Year: 1976
Style: Progressive Rock, Krautrock, Symphonic Prog
Country: Germany
Source: CD 1992
Label: Metronome 833 612-2

Tracklist
1 All My Friends 4:34
2 Lady 3:33
3 Rest of My Life 4:25
4 Expectation 5:27
5 River 3:15
6 Out in the Rain 5:25
7 Hangman 11:27
8 Fire, Water, Earth & Air 3:40
9 Another Way 5:03
10 Hightime for Crusaders 4:25
11 Windows 18:05

Дома на концерте" - двойной концертный альбом немецкой группы Jane, выпущенный Brain Metronome в 1976 году. В альбом вошли лучшие песни группы, исполненные на концерте в их родном городе Ганновере.

Jane - немецкая группа, стартовавшая в 1972 году с великолепным альбомом спэйс-рока под названием Together ("Вместе"). Альбом наполнен симфоническими клавишами Вернера Надольны (Werner Nadolny) и впервые представил миру одного из взыскательнейших гитаристов Клауса Хесса (Klaus Hess), способного играть как самые мелодичные рисунки в духе Гилмора, так и энергичные риффы под стать Дэвиду Броку (David Brock) из группы Hawkwind. К 1976 году Jane выпустила пять студийных альбомов, не всегда придерживавшихся прогрессивного рока, с которого они начинали. Альбом Jane III (1974) был уклонением в блюзово - хард-роковую стихию, а Lady (1975) - в мейнстрим. Fire, Water, Earth and Air (1976) ознаменовал возврат к прогрессиву, порадовав фанов спэйс-рока, но не был законченным шедевром.

Концертник  Live At Home  объединил в себе лучшее, что Jane сделали за эти годы. Например, "Hangman" - типичная для Jane вещь, плавно начинающаяся с органа, затем приятная мелодия развивается в буйную гитарную браваду, которую не постыдился бы сыграть любой хард-роковый гитарист. Клаус Хесс - один из лучших гитаристов прогрессивного рока. Дело не в виртуозности, не в умении сыграть 1000 нот в минуту, а в способности дать жизнь своей гитаре, внести эмоции в любой взятый аккорд. И Хесс вносит душу в любое исполняемое им соло. Даже в самых жестких песнях все его соло мелодичны и вкусны. Здесь есть и одна из лучших песен Jane с первого альбома "Daytime", которую почему-то вырезали в CD-издании этого альбома.

В альбоме Jane Live At Home есть все, что мы хотим услышать на пластинке прогрессивного рока: красота, виртуозность, креативность, путешествие, забирающее тебя из повседневной жизни  с ее тревогами. Послушайте "Hightime For Crusaders" ("Самое время для крестоносцев") - разве это хуже Atom Heart Mother или Meddle Пинк Флойда? Конечно, Хесс много слушал Гилмора, но он играет со вкусом и в собственной манере, которая более хард-роковая и напоминает нечто среднее между Броком из Hawkwind и Энди Пауэллом (Andy Powell) из Wishbone Ash.

Стоит отметить еще один замечательный факт: на клавишах в этом альбоме играет знаменитый Манфред Фичорке (Manfred Wieczorke), который накануне покинул великую группу симфонического рока Eloy, чтобы присоединиться к Jane. На сайте группы Eloy говорится, что Фичорке ушел в Jane из-за более выгодных финансовых перспектив. Действительно, цифры продаж альбома Jane Live At Home говорят сами за себя: за несколько недель этот концертник разошелся тиражом более 100 000 экземпляров! Это серьезный повод фанам Eloy и других немецких симфогрупп обратить внимание на альбом.

Jane Live At Home хорош еще тем, что представляет несколько нигде до того не реализованных вещей, самая значимая среди которых - двадцатиминутная композиция Windows ("Окна") - это настоящее межпланетное путешествие и, конечно же, "гвоздь программы".

Jane никогда особо не отличались высококачественными вокалами (как и большинство немецких прог групп, к сожалению), но на концертах им удается петь гораздо лучше, чем в студии. В альбоме Live At Home попеременно сменяют друг друга у микрофона Клаус Хесс, басист Мартин Хессе (Martin Hesse) и барабанщик Питер Панка (Peter Panka), и исполняют эти песни гораздо лучше, чем они были записаны в студии другими вокалистами (например, Янко (Gottfried Janko, певший в альбоме Lady) или Пульст (Bernd Pulst, вокалист на первом альбоме Together). Довольно забавно звучит их английский с немецким акцентом. Странно, но даже объявление очередной песни на концерте немецкой группы, выступающей перед немцами в немецком городе они произносят на английском: "Се некст сонг ис колт "Аут ин сэ рейн"...

