Artist: Hoelderlin
Label: Spiegelei
Catalog#: 26 511-6 U
Format: Vinyl
Country: Germany
Released: 1975-05
A1 Schwebebahn 7:12
A2 I Love My Dog 5:38

Alto Saxophone - Zeus B. Held
Vocals - Christoph Noppeney

A3 Honeypot 8:48

Clarinet - Norbert Jacobson
Vocals - Christoph Noppeney

B1 Nürnberg 3:00

Vocals - Joachim Von Grumbkow

B2 Deathwatchbeetle 17:32

Vocals - Christoph Noppeney
Vocals - Joachim Von Grumbkow
Voice, Synthesizer [Help] - Conny Plank


Bass Guitar - Peter Käseberg
Drums, Percussion - Michael Bruchmann
Electric Guitar, Acoustic Guitar, Artwork By [Cover Paintings] - Christian Von Grumbkow
Engineer - Conny Plank
Engineer [Assistant] - Petrus Wippel
Grand Piano, Organ, Flute, Synthesizer [Hohner String Vox], Clavinet [Hohner], Mellotron - Joachim Von Grumbkow
Guitar - Joachim Käseberg
Producer, Arranged By - Hoelderlin
Viola, Acoustic Guitar - Christoph Noppeney
Written-By - Hoelderlin
Written-By - Joachim Von Grumbkow


Recorded and mixed at 'Conny's' Studio, February 1975
©℗ 1975 Spiegelei/Intercord

Strawberry Bricks Entry: 
By the time Hoelderlin got around to recording their second album, the band had changed considerably. Nanny de Ruig had departed, and another pair of brothers—Peter and Joachim Käseberg, on bass and guitar, respectively—now augmented the group. But more significant than the personnel changes was the new musical course Hoelderlin had adopted: British prog rock. Although there was a three-year gap between this album and their last recording, the band had continued to play live, clocking in hundreds of concerts over the years; undoubtedly this honed their skills. Hoelderlin begins with the fantastic instrumental "Schwebebahn," titled after the monorail in their native Wuppertal. Though reminiscent of King Crimson, its sinister Mellotron and viola re-introduce Hoelderlin as an original prog rock act. A superb soloist, Nops Noppeney also lends a distinctive and very capable vocal. "I Love My Dog" also illustrates the band's command of the English language, which is perhaps better than any of their German contemporaries—and some of their British peers, too! Along with "Honeypot," it also harks back to their debut album's folk roots, though the execution and production here offer a new edge. The second side features the equally capable vocals of keyboardist Joachim von Grumbkow on "Nürnberg." But "Deathwatchbeetle," clocking in at nearly 18 minutes, is the album's triumph. The band's mix of acoustic and electric instruments build over the vast arrangement, incorporating everything the musicians have to offer: truly epic music. Released on the Spiegelei label, their albums would not see release outside of Germany. However, this record was the first in a trilogy for Hoelderlin that represents some of the finest progressive rock of the era.
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