Grobschnitt

Alternately blending psychedelic, progressive, and hard rock elements, the versatile German ensemble Grobschnitt rose to become one of the most celebrated concert draws throughout German music history. Several acclaimed studio efforts emerged from the group during the 1970s as they shifted among varying approaches, only to pivot toward mainstream pop and rock sounds once the following decade arrived. At the same time, contributions from drummer Joachim Ehrig helped infuse their output and performances with an undercurrent of absurdist humor.

Several alumni from the earlier outfit Crew, among them Stefan Daneliak handling vocals and guitar along with Eroc and Gerd Otto Kuhn on guitars and vocals, established Grobschnitt in 1970. This core expanded when Axel Harlos took over drums, Bernard Uhlemann joined on bass, and Hermann Quetting supplied keyboards. Their debut effort, Grobschnitt (1972), presented relatively direct progressive rock that met with limited enthusiasm from both reviewers and audiences. Following its release, Harlos and Quetting departed. The remaining members persisted by adopting an altered stage identity that incorporated eccentric costumes and dramatic presentations, even involving their road crew, while Volker Kahr came aboard on keyboards.

Greater emphasis on space rock characterized the follow-up Ballermann (1974), originally issued as a pair of LPs with one disc devoted to symphonic progressive material and the other centered on the extended space rock piece “Solar Music.” The next release, Jumbo (1975), appeared in both English- and German-language editions and reflected a shift toward symphonic progressive rock reminiscent of Yes and Genesis across a sequence of expansive compositions. That direction continued on the concept album Rockpommel’s Land (1977), whose artwork echoed Roger Dean’s style while recounting a boy’s exploits in an unfamiliar realm. Solar Music Live (1978) captured a concert rendition of the “Solar Music” suite first heard on the second album. A harder-edged psychedelic orientation surfaced on Merry Go Round (1979) and Illegal (1981). By the time of Razzia (1982), many progressive hallmarks had been set aside after Eroc’s exit. Later records from the decade leaned instead on conventional keyboard-driven pop arrangements.