Album: 34 Hours Read / get here: https://aftersabbath.blogspot.com/2010/01/day-after-sabbath-vi-compilation.html Blues rock band formed in 1967 in Dublin, Ireland. Originally active 1967 - 1972, the group is best known for the power trio lineup of Brush Shiels, Noel Bridgeman and Gary Moore, although Bernard Cheevers, Phil Lynott, Robbie Brennan, Eric Bell, and Paul Chapman were all also briefly members. Brush reformed the band 1973 - 1979 and led it though multiple lineup changes. He revived the name again for albums released in 2009 and 2012. ... https://www.youtube.com/watch?v=MIGK_NNn9B0

Download this complete set and read the history at: https://aftersabbath.blogspot.com/2022/11/tdats-146-ddr-gdr-rock.html TRACK TIMES: 00:00 Thomas Natschinski-Gruppe - In Der Vierten Stunde (1972) 02:42 Electra - Bemuhe Dich (1975) 05:55 Gisela Dreßler - 48 Crash (1974) 09:40 Berluc - Hallo Erde, Hier Ist Alpha (1978) 14:23 SOK - Sok-Oriental (1971) 17:27 Karussell - Ehrlich Will Ich Bleiben (1979) 22:15 Stern-Combo Meißen - Hat Der Tag Sein Werk Vollbracht (1975) 25:18 Puhdys - Ikarus (1974) 30:03 Express - Leben, Um Ein Mensch Zu Sein (1973) 34:24 Reform - Drachentoter (1979) 37:40 Lift - Neuer Tag Bricht An (1976) 42:31 Thomas Natschinski-Gruppe - Auf Dem Bau (1972) 47:26 Joco-Dev-Sextett - Stapellauf (1971) 51:43 Peter Holten-Septett - Weiter Weiter (1975) 56:03 Klosterbrüder - Lied Einer Alten Stadt (Weimar) (1975) Welcome to TDATS volume 146: Heavy rock of communist East Germany. This is the first part, as I was able to find around 30 bands that made fitting music for the blog, and part 2 will follow some time in the not-too-distant future! This is a great collection featuring all-new acts apart from one, Puhdys, who appeared once before on vol 48 (link). In making this set I came across almost exclusively bands that I had never heard before. The quality of the music here is undeniably world-class, with excellent musicianship, as we have come to expect from German rock in general, and surely these bands would have been better-known if they hadn't been playing within the bubble of the DDR. The musicians of post-war East Germany suffered the same heavily-imposed restrictions and controls that artists of many other communist states did. Some bands like the Klaus Renft Combo (later "Renft") were at one time banned out-right, and their entire back catalogue on the state-controlled "Amiga" record label was deleted from history. There's a concise article at Messy Nessy Chic (link) and I recommend reading that in conjunction with this volume, as it highlights the difficulties of being a rock band in the Deutsche Demokratische Republik (DDR, aka GDR) and also references a few of the bands I used in this and the next DDR volume. At one point, bands required licenses just to exist and be allowed to play at the government-authorised music venues of the time. Their image and musical / lyrical output was continuously scrutinised by the authorities in order for them to keep the licenses. Many of the bands had to find new and inventive ways to continue making great music with worthy lyrics, while still being permitted to play. There's a great cross-section of all the styles of rock you'd expect from the period, regardless of point of origin, with some obvious inspiration from western bands of the time, even down to particular song parts, but in this case it shouldn't be regarded as plagiarism. In a way these bands were doing a service for rock fans in the DDR who had difficulty in hearing the originals any other way, as so many western rock records that we take for granted now, were banned. Read more at: https://aftersabbath.blogspot.com/2022/11/tdats-146-ddr-gdr-rock.html If you want to go deeper on the scene I must give props to www.deutsche-mugge.de, a fantastic DDR rock fan site which has in-depth profiles on all the bands in this volume, plus many more, and just as importantly, many exclusive interviews with members of the bands. ... https://www.youtube.com/watch?v=vauZZ9k0SLg