OUT OF FOCUS

LP 1 (46:07): 1. "L.S.B." (17:37) very much like some evolved Big Band jazz--taking Don Ellis a bit further in terms of incorporating elements of avant/free jazz and electronics, but also quite a bit more reigned in in terms of the use of odd time signatures. Still, the song is quite entertaining for its multiple sax-connected multiple motifs covering a range of styles and tempos. There are a lot of elements of blues-rock at the core of a lot of this music (one can still hear the band that did Wake Up! just two years before). I really like the KINGSTON WALL-like vocal motif in the last third of the song. (31.75/35)

2. "When I'm Sleeping" (4:04) sounds like THE ROLLING STONES if they tried covering PETER HAMMILL song as well as a smooth Motown tune for the chorus and instrumental section. Hennse Hering's old-time saloon-like piano play in the background is a delight, as is Stephen Wishen's bass JAMES JAMERSON-like play and the sax work. I don't know why, but the recording of the drums is rather poor. This may be my favorite vocal performance from Moran. (9/10)

3. "Tsajama" (9:23) a great guitar and flute intro leads into an awesome motif with heavy organ and low bass notes weighing things down beneath the flute, guitars, and smoothly-drawn lines coming from the full horn section. Awesome in a Brian Auger/Eumir Deodato kind of way. Remigius Drechsler leads the way with his searing guitar play in the second and third minutes before Hennse's Hammond and the orgasmically-smooth horn section join in to double and back him. Such a great groove! In the second half of the sixth minute the horns, Hammond, and guitars back off and Moran enters in a singing capacity, using Japanese as his language. Interesting. Then he runs off into some poorly-synched scatting in the seventh minute before returning to leading the smoother, multi-channel melody in Japanese in the eighth. But then the band ramps up the pace and breadth of sound dynamics with a return of the horn section, inspiring Moran to gallop off with some more interesting horse-like vocalese scatting(?). (19/20)

4. "Black Cards" (9:38) a gentle weave of organ and electric guitar arpeggi opens this before flute, hand drums, and a second guitar join in. At the one-minute mark the bass jumps on board, ushering the band into a full blues-rock sound palette over which Moran turns back to his Mick Jagger voice for another vocal performance that reminds me of Mick singing his Slow Horses theme song. A return to the opening theme at the end of the third minute allows for a kind of 30-second reset from which they emerge with a VAN MORRISON "Moondance"-like motif over which Hennse solos on his Wurlitzer-sounding organ. This is a great, extended instrumental section with some gorgeous and dynamic flute soloing throughout. At the end we return to the blues swing theme for Moran to finish things off with his Moves Like Jagger. (18/20)

5. "Where Have You Been" (5:35) a gorgeous folk-rock song with one of Moran's most moving and melodic vocal performances. Powerful. Incredible flute solo in the "C" part: heart-wrenching. I know that Moran (and maybe his bandmates) had a very strong moral compass. We are so blessed to have the legacy of their passion and courage. (9.5/10)

Disc One earns itself a five star rating.

LP 2 (48:09): 6. "A Huchen 55" (9:19) opens with mutliple flutes winding and wending their way through a rondo weave for two minutes before giving way to a faded in psychedelic blues-rock jam (that was already in progress). Hammond organ takes the first solo over the bass, drums, and guitar support. At the three-minute mark, a panoply of horns join in, each playing their own melody line but securing their comraderie through mutually-respective pauses and breaks. The music coming from the rhythm section beneath kind of hits a "I'm a Man" pulse-and-let-off pattern as the horns continue their fascinating and almost humorous interplay. In the seventh minute, electric guitar and Hammond start to inject their own flourishes and melodic ideas. By the eighth minute the horn players are starting to tire--and eventually peter out for a full minute or more while the Hammond and sassy electric guitar share a quirky little conversation of quips and epithets. At the end of the ninth minute, then, the bluesy jazz music is fadeout (the same way it came in) replaced by the flute weave that opened the song. (18/20)