Jane Live At Home - настоящий живой альбом, один из лучших образцов прогрессивного рока в живом исполнении.

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Playing a melodious synthesis of symphonic hard rock that has occcasionally been compared to Pink Floyd, Hanover Krautrockers Jane can trace their origins back to the late sixties psychedelic band Justice Of Peace. Releasing a single Save Me/War, the band featured future Jane members Peter Panka on vocals, Klaus Hess on bass and Werner Nadolny on saxophone. By late 1970 Justice Of Peace had dissolved and regrouped as Jane with Panka on vocals and drums, Hess switching to guitar and Nadolny assuming keyboards. Charly Maucher joined on bass and power vocalist Berndt Pulst completed the band in April 1971 and their first LP "Together" was released in the spring of 1972. Singing in broken English, which helped create passionate effects, a heavy expressive bluesy sound emerged with blistering Les Paul solos and slabs of Hammond organ backdrops that was consolidated by Peter Panka's almost hypnotic oscillating drum beats that would charcterize Jane's music for almost 40 years. "Together" was warmly recieved by the German music press including Sound magazine who had declared Pulst it's vocalist of the year for 1971.
The first of an almost continual succesion of lineup changes occurred later that year with Pulst departing and Maucher bowing out for health reasons. Former Justice Of Peace guitarist Wolfgang Krantz joined on bass and guitar with Panka and Hess sharing the vocals which displayed even more lethargic and stoned out sonic timbres. Applying their proven formula, their 1973 follow up "Here We Are" was somewhat more harmonious with the the addition of synthesizers that provided spacier atmospheres and produced a fan favourite in the form of the sombre rock ballad "Out In The Rain" . Shortly after the album's release Nadolny left to form a new band Lady with the recovered Maucher returning on bass and vocals. Jane's third endeavour, simply entitled Jane III, was a scorching guitar blowout and with Krantz on second guitar. The void left by departing keyboardist Nadolny was adequately compensated for with two dueling guitarists as demonstrated by an impressive in-studio jam entitled " Jane Session" as well as a spaced out extended track "Comin' Again" featuring Maucher's harder edged vocals. Not long after the release of Jane III, Maucher and Krantz departed, eventually forming Harlis on the fledgling Sky Records label. In May 1974 Jane rejuevenated itself by absorbing two members from the recently disbanded hard rock band Dull Knife with Martin Hesse on bass and Gottfreid Janko on vocals and keyboards. The slightly more upbeat Lady album was recorded by this lineup in early 1975 during which time Matthias Jabs of Scorpions fame would also join them for a breif period for some live performances.
Keyboardist Werner Nadolny returned in 1976 for Jane's expansive 33 minute symphonic progressive rock masterpiece " Fire, Water Earth & Air". Featuring Layers of Hammonds, Moogs, mellotrons and synths, it was unquestionably Jane at their creative zenith and the Jane album that would hold the most appeal for progheads. Nadolny would split once again after the completion of "Fire, Water, Earth & Air" and was appropriately replaced by Eloy keyboardist Martin Weiczorke for an extensive tour that spawned another coup de grace for JANE resulting in the stunning " Live At Home" double live LP replete with a cover of a Martian landscape snapped by the Viking Mars lander. Released in early 1977 and broadcast nationally in it's entirety in on WDR Radio in January of that year, "Live At Home" went gold in their native Germany and helped them break the international markets in both North America as well as Japan and South America.
Containing somewhat darker conceptual atmospheres, their 7th studio album "Between Heaven & Hell" once again followed progrock pardigms. Mixed reactions within the German music press did not prevent the album from being embraced by fans that was at times similar to Pink Floyd's capacious stylings. By this time Jane had become one of the top draws in the German music scene as well as attracting followings in Switzerland and Austria even though they continued to sing in English. Recorded in the band's personal 24 track studio, 1978's Age of Madness rocked it out a little harder maintaining emotional spacey timbres and was released internationally, being presented in clear and red vinyl formats on the now defunct Canadian label Bomb Records. A successful European tour ensued but Weiczorke departed in early 1979. Jane's following album "Sign No. 9" was a near disaster with Jane being reduced to a trio forcing Hess to double on keyboards and the album inevitably had a guitar dominated sound which was devoid of the spacious moods created by lush keyboards on earlier Jane recordings. Signs of creative burnout cast some doubts not only in the minds of fans but within the band themselves.
A new direction was taken in the 1980s on a self-titled album that is sometimes referred to as "Mask" by afficiados. It incorporated new wave, punk and jazzy elements in straight rock configurations and introduced a new vocalist/guitarist/keyboardist, Yugoslavian eccentric Predrag Jonanovic or "Pedja". Vocals were never Jane's forté and Pedja's energetic deliveries gave them a fresh sound but unfortunately it was his only appearance with the band and he returned to his native Yugoslavia to form the synth-pop group D'Boys. Bassman Charly Maucher returned to the fold for 1982's "Germania" and although it contained some more experiments including a reggae excursion on the track "Get Back To You" Jane remained, for the most part, a straight hard rock band and included a reworked version of "Twighlight" from their "Between Heaven & Hell" album entitled "Southern Line" that even ventured into heavy metal territory. Internal disagreements between founding members Peter Panka and Klaus Hess resulted in Hess' departure in 1982. He would subsequently release a solo album "Stementanz" in 1983 that would recall earlier Jane stylings.
Meanwhile, after collaborating on the musical production on the German rock Opera "Warlock" with other former members of Jane, Peter Panka reformed Jane as a touring band under the moniker Lady Jane in 1984 with various musicians. Unfortunately a coherent unit failed to materialize for the remainder of the decade and only one pop-oriented album "Beautiful Lady" was released in 1986 with no real connection to past glories. Two live albums were also released in 1989 and 1990 with the former being limited to only 300 pressings and both featured Panka on drums/vocals, Nadolny on keyboards, Klaus Henatsch on bass & keyboards and Kai Rueter on guitar performing older Jane material.
In 1992 Hess and Panka attempted to reconcile and along with Nadolny on keyboards and with Jens Dettmer they embarked on a reunion tour that included 13 dates in New Zealand! But the reconciliation failed and Jane split into two factions with Hess calling his version Mother Jane while the Panka formation became unofficially known as Peter Panka's Jane as he retained the rights for the band name and logo. In `96 Peter Panka's Jane ( initially referred to as Pano's Jane) recorded the studio album " Resurrection" and introduced ex- Epitaph member Klaus Walz along with Kai Reuter ( formerly of Kasch ) on guitars with veteran Nadolny returning on keyboards and Mark Giebeler on bass. Meanwhile Hess' Mother Jane with younger musicians was also touring playing mostly Jane classics, releasing a single in 1998 and finally a suprisingly impressive live album "Comes Alive" in 2000 that reflected the heavier side of Jane.



