists. In the UK, he was awarded ten platinum album certifications, eleven gold and eight silver, released eleven number-one albums. In the US, he received nine gold certifications, he was inducted into the Rock and Roll Hall of Fame in 1996. Born in Brixton, South London, Bowie developed an interest in music as a child studying art and design before embarking on a professional career as a musician in 1963. "Space Oddity" became his first top-five entry on the UK Singles Chart after its release in July 1969.
After a period of experimentation, he re-emerged in 1972 during the glam rock era with his flamboyant and androgynous alter ego Ziggy Stardust. The character was spearheaded by the success of his single "Starman" and album The Rise and Fall of Ziggy Stardust and the Spiders from Mars, which won him widespread popularity. In 1975, Bowie's style shifted radically towards a sound he characterised as "plastic soul" alienating many of his UK devotees but garnering him his first major US crossover success with the number-one single "Fame" and the album Young Americans. In 1976, Bowie starred in the cult film The Man Who Fell to Earth, directed by Nicolas Roeg, released Station to Station; the following year, he further confounded musical expectations with the electronic-inflected album Low, the first of three collaborations with Brian Eno that came to be known as the "Berlin Trilogy". "Heroes" and Lodger followed. After uneven commercial success in the late 1970s, Bowie had UK number ones with the 1980 single "Ashes to Ashes", its parent album Scary Monsters, "Under Pressure", a 1981 collaboration with Queen.
He reached his commercial peak in 1983 with Let's Dance. Throughout the 1990s and 2000s, Bowie continued to experiment with musical styles, including industrial and jungle, he continued acting. He stopped touring after 2004 and his last live performance was at a charity event in 2006. In 2013, Bowie returned from a decade-long recording hiatus with The Next Day, he remained musically active until he died of liver cancer two days after the release of his final album, Blackstar. Bowie was born David Robert Jones on 8 January 1947 in London, his mother, Margaret Mary "Peggy", was born at Shorncliffe Army Camp near Kent. Her paternal grandparents were Irish immigrants, she worked as a waitress at a cinema in Royal Tunbridge Wells. His father, Haywood Stenton "John" Jones, was from Doncaster, worked as a promotions officer for the children's charity Barnardo's; the family lived at 40 Stansfield Road, on the boundary between Brixton and Stockwell in the south London borough of Lambeth. Bowie attended Stockwell Infants School until he was six years old, acquiring a reputation as a gifted and single-minded child—and a defiant brawler.
In 1953, Bowie moved with his family to Bromley. Two years he started attending Burnt Ash Junior School, his voice was considered "adequate" by the school choir, he demonstrated above-average abilities in playing the recorder. At the age of nine, his dancing during the newly-introduced music and movement classes was strikingly imaginative: teachers called his interpretations "vividly artistic" and his poise "astonishing" for a child; the same year, his interest in music was further stimulated when his father brought home a collection of American 45s by artists including the Teenagers, the Platters, Fats Domino, Elvis Presley, Little Richard. Upon listening to Little Richard's song "Tutti Frutti", Bowie would say that he had "heard God". Bowie was first impressed with Presley when he saw his cousin dance to "Hound Dog". By the end of the following year, he had taken up the ukulele and tea-chest bass, begun to participate in skiffle sessions with friends, had started to play the piano. Like someone from another planet".
After taking his eleven-plus exam at the conclusion of his Burnt Ash Junior education, Bowie went to Bromley Technical High School. It was an unusual technical school, as biographer Christopher Sandford wrote: Despite its status it was, by the time David arrived in 1958, as rich in arcane ritual as any public school. There were houses named after eighteenth-century statesmen like Wilberforce. There was a uniform, an elaborate system of rewards and punishments. There was an accent on languages and design, where a collegiate atmosphere flourished under the tutorship of Owen Frampton. In David's account, Frampton led through force of persona
Robert Fripp is an English guitarist and record producer. As a guitarist for the progressive rock band King Crimson, Fripp has been the only member to have played in all of King Crimson's line-ups from their inception in the late 1960s to the present, he has worked extensively as a studio musician, notably with David Bowie on the albums "Heroes" and Scary Monsters, Brian Eno, David Sylvian and contributed sounds to the Windows Vista operating system. His complete discography lists more than seven hundred releases over five decades, he is ranked 62nd on Rolling Stone magazine's 2011 list of the 100 Greatest Guitarists of All Time after having been ranked by David Fricke 42nd on its 2003 list. Tied with Andrés Segovia, he is ranked 47th on Gibson's Top 50 guitarists of all time, his compositions feature unusual time signatures, which have been influenced by classical and folk traditions. His innovations include Frippertronics and new standard tuning. Robert Fripp was born in Wimborne Minster, England, the second child of a working-class background family.
