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Alternately psychedelic, progressive, and hard rock-styled, the eclectic German band
Grobschnitt became one of the most popular live acts in German history. The group recorded several lauded albums in the 1970s, moving between styles before switching to more mainstream pop and rock in the 1980s. Meanwhile, in part thanks to drummer
Joachim Ehrig, the group added touches of absurdist humor to their records and live shows.
Grobschnitt were formed in 1970 by several members of a band called Crew, including
Stefan Daneliak (vocals, guitar),
Eroc, and Gerd Otto Kuhn (guitars, vocals). This nucleus later added
Axel Harlos (drums),
Bernard Uhlemann (bass), and
Hermann Quetting (keyboards). The band's first record,
Grobschnitt (1972), found the band playing fairly straightforward progressive rock that was rather unsuccessful with critics and record buyers. After the release, both
Harlos and
Quetting left the group. Deciding to carry on, the band adapted a new state persona, filled with bizarre costumes and theatrical performances that even featured their roadies. Meanwhile the group added
Volker Kahr on keyboards. The band focused more on their space rock sound on their second album,
Ballermann (1974), which originally consisted of two LP's, one filled with symphonic progressive rock, the other was given all to a space rock suite, "Solar Music." Their third album,
Jumbo (1975), was released in both English and German versions and found
Grobschnitt moving closer to symphonic progressive rock in the manner of
Yes and
Genesis with a series of epic tracks. That sound was the focus of
Rockpommel's Land (1977), which even featured a cover that was reminiscent of Roger Dean. A concept album, the record told the story of a boy's adventures in a strange land.
Solar Music Live (1978) was a live recreation of the "Solar Music" suite off their second album. The band moved towards a harder rocking psychedelic feel with
Merry Go Round in 1979 and
Illegal (1981). By
Razzia (1982), the group had abandoned many of their more progressive tendencies as drummer
Eroc had left the group. Their late-'80s records were far more conventional keyboard-dominated pop records. ~ Geoff Orens