7. "Huchen 55, B" (14:32) opening with the flute weave from the previous song bleeding over, a new already-in- progress R&B jam is faded in. The James Jamerson-like bass play that drives the music is once again emitting waves of groovy Motown sound, but this soon fades out to be replaced by Moran's solo flute play. He sounds so much as if he's trying to imitate the breathy play of maestro Jean-Pierre Rampal. Jazz guitars, trumpet, Hammond, each take their turn joining in beneath Moran's increasingly-avat garde flute stylings. In the seventh minute trumpeter Jimmy Polivka tries usurping the lead from Moran, but it is not that easy: Moran is riding along on pure inspiration. So Jimmy gives up. Hennse and Remigius each take their own turns, trying to nudge Moran out, but Herr Hering only seems to get stronger--until the 9:00 mark: then he gives way, sits back and lets the music unfold without him. The band seem to rise to the occasion with a JEFFERSON AIRPLANE-like creativity: slowly, carefully, deliberately. Hennse's excited Hammond is kept at bay via repressed volume, which allows the horns to have their time. In the twelfth minute Remigius steps to the fore and lays out one awesome blues-rock solo. The band is really into the jam here: fully entrained with everyone clicking--expelling their full creative juices. Awesome! Despite its looseness and lack of plan or developmental structure, this song plays out with some infectious power. Moran's multi-flute weave is once again used to bridge this song with the next one. (27/30)

8. "Huchen 55, C" (24:18) What a jam! Wild and crazy: from Moran's lyrics and vocal performance (sounding like a reckless/uninhibited Mick Jagger channeling PETER HAMMILL through DAMO SUZUKI) to the reckless abandon with which everyone blasts and grooves out their passion. I mean, it feels as if everyone, all at once, is given the total green light to play whatever they feel inspired to play. This makes for some very creative and memorable solos--especially from the horn players (the multitude of saxes are of special note), percussionist, and Hennse's Hammond organ. Definitely Krautrock. Definitely hypnotic in a "Low Spark of High-Heeled Boys"-kind of way--a sound that would also seem to indicate the use of mind altering substances. The song's final three minutes are particularly entertaining for the frenetic yet-respectful free-for-all that gradually peters out, making way for yet another reprise of Moran's multi-flute weave. (45.5/50)

Disc Two earns itself a 4.5/5 star rating.

Total Time: 94:16

A-/five stars; a minor masterpiece of wonderfully-creative First Wave Jazz-Rock Fusion. One can definitely trace the influences and inspirations for each song on several levels but in the end the boys have achieved a mastery of their instruments and goals, enabling them to merge admirably their Krautrock influences with the Blues-Rock and Jazz- Rock Fusion trends they've been hearing. As with every other reviewer I've read, it's too bad this band didn't stay together.

With regards to the controversy of whether or not this album (or band) deserves to belong to the Jazz-Rock Fusion sub-genre, I will only say that over the course of the band's three album evolution it has definitely flowed toward Jazz-Rock (though it has also picked up a strong Krautrock foundation as well). This is 1972! Jazz-Rock Fusion was still in it's childhood! The dominant styles and sounds were still as-yet undecided. Herbie Hancock and Mahavishnu John McLaughlin were still evolving! Rapidly! Many bands like Out Of Focus were offering up a wide range of their own personal interpretations--which is one of the most exciting and refreshing aspects of J-R F's "First Wave."

1. "That's Very Easy" (9:04) opens as a more jazzified music that feels as if it came out of the recent 1960s--like something from THE ANIMALS or ARGENT (even without any keyboards!) spiced up with Moran Neumüller's Mick Jagger singing voice. (I keep hearing Mick singing the theme song to the current Apple TV series, Slow Horses, "Strange Game," virtually every time I hear Moran sing.) Te instrumental passages are, of course, the much larger portion of the song, with a very nice pastoral jazz section in the middle over which Moran's acrobatic flute solos for quite some time before the music ramps up to some heavier pschedelic blues-rock in the seventh minute. The guitar work in this section of the song is as powerful as anything I've ever heard by Clapton or Page. I'm not sure if it's newcomer Wolfgang Göhringer or founding member Remigius Drechsler. Cool song/suite that definitely has its progginess. (18/20)

