Dieter Dierks
Hans-Dieter Dierks (born February 9, 1943 in Stommeln ) is a German musician, sound engineer, producer , publisher and studio operator . He became known as the producer of the Scorpions , who were under contract with him between 1975 and 1988. From 1969 to 1975, Dierks Studios produced many records from the Krautrock era. From 1975 international interpreters began to use the technically high-quality sound and television studios.
family
Dieter Dierks is the son of a conductor, violinist, saxophonist and composer. His mother Ursula ran a grocery store. Dieter Dierks was married twice and has four children from four women. His second wife, Corina Fortmann, is the sister of the Swiss composer Thomas Fortmann and has played a key role in building the “Dierks Empire” for many years. Their daughter Dominique Schilling works in Los Angeles as a director and screenwriter. Dierks' eldest son, Michael Dierks , is an actor. The eldest daughter from his first marriage, Michaela Dierks, is a television and music promoter in Cologne. His youngest son, Julien Freundt, works as a sound engineer , composer, music producer and is assistant to the management in his father's company. Dierks' mother, who ran the studio's kitchen, passed away in 1991.
Beginnings
Dieter Dierks originally wanted to become a director, studied theater studies and then attended an acting school. As an assistant director he worked for Kurt Wilhelm , Karl Fruchtmann , Jürgen Goslar and the former Burgtheater director Gerhard Klingenberg . At the same time, he played guitar and bass in various rock bands and began setting up his own studio on his parents' estate in Stommeln. The first studio rooms were built in the attic of the parents' house. With two converted Revox amateur recording machines, Dieter Dierks was able to attract many young musicians within a short time. Around this time Dierks founded the formation Hush with Tommy Engel and Frieder Viehmann, which in 1969 released the single Oh! Darling / Look me in the eye (Bellaphon # 1112).
Two years later, Dierks built a studio building in the courtyard of his parents' property. A little later, the adjoining residential building was converted into a studio hotel and completed a concept for the complete unity of music recordings that was new in Germany at the time: the musicians lived and worked at the same location during the production. During this phase, Dierks landed a successful nightclub hit in 1969 with Loop Di Love with singer Jay Bastos, which was released as a single in 1971 in Holland, Belgium and Germany and sold several million copies.
Krautrock and Elektronika
At the beginning of the 1970s, Studio 1 became a magnet for a then new generation of musicians from the emerging hippie culture in Germany, who valued the rural atmosphere and, at the same time, state-of-the-art studio technology. The name of the village near Cologne appeared more and more frequently in German music magazines such as the Musikexpress , the Sounds , the specialist journal Musikmagazin and in Pop-Rocky , whose editors devoted entire pages to the “Soundschmiede in Stommeln” and the productions that were made there.
The Dierks studios became - next to those of Conny Plank in Wolperath - the home of the most important Krautrock representatives, Wilhelminian rock bands and electronics pioneers: their children , Ash Ra Tempel , Tangerine Dream , Witthüser & Westrupp , Hoelderlin , Wallenstein , Birth Control , Guru Guru , Embryo , Popol Vuh , Bröselmaschine , the political rock groups Amon Düül and Floh de Cologne or the Krautrock supergroup Cosmic Jokers founded by the music visionary Rolf-Ulrich Kaiser all came to Stommeln to - cooked by mother Dierks - their version of rock music produced or recorded. Klaus Doldinger was also a regular customer , who with his jazz rock formation Passport recorded the albums Looking Thru (1973), Handmade (1973), Cross-Collateral (1975) and Infinity Machine (1976) in Stommeln. The Jubilee 1974 concert, recorded live in the Düsseldorf RheinHalle , was mixed in the Dierks studios.
In those years more than 40 trend-setting music albums were created, which helped establish the reputation of independent German rock and electronic music abroad; many of them appeared on the German record labels Pilz , Ohr and Bacillus , but also in America, France, Italy and especially in England. The liner notes almost always contained the Dierks studios and their “sound magician and sound magician” Dieter Dierks as well as a “Special thanks” for the creative environment with the studio kitchen of “Mother Dierks”, which was still serving the musicians at two o'clock in the morning. In addition, Dieter Dierks kept his studios up to date with the latest technology, making them the leading German production facilities. In-house developed reverb and room effects as well as experimental instruments such as the Mellotron , which was able to play back orchestral voices recorded on tape at the touch of a button, completed the environment, which was constantly striving for perfection.
