In the mid-1970s, the British music magazine New Musical Express (NME) reportedly described Berlin-based Karthago as “the best German rock band of the 70s“—a reputation earned above all through the band’s exceptional live performances. While their studio albums presented sophisticated compositions and refined arrangements, Karthago truly came into their own on stage, where Hard Rock, Progressive Rock, Krautrock, Funk, Jazz-influenced improvisation and powerful percussion merged into an intense and highly dynamic concert experience.
Following the spring 1974 tour supporting “Rock ‘N’ Roll Testament,” the original line-up came to an end in March 1975 after three farewell concerts in Switzerland. Musical differences and growing personal tensions ultimately proved irreconcilable.
Although the band had split, substantial tax liabilities remained, and promoters continued to request live appearances. To generate income, settle outstanding debts and reunite the musicians one final time, the management conceived the idea of recording a live album. They also believed that Karthago‘s previous studio releases had never fully captured the band’s explosive stage presence.
For the recordings, the production team enlisted Conny’s Mobile Studio, operated by legendary engineer Conny Plank. The only comparable German mobile recording unit, owned by Dieter Dierks, was unavailable as it had been booked by the Rolling Stones. Mixing subsequently took place at Plank‘s studio in Wolperath, where the performances received their final polish.
Despite its title, “Live at the Roxy” was not recorded exclusively at Berlin’s famous Roxy Palast. The album documents performances recorded between 20 and 22 January 1976. Parts of the material originated at Hamburg’s renowned Fabrik—a venue Karthago had played regularly since 1972—while the final recordings were captured at the newly opened Roxy Palast in West Berlin, where more than 3,000 enthusiastic fans filled the venue to capacity.
One particularly fascinating aspect of the production concerns the distinctive phasing effect heard on the album.
Also to mention is ‘Phasing‘, handmade by Conny Plank. Somehow, the electronic live version from the PA was not taped. So we had to retouch that while mixing in the studio. It was one of Conny‘s gifts to produce it manually with two tape recorders. Never will I forget how he did that full of fervency using his whole body, how he tightened his buttocks, lifted and lowered them. How he wiggled on tiptoe from one side to another like a prima ballerina, and finally, after relaxing his body again, he smiled at us happily, the voluminous, long, blond hair combed behind the ears.” – Cornelius Hudalla, Düsseldorf, 29 March 2011 (from the liner notes of the MIG-Music CD reissue, MIG 00432 2CD).
This release is part of the bacillus records archive on Bandcamp.
Purchase “Live at Roxy” on Bandcamp: https://bacillusrecords.bandcamp.com/album/live-at-the-roxy-1976
Lineup:
Joey Albrecht / Lead Guitar, Lead Vocals
Ingo Bischof / Keyboards, Vocals
Tommy Goldschmidt / Percussion
Gerald Hartwig / Bass
Ringo Funk / Drums
Reinhard Bopp / Vocals, Guitar
Produced by Cornelius Hudalla
Recorded and mixed by Conny Plank
Recorded with Conny Plank’s Mobile Studio from 20th to 22nd January, 1976 in Hamburg (20th) and at “Roxy Palast,” Berlin-West
Mixed at Conny’s Studio 26th January until 30th, 1976
Assisted by Udo Klempt-Giesing
Digitaly remastered by Hoppi
Management and booking: Mückl & Hudalla GmbH,
Tour-Manager: Walter Weidenhaupt
Road Crew:
Jürgen Greene Fiedler, Bodo Neumann, Topsi Wimmer, Walter Rudat, of Flash Light and Sound, Ralf Basten, of Flash Light and Sound
Equipment:
Flash Light and Sound GmbH,
Hamburg
GK-Tontechnik
Bielefeld