2. "X" (10:57) a song that bursts out as if from the 1960s (or a 1970s porn soundtrack). Awesome! The music blends and smooths out for the second minute in which Ingo Schmid-Neiuhaus' alto sax solos. The two-burst horn-section-led theme that opened the song then returns as if as a chorus before we return to a smoother section over which the guitars take a more prominent role: one soloing in a JOHN TROPEA-like blues-jazz fashion while the other plays gentle rhythm in support. Drummer Klaus Spöri really shines! The guitarists are also good--very creative in their solos--one doing a pretty amazing TERRY KATH solo in the eighth minute. (17.875/20)

3. "The Way I Know Her" (3:36) with its Spanish-style played acoustic guitars, this little folk pop song sounds very cute-- almost in a DONOVAN-like way. Moran's singing and flute playing are, of course, front and center in all respects of this fine little song. (8.875/10)

4. "Y" (7:51) sounds like an étude mélange getting ready for some of the other more polished/finished songs that would be released in 1972. Based around a "Take Five" kind of motif. I like the exploration of melodies as performed by the both of the guitarists and both of the saxophone players. (13.125/15)

5. "Spanish Lines" (9:11) a song whose opening could very easily be mistaken for something from THE ALLMAN BROTHERS but then with the joinder of the Spanish-styled horns and new chord sequences we have something that kind of fits the style suggested by the title. But then, quite suddenly, at the 2:00 mark the band turns down a downhill path that presents some interesting and carefully-manouevered territory in which bass and rhythm guitars and even the soloing saxophone seem quite trepidatious while the drummer is willing to take his chances by travelling at more- dangerous speeds--descending out of the high grounds to find everyone as excited and on-board as he is with the thrilling speeds, wind blowing through their hair in their open-top 1935 Mercedes-Benz 770. (17.75/20)

Total Time: 41:39

B/four stars; an excellent collection of songs that never made the grade for the band's final 1972 94-minute album but are here put on display for their worthiness. These are much more developed "finished"-sounding songs compared to the stuff on the follow-up album to this one, 2002's Rat Roads. but they do not have the blessing of the one amazing song that Rat Roads has.

1. "I'd like to be free" (7:15) strummed guitar chords open this tout seul until tenor sax joins in playing a simple variation on George Gershwin's "Summertime" from Porgy and Bess. The rest of the band gels around this theme, sprouting a very pleasant motif that gushes forward with solid momentum, thick bass and thin drums supporting Moran Neumüller's Bob-Dylan/Damo Suzuki-sounding voice singing, once again, in English but this time with less vehement social commentary, more a laid back statement of dreamy desire. The instrumental soloing in the. fourth and fifth minutes is excellent, separated by SPENDER DAVIS GROUP/BLOOD, SWEAT & TEARS-like bridges. A very pleasant and melodic song that could have made many radio listeners quite happy (but would, of course, require some editing in order to fit radio time formats). (13.375/15)

2. "Table talk" (12:03) opens like a DON ELLIS song with layers of multi-instrumental stuff going on all at the same time--including what sounds like a horn section--all seeming separate but eventually falling into a merger that works really well together even thought they still sound separate. (Very difficult to explain. Think of three bands on stage at the same time--bass and drums, keyboards and guitars, and horn section--each launching into their own totally unique song, at first somewhat awkwardly but eventually, somehow, entraining with one another into a multi-layered sound that works!) One of the coolest songs I've ever heard in my life. It's like Miles' Bitches Brew only everything makes sense and sounds good! (25/25)

3. "Rat roads" (5:16) a song that starts out as another slower, more spacious variation on the Gershwin "Summertime" theme that eventually speeds up and gels into a kind of Brazil '66 "Newlywed Game" theme song. Nice but definitely feels like an extract of an unpolished, incomplete song. (8.875/10) 4. "Fallen apples" (2:18) gentle tenor sax sax accompanied by gntle arpeggiated electric guitar chords and some cymbal and brush play. Pretty, (4.5/5)