Studio extension and first international customers
Around 1972 Dierks expanded the premises further. In order to be able to carry out more economical pre-productions, three smaller recording rooms and a control room were set up as Studio 2 in the basement area of the studio hotel. At the end of 1973 a lounge was added in front of Studio 1 with the “canteen”, which served as a conference and meeting room. The reputation of the Dierks Studios as a first-class recording company was also recognized abroad. The company had become an important economic factor for the small town. Music groups often lived in Stommeln for months, went shopping and populated the local restaurants in the evenings. Journalists came to take photos and interviews.
The first international band came from England and was called Nektar . The quintet recorded their debut LP Journey To The Center Of The Eye in Stommeln between June and August 1971 . This was followed by the LPs A Tab in the Ocean (October 1972), the studio live recording … Sounds Like This (February 1973) and Remember the Future ; The latter LP reached number 19 on the US album charts in July 1974 and was the most successful Dierks production to date. In December 1974 nectar returned to Stommeln for the last time for the production of Down to Earth . The LP was listed at number 32 on the US charts and reached gold status in February 1975 .
In 1974 the company's portfolio was expanded to include the first audio recording mobile. Well-known performers from the international concert scene, including Al Jarreau , Fats Domino , Oscar Peterson , Harry Belafonte , Michael Chapman , Ella Fitzgerald , The Platters , Brian Auger , Lou Reed , Nana Mouskouri , Santana and Chicago, were recorded live. Due to the experience with the top artists as well as their managers and international record companies, Dieter Dierks decided to expand the company with his own production and publishing company and founded Breeze Music. Dierks succeeded in signing Atlantis, one of the leading German rock formations and their bluesy singer Inga Rumpf , and producing them on an international level. He flew to America and convinced the then record company Polygram to send Atlantis on tour. Together with US manager Ira Blacker , he organized a US tour, and the first concert took place in Philadelphia in the opening act for Lynyrd Skynyrd in front of 20,000 visitors. He used this network a few years later in connection with the Scorpions.
Scorpions from 1973 to 1988
As early as 1973 Dieter Dierks and his wife Corina Dierks-Fortmann met the up-and-coming rock band Scorpions at a concert in a gym in Essen . Despite the small number of viewers, he was won over by the professional attitude of the musicians, whom he was able to sign for the company Breeze Music from 1976 as a commissioned producer for RCA Records after a period of getting used to it. Sales tripled with the first record he produced, In Trance . Through permanent work abroad and a successful tour of Japan financed by Breeze Music, which was reflected on the Tokyo Tapes , it was possible in 1979 to sign a record deal with the American company Mercury (Polygram). Bob Sherwood, the then president, was a rock fan and was won over by the German's productions. With David Krebs, a heavyweight in the music scene was hired as a personal manager for the Scorpions. With the support of Liver Cancer Management, which exclusively looked after big acts such as AC / DC , Aerosmith or Ted Nugent , the door was wide open for the Scorpions to make their stage debut in the USA.
The first Mercury LP Lovedrive - with the striking, controversial chewing gum chest cover - achieved gold status in America for the first time (over 500,000 units) and sold 1.5 million copies worldwide. In Germany, a long-term contract with EMI-Electrola, which also included countries in Southeast Asia, was concluded. This created the prerequisites for being able to produce the Hanoverian rock band on an international level. For Blackout , Dierks booked the band entourage a spacious villa in the south of France with its own cook, outdoor pool and tennis court in order to escape the everyday studio routine in Stommeln. Instead, Dierks' own recording mobile was ready to take pictures in front of the property. However, a sore throat of the singer Klaus Meine prevented the successful completion of the album, which was later recorded in Studio 2 in Stommeln. The albums Blackout and Animal Magnetism cemented the Scorpions' reputation as a band committed to melodic hard rock. Dieter Dierks had not only shaped his own sound in difficult detailed work, but also established the playful Scorpions as an independent brand among the major hard rock formations.
