Lineup: Inga Rumpf: lead vocal, acoustic guitar, percussion Adrian M. Askew: keyboards, vocals Alex Conti: guitars, vocals Karl-Heinz Schott: bass Ringo Funk: drums, percussionAtlantis was not only the name of the legendary island, the famous Greek author Plato mentioned, but also the name of a band formed by ex-Frumpy musicians Inga Rumpf, Jean-Jacques Kravetz and Karl-Heinz Schott, in late Summer, 1972.
The initial line-up included guitarist Frank Dietz and ex-Emergency drummer Curt Cress (later with Triumvirat, Passport).The band played a few live gigs in Germany before they recorded their debut in London’s Island Studios. The US magazine, Cash Box, compared Atlantis with the Doobie Brothers and praised Inga Rumpf’s blues-tinged voice. Shortly before the group went on a four week tour of England with Procol Harum, Traffic, Vinegar Joe and the Sharks, Cress and Dietz left and were temporarily supplanted by Udo Lindenberg and George Meier. After the tour, Atlantis recruited Dieter Bornschlegel (ex-Traumtorte) on guitar and Ringo Funk (ex-Jeronimo) on drums as new permanent members.Rumpf and Kravetz remained the artistical nucleus of the band. Said Kravetz: “Inga determines this band like Rod Stewart & the Faces, her voice makes our image.” Atlantis’ second album “It’s Getting Better” was even more determined by Inga Rumpf’s preference for black rhythms: “I always took a special liking in blues, jazz and soul music, and, since I’m writing most of the songs, this influence is decisive in our music.” Melody Maker “recommended” the second album and Sounds attested the band to be “the most English of all German groups”.After the gig at the Paris’ Olympia, Atlantis went, again, on a four week tour of England, which included a performance at the rock show, “Old Grey Whistle Test”. During this tour, Kravetz left the band and had to be hastily replaced by Rainer Schnelle (ex-Family Tree).At the end of 1973, Atlantis was among Germany’s three most popular German rock groups, according to a Musikmarkt poll.Half a year later, the line-up changed again. Schnelle and Bomschlegel were replaced by English keyboarder Adrian Askew and ex-Curly Curve guitarist Alex Conti.Both were featured on the third LP “Ooh Baby”. Seven of the ten songs were written by Askew/Conti, while Rumpf only had three of her compositions on the album. The result was a “spicy funk album” (Musik Express) with a “bunch of Germany’s best soul” (Sounds).Atlantis was at its best on stage, which was proved by a double album recorded live at the Hamburg Fabrik from 1973 – 1975.In Summer 1975, Atlantis went on tour in the States, mostly as opener for Lynyrd Skynyrd. After the tour, guitarist Alex Conti was fired and went on to play with Lake. The new line-up was completed with former guitarist Frank Dietz and as second guitarist Rainer Marz.The rockier American influence was noticable on Atlantis’ fourth LP “Get On Board”, but the LP and the following tour failed to have commercial success. Concequently, Inga Rumpf and Karl-Heinz Schott announced their departure in January 1976.After the split, the album “Top Of The Bill” with unreleased studio recordings from December 1975 and March 1976 was released. On February 23, 1983, the original line-up reunited for a revival concert in the Hamburg Fabrik and received standing ovations.Courtesy of Rock Musik Lexikon Christian Graf/Ulf Marquardt Taurus Press 1991 Repertoire Records CD: RR4145-WP
Raymond Gomez – Volume
When listening to Volume, it soon becomes evident that Ray Gomez gets more soul, more feel, and more tone, than any other guitar player on the planet. Add in impeccable placed notes with “Albert King-like” timing, the album represents guitar playing that is hard to beat. Something else that needs to be said, Ray “rocks”. He is very keen on the groove within a song. Besides blistering leads, Ray keeps funk and rock groove rhythm in his playing. One could listen to Blues for Mez or West Side Boogie and say, “Well, there’s killer blues being played, funk being played, and a steady rockin’ groove. In essence, Ray Gomez is nothing short of a powerhouse. He gets more out of a guitar than is almost humanly possible, yet he does not overplay. Ray has the uncanny ability to play exactly what is needed for a song, yet with innovation, feel, and soaring power. U.S.A. is actually my favorite song on the record. It also establishes another front — that Ray is a damn good song writer and composer. Volume is a hidden gem that needs to be rediscovered. It’s still relevant and fresh today as it was when first released. Charles Wilson
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