5. "Straight ahead" (4:39) organ-led but not Brian Auger's version, more like a punched-in excerpt from a long jam that was recorded and achopped up and hashed out to make several songs on these later releases. Nice palette and performances but not a proper song; just a jam. (8.875/10)

6. "Tell me what I'm thinking of" (3:58) jazz chord progressions over which Moran sings. Kind of like "Take Five" with vocals. (8.875/10)

7. "Climax" (12:47) another song of multiple streams of individual musicians working independently--as if warming up or tuning their instruments--that smooths out for the second and third minute before beginning to take shape--to turning into something cohesive--in the fourth minute. It almost becomes Steve Reichian before the trombone, rhythm guitar, saxes and keys begin to merge over drummer Klaus Spöri's "Shaft"-like cymbal play. Bassist Stephan Wiescheu carries forward the trombonist Hermann Breuer's repeated pattern as the horns seem to go their own separate ways but then goes his own way when Hermann returns to carrying his mathematic melody line again. This is when the drums finally get to break out and, with the rest of the rhythm section, present a hard-driving motif over which the horns continue to add their loose change. At the end of the ninth minute we're left with only bass and drums and two electric guitars: one jazz strum-leading while the other picks delicately from behind. A cool song that the band has pulled off here: so creative! The final 90 seconds sees the gaggle of horns almost coming together for the first time. (22.125/25) 8. "Kitchen blues" (0:59) sounds like something that was recorded back in the 1930s. (4.3333/5)

9. "Good-bue honey" (0:31) sounds like something from a live, on stage jam. The guitarist in the lead sounds as if he's trying on some Chuck Berry. (4.25/5)

Total Time: 50:57

So these are the songs that didn't make the cut to be included on the 94-minute long double album release back in 1972. Man! They had a lot of material! I find it quite interesting how founding member and Hammond organ expert Hennes Hering has been almost completely removed from the band's sound palette--here represented on only a couple of songs.

A-/five stars; an odd smattering of many outcasts from the Four Letter Monday Afternoon recording sessions now edited and released 30 years later. The mercurial album has somehow earned a masterpiece metric--based largely on the mind-blowing beauty of the album's second song. On the whole I would not call this album a masterpiece. "Table Talk," however, is, as I've said above, one of the most amazing songs I've ever had the privilege of laying witness to-- thus making the acquisition of this album as a listening experience a HIGHLY recommended experience to seek out for yourselves.

1. "What Can a Poor Boy Do" (5:52) URIAH HEEP-like Hammond organ-led music over which Moran Neumüller gives an acerbic Damo Suzuki-style vocal performance. Moran's sax and Hennes Hering's organ have turns soloing and amping up the angst of the song in the sedcond and third minutes before bass and guitar take a turn "conversing" over Klaus Spöri's delicate cymbal play. The song continues to play out with alternating, sometimes brief and conversant blues- rock soloing for the duration of the song to its odd/cutesy end. Oh, no! Is the band stepping down: settling for lower, more radio-friendly styles and standards? That would be such a shame--especially after their amazing debut album from the year before. (8.6667/10) 2. "It's Your Life" (4:31) folk-sounding picked acoustic-guitar-based music that sounds just like British Prog Folk bands SPIROGYRA and/or COMUS. No drums, electric bass, organ, flute, and second or third acoustic guitar tracks accompany Moran's Martin Cockerham-like voice. (8.875/10)

3. "Whispering" (13:34) very sparse organ and cave-immersed whisper-spoken vocal open this one before the full band takes over at the end of the first minute. There's a little jazziness in this due to weave of the wah-wah-ed guitar, organ, and tenor saxophone--but they're all playing such simplistic melodies within the two-chord weave. Really disappointing. More like spiritless, automaton play of the "Dark, darker" final song of the Wake Up! album (the only disappointing song on that album). As the horns and organ support Remingius Drechsler's extended electric guitar solo throughout the fifth, sixth, and seventh minutes the listener achieves a numbed state of hypnosis due to the droning repetition of the rhythm-keepers. Sax takes over the lead in the eighth minute while the others drone CAN- like underneath. (25.75/30)