The 1984 album Love At First Sting and the ballad hit Still Loving You released from it marked the preliminary career high point for the Scorpions, who were able to sell 2.5 million units (double platinum) of this album in the USA, including gold and platinum -Status in almost all European countries. In Japan and Southeast Asia, the band became one of the most popular rock groups of all. Still Loving You is still the best-selling single of all time in France with over two million units. Two attempts were also necessary for this production: In the spring of 1983 Dieter Dierks had booked the renowned ABBA Polar Studios . Shortly before the start of recording, Herman Rarebell and Francis Buchholz fell ill. Herman got Jimmy Bain to replace him, Rudolf brought Bobby Rondonelli into play. But the result was not convincing, which is why the entire LP was recorded and mixed again in the Dierks studios with the original line-up. The effort paid off, as this album contains most of the hits, and it became the best-selling Scorpions LP to date. The live record World Wide Live , released in 1985, brought together the highlights from concerts on a world tour.
The eight Scorpions LPs from the Dierks period are considered to be the core of the band's oeuvre. For Dierks, who was sometimes referred to as the "sixth Scorpion", these albums were the most successful of his career as a producer. The work on the last Scorpions album Savage Amusement, which was created in Stommeln, was marked by conflicts between the band and producer, so that the production contract was allowed to run out and the collaboration ended in November 1988. The drummer Herman Rarebell sums up 2011: “Dieter was the right man in the right place for the Scorpions. As his influence within the group grew, so did our record sales. But familiarity was also the breeding ground for disdain, since with its influence the anger within the group also grew. But the bottom line is that he captured the different egos well and managed to steer the band in a certain, clear direction. "
Further studio expansion and film technology
Due to the success with the Scorpions, the company Breeze Music was able to conclude long-term contracts with American and European record and publishing companies and drive the expansion of the group of companies. Other world stars followed the internationally good reputation of the Dierks Studios in Stommeln: Ike & Tina Turner , Eric Burdon , War , the Boomtown Rats , Dokken and the Irish rock and blues musician Rory Gallagher came several times. Gallagher mainly recorded two consecutive albums at night and founded a darts club in the bar next door.
In 1985, Studio 3 was the largest studio complex to date, with a reception hall that could accommodate large orchestras, choirs or big bands. With the installation of mobile camera and light bridges and a high-performance air conditioning system, it was also designed for image and video recordings from the start and corresponded to the standard of large studios in America. The underground connection of all rooms made it possible to use all the technology in all three studios. At the same time, the canteen between the studio's own kitchen and Studio 1 was significantly expanded. In the meantime, major US record companies have also approached Dieter Dierks to have their artists produced by him. These include the glam metal band Black 'n Blue for Geffen Records , the heavy metal formation Twisted Sister , which Dierks produced in New York and Los Angeles for Atlantic Records , and the New York punk avant-garde band Plasmatics for Capitol Records . The US band Mother's Finest also worked on a live album with Dieter Dierks, which was recorded with the audio and video mobile and mixed in Studio 3. In 1986, Mobile 1 from Dierks Studios, which recorded numerous concerts by well-known artists throughout Europe and had proven itself in many live broadcasts of the WDR programs Rock-Palast and Rocknächte , was replaced by a recording vehicle that was almost twice as large, the Mobile 2 , replaced. This mobile studio, which could be used analog and digital, had a computer mixer, a monitoring system and a spacious lounge area. In 1991 the Rolling Stones recorded a live LP, Mobile 2, in Moscow and other European cities.
The studio hotel had become too small for foreign artists to stay for several months. That is why Dierks acquired a villa with a garden area suitable for such stays in 1986 in Bruchstrasse, about two kilometers from the studio. Here the musicians could live undisturbed and creatively bridge longer recording times in peace. In addition, the villa could also be rented to external studio and hotel guests.
In 1987, after the expansion of Studio 3, Dierks decided to secure the company's base in the long term by expanding it to include the increasingly emerging image area. While it was previously possible to record images in Studio 3, the video area should now be reinforced by a video recording mobile. With the help of knowledgeable specialists, an outside broadcast vehicle for West German Broadcasting was bought, equipped with the latest transmission technology and converted into a large mobile. The video mobile 1 from Dierks Studios was ready for use in 1988. In 1991, Studio 1 and Studio 2 were completely renovated and technically brought up to date. This made it possible to work in production at the same time in Studio 3 and Studio 1. In 1992 the temporarily disbanded group Accept came back together and produced three more LPs for Breeze Music.