His mother Edith hailed from a Welsh mining family in. On Christmas Day 1957, aged 11, he got a "very cheap" guitar from his parents, saying "almost I knew that this guitar was going to be my life". Fripp took guitar lessons with teachers Kathleen Gartell and Don Strike, which advanced his skills: at 11 years of age, he was playing rock, moving on to traditional jazz at 13 and modern jazz at 15. At this time he was influenced by such jazz players and composers as Charlie Parker and Charlie Mingus. Despite his jazz inclinations, Fripp's first band was a rock band called The Ravens, formed in 1961 when he was 15 and featuring schoolmates Graham Wale, Gordon Haskell, Tino Licinio. In 1962 The Ravens split as Fripp concentrated on his O-level studies and joined his father's firm as a junior negotiator, at this point planning to study estate management and take over his father's business. By 1964, aged 17, Fripp made the decision to become a professional musician. For a while, Fripp played guitar in the Chewton Glen Hotel with a jazz band called The Douglas Ward Trio.
Soon afterwards, he formed a roll band called The League of Gentlemen. In addition to Fripp on guitar, the lineup of the 1964 League of Gentlemen included his former Ravens bandmates Gordon Haskell and Tino Licinio, plus Stan Levy and Reg Matthews. Still keeping his options open, Fripp left The League of Gentlemen in 1965 in order to study for A-levels at Bournemouth College, where he studied economics, economic history and political history, writing a special paper on social conditions of the mid-to-late 19th century, he subsequently spent three further years playing light jazz in the Majestic Dance Orchestra at the Bournemouth Majestic Hotel. At age 21, going back home from college late at night, Fripp tuned on to Radio Luxemburg where he heard the last moments of "A Day in the Life". "Galvanized" by the experience, he went on to listen to Sgt. Pepper's Lonely Hearts Club Band, Béla Bartók's string quartets, Antonín Dvořák's New World Symphony, Jimi Hendrix's Are You Experienced and John Mayall & the Bluesbreakers.
Many years Fripp would recall that "although all the dialects are different, the voice was the same... I knew I couldn't say no". Seeking to develop a more creative musical career, Fripp responded to an advertisement placed by Bournemouth brothers Peter Giles and Michael Giles, in which they hoped to recruit a singing organist. Despite being neither of these things, Fripp auditioned for the brothers: the trio subsequently relocated to London and formed Giles and Fripp. Though unsuccessful as a live act, the band gained some attention following the release of two singles as well as an album. Despite the recruitment of two further members - singer Judy Dyble and multi-instrumentalist Ian McDonald - Fripp felt that he was outgrowing the eccentric pop approach favoured by Peter Giles and the band broke up in 1968. Fripp, McDonald and Michael Giles formed the first lineup of King Crimson in mid-1968, recruiting Fripp's old Bournemouth College friend Greg Lake as lead singer and bass player, McDonald's writing partner Peter Sinfield as lyricist, light show designer and general creative consultant.