A more cohesive attempt was made by Panka in 2002 to rekindle the classic Jane groove of the seventies with Klaus Walz joining original members Panka, Nadolny and Maucher. A new album " Genuine"( that also contained some live tracks from the failed `92 reunion ) materialized and was followed by a tour which saw the band performing the new material but focused on renditions of old classics. A live album, "Live 2002", documented the shows and although not possessing the impact of 1976's "Live at Home", it was a definite indication of Jane's return to the limelight attracting both old and new fans. Not content to tour soley as a retro-Jane band, two more studio albums were released in 2003 ( Shine On ) and 2007 ( Voices) that burned on in the classic Jane tradition.
Tragically, founding member Peter Panka passed away as result of cancer in June 2007 which put the band on hold. However, in compliance with Panka's wishes original member Charly Maucher took over as leader and another studio album "Traces" was released in 2009 with the current lineup of Charly Maucher on lead vocals/bass, Klaus Waltz guitar/vocals, Arndt Shulz guitar vocals and Fritz Randow ( ex Eloy & Saxon ) on drums plus Werner Nadolny on keyboards. Although Werner Nadolny has since left the band, he currently tours with his own Jane tribute band performing vintage Jane material. Klaus Hess' Mother Jane also remains active with a recently released 2009 album titled " In Dreams".
Along with other bands such as Amon Duul II, Grobschnitt and Guru Guru, Jane continues to bear the torch of the early seventies Krautrock phenomenom and continues on in that spirit to this day in three different guises led by original members.
Why this band should be included in Progarchives :
legendary German band that combined symphonic elements with blues based hard rock to create a distinct groovy sound that has endured for 40 years.
Biography by Ian Gledhill ("vibrationbaby") January 2010

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