Interest in international rock music subsided from the mid-1990s. The now dominant techno and dance music style emerged, which could no longer be produced in large studios, but with computers and electronic devices in small living room studios. The group of companies took this development into account by setting up two additional digital hard disk recording studios from 1995, studios 4 and 5. Here, an ideal workstation for dance / house and techno music has been created using the latest computer technology created. The Breeze Dance Division was founded especially for this music segment, with its sub-labels Bionic Beat, Reformhouse and Neuform covering all directions in the dance sector.
Michael Jackson recorded the song Ghosts in 1996 in Studio 3 , which appeared on his LP Blood on the Dance Floor - HIStory in the Mix , released in May 1997, and later as part of a Deluxe Collector Box Set - Limited Edition. In the Stommelner Studio - incorrectly listed as "Diederdierk Studio (Cologne, Germany)" on the cover - vocal recordings and drum programming were carried out. The collaboration with the "King of Pop" was able to continue as part of the global HIStory tour when Dierks recorded two Jackson concerts in the Munich Olympic Stadium in analogue with twelve cameras and digitally with six other cameras. One of the two digital OB vans purchased in 1996 and 1997 was used here. These were two 18 and 21 meters long, pulled by articulated lorries and extendable in width, equipped with all the latest digital facilities, each equipped with their own image control and mixer and with up to 12 cameras, could record large events and shows . In addition to the two Michael Jackson concerts, DOME events for RTL II, the Bravo Supershow, the Sabine Christiansen talk show and Pope John Paul II 's trip to Austria in June 1998 were recorded with the Mobiles . Additional recording vehicles with HDTV technology, which were added to the fleet from 1997, generated an extremely high-resolution image with special cameras. This was particularly beneficial for American and Japanese customers with an affinity for technology, who ordered numerous classical recordings or for the recordings of the Wagner Festival in Bayreuth, which were commissioned by the Kirch Group .
In 1997, the previous technology laboratory and the anteroom of Studio 3 were converted into a new image cutting studio ( Avid room) in order to be able to cope with any editing and mixing jobs. Thanks to the Avid editing suite, image recordings could be edited, mixed and edited by computer within the Dierks studios.
After several redesigns, the Dierks Studios are set up as follows:
- The “Edit Suite” serves as a cutting and demonstration room. Grading, color matching and correction as well as film restoration are carried out here in 4K and HD.
- Studio 1 will be converted into a 100 square meter 4K screening room with a capacity of 30 people. Restoration work, color correction and grading can also be carried out here.
- Studio 3 combines analog and digital recording technology. In terms of sound, analog work is carried out, but this is done using a digital surface.
- Studio 4 and 5 are dubbing, pre-production and composing studios, where you can collect and sketch ideas, which are then completed in Studio 3.
- Studio 6 and 7 are being converted into image processing and conversion studios. B. 2D can be converted to 3D.
Expansion of activities beyond music production
In 1997 Dieter Dierks founded the company Breeze TV GmbH, which initiated sales of goods with POS-TV ( Point of Sale ) by means of advertising via television monitors directly in the retail outlets. In collaboration with the economist Hagen Backhaus , Dierks managed to conclude a long-term contract with Schlecker stores, which at the time operated over 8,000 branches in Germany. In each branch, advertising spots were broadcast in repetitive loops all day long on three monitors. The advertising messages reached over two million customers every day in Germany alone. For the Dierks group of companies, Breeze TV completed the value chain and the service circle between the production of audio / video carriers and the sale of the same.