King Crimson's debut album, In the Court of the Crimson King, was released in late 1969 to great success: drawing on rock and European folk/classical music ideas, it is regarded as one of the most influential albums in the history of progressive rock. The band was tipped for stardom but broke up at the end of its first American tour in 1969. A despondent Fripp offered to leave the group if it would allow King Crimson to survive. During the reco
Erich Heckel was a German painter and printmaker, a founding member of the group Die Brücke which existed 1905-1913. Heckel was born in Döbeln, the son of a railway engineer. Between 1897 and 1904 he attended the Realgymnasium in Chemnitz, before studying architecture in Dresden, he left after three terms, shortly after the foundation of Die Brücke, an artists' group of which he was secretary and treasurer. The other founder-members architectural students, were Ernst Ludwig Kirchner, Karl Schmidt-Rotluff and Fritz Bleyl, he worked in the office of the architect Wilhelm Kreis until July 1907, when he resigned to become a full-time artist. Heckel met the other founding members of Die Brücke, Ernst Ludwig Kirchner, Karl Schmidt-Rotluff, Fritz Bleyl, while studying architecture in Dresden; the foursome regarded pursuing a degree in architecture as a compromise with their respectable middle-class parents who would have never supported them, had they wanted to study art. Heckel attended the Dresden Polytechnic Institute for only eighteen months, after which time he accepted a job as a draughtsman at Wilhem Kreis's architectural studio.
He was able to use the position for the benefit of the Brücke. When the firm was asked to design an exhibition room for the lamp manufacturer Max Seifert, Heckel was able to persuade the industrialist that it was worthwhile giving wall space and displays to the Brucke for an exhibition; as a member of Die Brücke, Heckel filled the role of business manager, which allowed the collective to network with other upcoming artists at the time, such as the Munich-based Franz Marc. This subsequently led to greater publicity for the collective, such as their mention in the almanac of Franz Marc's own artistic coalition, the Blaue Reiter, it is worthwhile to note that with the exception of one favorable review by Paul Fetcher in the leading Dresden newspaper Dresdner Neueste Nachrichten, the exhibition in Löbtau at the factory of the lamp manufacturer Max Seifert was considered to be a flop. In addition, Heckel's poster, no longer extant, had been barred from public display by the Dresden police. In 1906 and 1907 the Die Brücke had another exhibition in Löbtau, devoted to graphics and including a group of woodcuts by Wassily Kandinsky.
The group once again failed to strike a chord with the public. However, much more noteworthy and also notorious, were the next three annual shows by the Die Brücke, this time held in the fashionable Emil Richter Gallery. In large, silent rooms, expensively furnished and smothered with lush carpets, the group's unconventional paintings and prints struck a foreseeably strident chord, amongst them notably a nude poster of a woman that ruffled many a complacent Dresdener. Heckel and other members of Die Brücke admired the work of Edvard Munch, aimed to make a "bridge" between traditional neo-romantic German painting and modern expressionist painting; the four founding members made much use of the print as a cheap and quick medium with which to produce affordable art. Primitive art was an inspiration to the members of the Die Brücke, it was Heckel's brother who introduced the group to African sculpture, it is noted that their acceptance of primitive art, to fortify decisively the expressive yearnings of European artists- Was unequivocal.
It is through this style. In December 1911, Erich Heckel moved from Dresden to Berlin. Die Brücke was dissolved in 1913, he was classified as unfit for active service during the First World War, but volunteered to serve in an ambulance unit stationed in Belgium. He managed to continue to produce work throughout the war. Between 1922 and 1924 Heckel painted one small, arched room at the invitation of the Angermuseum on the ground floor of the museum, it is now called the Heckelraum. The mural paintings, which were subsequently given the title Lebenstufen, are considered to be the most important surviving wall paintings of German Expressionism. In 1937 the Nazi Party declared his work "degenerate". By 1944 all of his woodcut blocks and print plates had been destroyed. After World War II Heckel lived at Gaienhofen near Lake Constance, teaching at the Karlsruhe Academy until 1955, he continued painting until his death at Radolfzell in 1970. Like most members of Die Brücke, he was a prolific printmaker: Dube's catalogues raisonné describe with 465 woodcuts, 375 etchings, 400 lithographs.