4. "Blue Sunday Morning" (8:20) swirling Hammond organ played over plodding dreary, leaden drone-like Krautrock supports Moran's Mick Jagger-in-a-heroine-stupor spoken vocal. In the sixth minute the bass, organ, and drums begin to ramp up their intensity while Moran's vocal becomes more insistent, but then the unique sound of a "Stylophone" (like an early version of a Casiotone) begins an extended solo--which sounds like George Harrison singing along with one of his electric guitar solos from the same period. The music beneath takes on an outro jam in the vein of URIAH HEEP or TRAFFIC as the music plays on and out--fading out over a period of 25 seconds. (17.5/20)

5. "Fly Bird Fly" (5:09) flute soloing with less mellifluous flow, more jumping around in a staccato fashion, as picked guitar supports before the full band joins in with a bluesy-jazz motif that sounds a lot like something by VAN MORRISON from the same period. Mick Jagger vocals are followed by some nice swirling organ and clear-toned electric guitar solos. (8.66667/10)

6. "Television Program" (11:45) I knew it was only time before Moran could suppress one of his long, impassioned social justice speeches. The music in support is solid and tightly performed but, once again, too drone-metronomic with another two-chord motif spanning the first seven minutes. A quiet passage in the eighth minute precedes a more potent VAN DER GRAAF GENERATOR/SEVEN IMPALE-like two-chord saxophone-led motif that takes us out for the final three-plus minutes of the album. (21.875/25)

Total Time: 49:11

I'd call this album quite a step down from the focused energy of their debut; it's as if they had fallen under the spell of the CAN-like pioneers of rhythmic drone music that we call and associate with the term "Krautrock." I have not, however, fallen under this same spell--occasionally a song evokes that "Kosmische" feeling in me, but, for the most part, no.

B-/3.5 stars; not the album to start your introduction to this immensely-talented band; this is very much a disappointment when compared to the band's debut but even moreso when placed alongside the three albums of recorded material that came after (all of which came from the recording sessions that turned out the band's third and final album, 1972's Four Letter Monday Afternoon). I recommend that you skip this one and go right to the excellent Four Letter Monday Afternoon, Not Too Late, or Rat Roads.

1. "See how a white negro flies" (5:48) a song that opens announcing clearly that the band is firmly entrenched in blues rock sound palettes of the previous two years. Flutes and organ add some spice over the top of the insistent motif. Vocalist Moran Neumüller sings in a haunting voice similar to other psychedelic blues rock icons of the late 1960s. Remigius Drechsler's distorted lead electric guitar solos in the fourth minute. Again, this could come straight out of anything that CREAM or BUFFALO SPRINGFIELD had been doing in the previous two years. Though derivative, it is a very solid example of late 1960s psychedelic blues-based rock 'n' roll. (8.875/10) 2. "God saved the queen, cried Jesus" (7:28) the Mick Jagger-like vocals and provocative lyrics give this early Jethro-Tull- like song some teeth. With the much softer, delicate instrumental passage in the fourth minute, with its Ian MacDonald-like extended flute solo, serves notice of the band's prog aspirations. This is then followed by a heavier section over which Moran's flute continues to be the main soloist. Singing and guitar soloing follows before the JTULL- like finish. Pretty remarkable song! (13.5/15) 3. "Hey John" (9:35) opens with a pensive bass, guitar, a cymbal note-by-note interplay overwhich Moran's flute sings mellifluously. When the full band kicks into full dynamics it is with a very familiar LED ZEPPELIN-like descending four- chord progression. Things spread out again for the entrance of Moran's Mick Jagger-like vocal, delivered in a kind of Robert Plant style. In fact, the whole song feels like a replication/variation of Zep's "Heartbreaker." Nicely done extended tribute (though Remigius is not Jimmy Page and drummer Klaus Spöri is no John Bonham). I really like Hennes Hering's unusual Hammond solo in the middle. Also, I'd like to commend the clean, clear sound gleaned from Stefan Wisheu's electric bass: it's very important to the overall "mature" and "professional" sound of the album. (17.75/20)

