Guest
1. I’d Like To Be A Child Again (Kravetz/Lindenberg) (9:35) (0:00) 2. Ann Toomuch (Kravetz/Lindenberg) (7:55) (9:35) 3. Routes (Lindenberg) (7:27) (17:19) 4. When The Dream Is Over (Lindenberg) (3:14) (24:47) 5. Master Of Time (Lindenberg) (9:51) (28:04) Bass – Steffi Stephan Co-producer – Thomas Kukuck Engineer – Thomas Kukuck Guitar – Thomas Kretzschmer Music By – Jean-Jacques Kravetz (tracks: 1, 2, 5), Udo Lindenberg (tracks: 3, 4) Producer, Arranged By, Organ, Piano, Synthesizer – Jean-Jacques Kravetz Twelve-String Guitar – Roger Hook (tracks: 1, 4) Vocals – Inga Rumpf (tracks: 1) Vocals, Drums, Percussion – Udo Lindenberg Words By – Udo Lindenberg Recorded during 8 days in April at Windrose-Dumont-Time Studios, Hamburg. This is a pretty unknown and uncommon band, despite its close relation with FRUMPY, which is a prog rock dream ensemble. It fits quite well, on the other hand, the scene of (hard) rock - having, in this case, the German authentic spark with several general and minimal influences - a musical scene which is rarely recognized or valued outside the obscure margins of its period. 8 DAYS IN APRIL’s music is perfect for the taste in interesting or laid-back rock, since the album is also a mix of artistic and energized play, plus it’s close to a collection meritous item, up in progressive rock’s classic, hard or eclectic mentions. The project was at first solo music practiced by Jean Jacques Kravetz, long-time keyboardist and rock in FRUMPY. Eventually though, 8 DAYS IN APRIL became a band of four core members and two special guests. Udo Lindenberg was second in importance next to Kravetz, writing and singing the vocals, plus composing much of the music. Steffi Stephan, playing bass, and Thomas Kretzschmer, playing guitars (with, sometimes, an astonishing freshness), joined the musicianship. The piece “I’d Like To Be A Child Again“, though presumptively the most shining piece in the album, is mainly arranged by vocalist Inga Rumpf, also notorious in some of FRUMPY’s experiences. Originally called “Kravetz“ (given the promoter), the band finally adopted the name 8 DAYS IN APRIL, and their 1972 album was tag-titled The Hamburg Scene. Both names can be considered suggestive, since the ensemble recorded in Hamburg, and the album was, most likely, an 8 days rock work. The Hamburg Scene smashes a lot of hard classic rock mints, but also has a prog rock definite taste. Close to being purely (and purifying) instrumental, much of the music’s contrasts evolve from lyrical and euphonic passages to striking and overly produced climaxes. 8 DAYS IN APRIL clearly play a blending rock of artistic and popular forms, with smaller influences of fuzzy rhythms, jazzy branding or complex emotions and frets. The entire concept, project and music relief of 8 DAYS IN APRIL is definitely of a bit spontaneous kind, nevertheless its improvisation is worthwhile, since it’s a good and recommend prog rock band, up the rarity shelve. Ricochet (Victor “Philip“ Părău)