More than 200 of them etchings, are from the last seven years of his life. A major retrospective exhibition, Erich Heckel – His Work in the 1920s, was held October 2004 – February 2005 at the Brücke Museum in Berlin. In 2000, Heckel's Dangaster Dorflandschaft was sold for £1.21 million at Sotheby's in London. David Bowie based the cover of his 1977 album "Heroes" on Heckel's painting Roquairol; the same painting provided the basis for the cover of Iggy Pop's 1977 album The Idiot. The critic James Auer has said that Heckel's Franzi Standing......in many ways encapsulates the principal virtues of the entire Expressionist movement. At once frank and respectful and compassionate, it depicts a girl-woman on the cusp of adolescence and free yet, at the same time and knowing. Heckel - Fränzi reclining Erich Heckel's 1920s work at the Brücke works of the artist at "Museumsportal Schleswig-Holstein" Available Works & Biography Galerie Ludorff, Düsseldorf, Germany
Michael Rother is a German experimental musician, best known for being a founding member of the band Neu!, as a short-lived member of the band Kraftwerk. Born in 1950, Rother was educated in Munich, Karachi, Düsseldorf, he resided in Pakistan in the early 1960s where he was exposed to Pakistani music that would influence his own music in the late 1960s and early 1970s. From 1965 Rother played in the band Spirits of Sound, from which other members would go on to join Kraftwerk and Wunderbar. Rother is a multi-instrumentalist who, along with a catalog of several solo albums starting in 1977, is best known for having co-founded the German group Neu! with drummer Klaus Dinger, his collaborative efforts with Hans-Joachim Roedelius and Dieter Moebius under the name Harmonia. Rother and Dinger were in a short-lived version of Kraftwerk in 1971, with Florian Schneider, during a time when founding member Ralf Hütter had temporarily left the band. Beginning in the late 1970s, Rother began issuing LPs under his own name: Flammende Herzen and Katzenmusik all featured drums by Can drummer Jaki Liebezeit.
Further releases included Lust, Süssherz und Tiefenschärfe and Traumreisen. Rother regained the rights to these releases in the late 90s, re-released CD versions of them, all of which contained bonus tracks in the form of then-current remixes of original album tracks. Along with these reissues were a best-of compilation, a new release, Esperanza, his most recent album. On 1 July 2007, Rother joined the Red Hot Chili Peppers for a live jam at the end of their concert in Hamburg. Together they played for nearly 25 minutes in front of 35,000 people. In November 2007 he toured with Dieter Moebius as Moebius. On 27 November 2007, a Harmonia reunion concert was announced for Berlin, where they performed together live for the first time since 1976. In 2010, Rother played five shows in Europe with Sonic Youth drummer Steve Shelley and Tall Firs guitarist Aaron Mullan; this group, known as Hallogallo, performed the music of Neu! Live for the first time in many years, they played the ATP New York 2010 music festival in Monticello, New York and Incubate 2010 in Tilburg, Netherlands in September 2010.
In December 2012 Rother performed the music of Neu! and Harmonia at the ATP festival in Camber Sands, accompanied by the Berlin-based band Camera. In November 2013, he performed at the final UK holiday camp edition of ATP. In 2015, Rother recorded scores for the German film Die Räuber by Paul Cruchten and Frank Hoffmann and the German TV film Houston by Bastian Günther; the discography of Michael Rother consists of nine studio albums, three compilations, a boxset and nine singles. As a member of Neu! Rother released two albums of studio outtakes and a rehearsal recording; as a member of Harmonia, Rother released two studio albums, one live album, a studio out-takes album and a remix album. In 2010 Rother released the "Blinkgürtel" single with his live group Hallogallo 2010. Studio albumsCompilation albumsSingles"Flammende Herzen" b/w "Karussell" "Sterntaler" b/w "Sonnenrad" "Katzenmusik 9" b/w "Katzenmusik 2" "Silberstreif" b/w "Erlkönig" "Hohe Luft" b/w "Fortuna" "Palmengarten" b/w "Cascadia" "Süssherz" b/w "Maus-Mann-Motiv Nr. 4" "Glitzerglanz" b/w "Rapido" "Lichtermeer" b/w "Happy-End" ContributionsStation 17 – "Morning Sun" A Homage To Neu!
– "Neutronics 98" Brand Neu! – "Neutronics 98" Music For A Good Home – "Maus-Mann-Motiv" "Blinkgürtel" b/w "Drone Schlager" Official website ATP: Michael Rother "Michael Rother Comes to Hoboken" Paris Review Daily essay, August 2010 Neu! Morning August 2010 Interview by the Village Voice KRAUTROCK DELUXE Interview for Blurt magazine, September 2009 SF-EP-018 – Interview Series: Michael Rother Special Features Podcast, 14 March 2012