4. "No name" (3:06) opening with Moran's a cappella voice, almost whisper-sung, before the band bursts into a heavy blues rock motif with flute, theatric vocals, Hammond, and electric guitar each adding their distinctive flourishes. I love the cute little upper register guitar garnishes over the bass and Hammond in the instrumental mid-section. Kind of cool! (9/10)

5. "World's end" (9:55) a fairly simple chord structure presents this anthemic feeling--as if the band is truly expressing their thoughts, concern, and confusion over the state of the world's social-political scene (the Cold War tensions and the misguided expeditions of the American military [Vietnam]). There is quite a feeling of Krautrock solidarity in the hypnotic commitment to such strict rhythmic foundations in this one--at least up until the quite passage that serves as a reset and reconfirmation of the overall insistence to the song's and then ends up surprising us by starting a new motif for the 45 seconds of the song. Trippy! And powerful. Definitely a great representation of the angst of 1970. (18.5/20)

6. "Dark, darker" (11:37) Moran's vocal is mixed quite uniquely for this song: as if in an isolated, separated chamber. The music is remarkably simple and almost emotion-lessly mathematical in its rhythmic foundations, giving the musicians the feeling that they're "dialing it in" i.e. not fully invested. Even in the circular three-chord instrumental jam supporting the frantic flute solo in the song's middle third feels too rote (especially in the bass, guitar, and organ play). Then there is a pause that allows a reset, which sees the band filling the final three minutes of the song with some militaristic pulse-running before everything ends with some crashing instruments and musicians (whose fatigue is well-captured on tape during the final minute of recording: "Are we done?" and "Ughhh!" being expelled as the musicians shut down, unplug and put away their instruments. Weird and sadly anti-climactic song. (17.25/20)

Total Time: 47:29

With four unusually-long songs crammed into this 47 and a half minute long album, one can only guess at the band's full intentions. What I love most about the songs on this album is the clear "team" approach to song construction and performance on display with each: no one musician/artist is really trying to grab the spotlight; everybody seems fully supportive of the effort to present fully-developed and fully-integrated songs.

B+/4.5 stars; a near-masterpiece of angst-filled compositions that feel so precisely representative of the zeitgeist of the times. If it weren't for the weakness of the final "song of exhaustion" this would probably qualify as a masterpiece.

WAKE UP is a bit different than the albums that followed where the band settled into a much jazzier sound. This debut falls more squarely into the surreal soundscapes of the early Krautrock world which sat nicely as OUT OF FOCUS opened for similar bands like Amon Duul II, Nectar, Kraan, Kraftwerk and Embryo. The band were serious workaholics and it took many months to craft this first offering which has become one of the underground classics of German progressive rock for its nice display of guitar, flute and trippy organ riffing. The compositions are all excellent although the troglodyte vocal style may take a bit of acclimation to appreciate. For those more familiar with the band's jazzier escapades it will come as a surprise that the saxophone sounds while present are not nearly as a dominant musical feature.

Given the absence of the jazzier elements, WAKE UP explores heavy psychedelic escapades into the trip-o-sphere primarily evoked through the ample use of Hering's heavy use of organ however OUT OF FOCUS didn't quite jettison into the lysergic zone like bands such as Amon Duul II were striving for. This band was more rock based with a heavy guitar riffs and solos set in a bluesy tone along with a thumping bass line and a subordinate yet inventive use of percussion. The extra touches of flute often draw comparisons to Jethro Tull but there are no references to any sort of folk music so a better comparison would be the Dutch band Focus although at this point the 60s flavors of heavy psych guitar and contrapuntal keyboards which a musical approach that creates polyrhythms.

From a lyrical perspective OUT OF FOCUS featured lyrics that were sung in English and were very much in the zeitgeist of political awareness an social issues that although sometimes awkwardly delivered by Moran Neum'ller eccentric vocal style somehow comes together quite well with the musical flow as it takes the music into a somewhat bizarre alternative zone. While many cite the following jazz-infused albums as the true triumphs of the OUT OF FOCUS canon, i actually love this debut equally as well as it delivers a distinct style of psychedelic rock that straddled the line between the Krautrock of Germany, the jazz-fusion prowess that OUT OF FOCUS would soon embrace and the more pastoral flute driven bands of the era. Similar to Nektar's black sheep debut album that existed outside of the band's established style, WAKE UP is nonetheless a well crafted album that delivers the intended reaction.

