Sound Essence is more than proud to presents a very special production from East Germany of the early 70s!
One of the TOP Soul-Jazz & Beat combos in the country led by bassist and singer Horst Kruger, recorded two previously unreleased, outrageously good titles here in the newly formed septet format. 

"Ich will die Zeit nicht bereuen" ("I don't want to regret the time") is probably by far one of the most crispy produced German-language soul beats numbers that existed in the GDR at that time! From the pen of Ralf Petersen, the then head of Berliner Rundfunk personally, no pure high-class hit was recorded here, but hard-hitting, rocking beat.

It was not without reason that the choice of the head of broadcasting fell on the recently formed Horst Krüger Septet, which now also gave the contemporary jazzy sound a perfect touch through an intensified brass section. This can indeed be described as something outstanding at that time around 1970, as it was precisely after the ban on of beat bands became a bit "softer" in the east german music world for a while at the end of the 60s (which jazz for well-known reasons excepted). 

This circumstance was also noticeable on the self-released LP "Sand im Schuh" in the same year, which was designed more for the wider public. On stage and in the studio, however, a much rougher and soulful tone was often played. The artistic recording was carried out by one of the masters, who, in addition to Klaus Kühne and Jürgen Crasser, one of the spearheads on the podium and the effect devices was: Kurt Agt.

This song is not only synonymous with international beat and soul at that time, he even stands out very much. Drums, bass and guitar are outstanding compression ratio and deliver a punch that stands out from other titles at the time from east germany. Horst Krüger on bass and his wife Gerti Möller with her outstandingly distinctive and powerful voice on the microphone.
A must for every fan of early beat, rock and soul!

The title "Sonderbar" (peculiar / extraordinary) is exactly what its title promises. A feat that was created as such in 1972. This somewhat sweeter SoulJazz vocal piece had a concrete idea, which composers Dieter Kopf, Horst Krüger and Franz Bartzsch as a musical arranger
as well as Jens Gerlach in the musical free spirit of the hippiesque era.

A through the stylistic device of Repetito in the text dominant repetition, which is complicated in the context of the ever-evolving theme about feelings and love Groove of bass, guitar, drums and organ theme is reflected, redefined and constantly found again, simply masterfully. 
An interlude with a flute solo and a groovy dreamy Hammond organ solo at the end of the title, envelops the verses very contemporary.
This title is, in its art form, what love represents in its capacity: peculiar, extraordinary and sometimes strange.