A Medieval Bestiary
know what longtime readers were thinking: today’s scene as well a romp through 1970s and glockenspiel; it could be on a Pentangle The only reason I wrote about medieval Hamburg. Your English-speaking tour guide album, except for the words by 13th-century IGerman folk-rock in issue #123 for this journey is Ken Hunt, who lived in Minnesinger Walther von Vogelweide. The CD (April/May 2006) was to get nerd beaks on the Hamburg at the time and has penned historical continues in a similar vein, venturing into cover. Not so, I tell you! In addition to men liner notes setting Ougenweide’s music in psychedelic territory in the trippy break from with beaks, this scene features wolves, foxes, proper context. “Es stount ein frouwe alleine,” sweet early ravens, swans, owls, and other beasties, as well As Hunt explains, the idea for German music in the recorder-and-harmonium textures as songs about love, drink, and (of course) medieval rock was born when Olaf Casalich, a on “Ouwe,” Jethro Tull’s early prog-rock flute death. It really is a vital genre, with its own former student of Middle High German, as well on “Swa gouter hande wurzen sint,” and loose conventions, its own scene, and as rich a as a musician, attended a rehearsal of Frank but energetic folk dance music in the arrange- history as other areas under the folk-rock Wulff’s as-yet-unnamed band, which was ment of “Der Fuchs,” a German translation of umbrella. Hence, another such column, inspired by U.K.
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