While ''Wake up!'' was a typical Kraut Rock album with psychedelic leftovers from the 60's, this one sees the band exploring the more experimental side of Rock music and this is pretty obvious already from the short openers ''What can a poor boy do'' and ''It's your life'', which are dominated by a collection of sounds and sights, containing inspirations from Folk, Blues and Jazz, characterized by frenetic rhythms, nervous sax solos, psychedelic organ runs and calm acoustic textures, not to mention the jazzy piano of the second piece.These work as a nice introduction to the very long ''Whispering'', which sounds like a rougher PASSPORT, featuring extended instrumental jams with a pounding rhythm section, usually overpowered by the furious electric guitar of Drechsler and Neumueller's powerful saxes, leading into experimental, jazzy improvisations and a couple of beautiful sax solos over the hypnotic bass lines of Wiesheu.''Blue Sunday morning'' is another attempt on Kraut Folk Rock by the band with a narcotic electric guitar playing alongside the archaic flutes, before Hering's organ gives life to a dramatic Heavy/Psych Rock cut.Not really fond of THE ROLLING STONES'-like vocals.The 17-min. ''Fly bird fly-Television program'' is more or less a good definition of Kraut Rock with strong psychedelic and Folk influences.Again the vocals are rather weak, but the music is pretty interesting with some great organ runs and sax interventions, Drechsler's guitar solos are absolutely efficient and the piece alternates between smooth and punchy segments with a fantastic ending section in the vein of early ELOY, characterized by tremendous energy and featuring Drechsler, Hering and Neumueller's active battle on individual solos.

Solid Kraut Rock with jazzy influences and nods to Folk Music.Passionate, efficient material, even if it lacks some great moments.Recommended.

But the album reveals its originality and strength already on the second track 'God save the Queen, cried Jesus' with more meditative instrumental sections featuring flute. This mixing of blues flavour and flute passages naturally makes one think of early Jethro Tull, but the compositions and the moods are very different from Tull. The lyrics seem to be serious and socio-critical, and the atmosphere has some VdGG-reminding darkness. There are also lots of organ.

'Hey John' is a gorgeous 9½-minute track with great instrumentalism and some vocals. The shortest track 'No Name' is also the weakest in my opinion, vocal-centred and quite straight-forward, but with nice organ/flute work. 'World's End' has long instrumental sections, and this time the guitar steps up front to solo too. The last minutes remind a lot of 'The End' by The Doors, even a similar-sounding spoken part is featured. But then again, the flute sets the music apart from The Doors.

'Dark, Darker' (11:37) doesn't start very promisingly with the presence of vocals, but soon enough they change into flute playing - some Ian Anderson -style gasps included - and the band continues to go deeper into meditative quietness and alteration of dynamics. All in all, an album that's far from perfect but with an interesting, magical atmosphere and an original mixture of various, more or less familiar elements. The psychedelic flavours were to change into jazzier style and much better music was ahead.

The strong jazzy vibes that followed Out of Focus throughout their career remain hidden in their first album, which was a typical Kraut Rock album with extended jamming parts and dominant psychedelic vibes.The ironic track titles, such as ''See how a White Negro flies'' or ''God save the Queen, cried Jesus'', were followed by long groovy music with tons of flutes and organs along with the electrified guitars of Drechsler.The album contains mostly long pieces with constantly changing themes between smooth, psychedelic lines with mellow flutes and guitars and pounding rhythms with a fiery rhythm section and sharper guitar solos.Some nice interplays and breaks are also present, while with a singer sounding quite similar to MICK JAGGER the psychedelic influences are even more prominent next to the very dirty organ themes at the improvised parts.The result is obviously quite charming, although some sterile and flat moments are still apparent performed by a young and inenxperienced group.

A nice example of early Kraut Rock with the basic components of the movement in evidence: Long psychedelic grooves, loose solos and powerful breaks.Warmly recommended.