In 1999 Dierks had the DVDplus (trademark DVD [plus]) patented. The DVD [plus] patent relates to the connection of a DVD to a conventional CD by means of gluing to form a sound / image carrier that can be played on both sides. While the DVD (golden side) plays a film or a live concert, for example, a soundtrack, score music or unpublished live recordings can also be made audible on the other, silver side. In 1999 Dieter Dierks was able to conclude a contract with Singulus Technologies, the world's largest CD and DVD machine manufacturer, to use the patent . Sony USA uses the Dierks license to evaluate the patent under the name DualDisc. In the meantime, national and international artists have produced DVDplus and Dualdisc products, including Herbert Grönemeyer , Die Toten Hosen, Michael Jackson (with a whole box), Santana, Emerson, Lake & Palmer , Steve Harley , Nightwish , Bruce Springsteen , Destiny's Child , AC / DC (over 500,000 units from Back in Black in the US alone ) and Aerosmith . But football clubs such as Bayern Munich or the film company responsible for Blairwitch Project 2 also used the new format. The DVDplus of this film sold over 600,000 copies. A total of several million audio and video carriers in this format were produced, and the DVDplus homepage lists 122 different publications. However, it proved to be an obstacle to the implementation of the format that the rights to image and sound were usually in different hands.
In 2001 the Dierks group consisted of
- Breeze TV GmbH, which, as the largest company in the group, employed over 50 people and covered the areas of POS TV, direct marketing, e-commerce and Internet sales,
- the video car area with the video mobiles 1-4 as well as the "film like" and "slomo" van,
- the recording area with seven studios, whereby Studio 3 was converted for Super Audio (SACD) mixes in 5-channel Dolby Surround Sound,
- the Breeze Dance Division, which was expanding its existing artist base,
- from the production and publishing company Breeze Music and
- from the record company Venus Records, which exploited the existing repertoire and arranged new connections with major record companies in Germany.
meaning
Dieter Dierks produced more than 70 albums in the course of his career, which received gold or platinum status. In addition to commercial success, the "creative tinkerer" is emphasized because of his experimental studio work and technical innovation. Christoph Wagner wrote in 2013: “Both Dieter Dierks and Conny Plank made significant contributions to the development of an independent German rock music. It was through their imagination and creativity that the new sounds were created, which have their own identity for German rock music, while at the same time using the studio as an artistic medium. "The US music magazine Rolling Stone called him the" best heavy metal producer in the world ", For the Spiegel he was the" leading German rock producer back in 1974. "
Productions
The function column describes the role that Dieter Dierks played in production as follows:
- P = producer / producer
- E = engineer / sound engineer
- S = studio owner / operator
- CO = content owner / rights holder
- C = composer / composer
- AR = arranger
- ME = Mixing Engineer
- RE = Remix Engineer
- A = artist
| year | Interpreter | title | function | admission | publication |
|---|---|---|---|---|---|
| 1969 | Their children | Their children | E. | July – August 1969 | Phillips |
| 1970 | Hairy Chapter | Eyes | P / E | January 1969 | Second battle |
| 1970 | embryo | opal | P / E | April 1970 | ear |
| 1970 | Orange peel | Orange peel | E. | Bellaphone | |
| 1971 | Tangerine Dream | Alpha Centauri | E. | January 1971 | Ear (April 1971) |
| 1971 | Hairy Chapter | Can't Get Through | P / E | November 1970 - January 1971 | Bacillus |
| 1971 | Dull Knife | Electric Indian | E. | Phillips | |
| 1971 | embryo | Embryo's revenge | E. | United Artists | |
| 1971 | epsilon | Move On | E. | Bacillus | |
| 1971 | Frame | Frame of Mind | E. | Bacillus | |
| 1971 | Gila Free Electric Sound | Gila | E. | BASF | |
| 1971 | Rufus Zuphall | Phallobst | P / E | ear | |
| 1971 | Witthüser & Westrupp | Trips and dreams | E. | March 1971 | ear |
| 1971 | Witthüser & Westrupp | The Jesus mushroom | E. | August 1971 | mushroom |
| 1971 | crocodile | An Invisible World Revealed | E. | United Artists | |
| 1971 | Wallenstein | flash war | Co-P / E | October 1971 | mushroom |
| 1971 | nectar | Journey to the Center of the Eye | E. | Bellaphone | |
| 1971 | Crumbling machine | Crumbling machine | E. | August 1971 | mushroom |
| 1971 | epsilon | epsilon | E. | 1971 | Bellaphone |
| 1971 | Nine Days Wonder | Nine Days Wonder | E. | 1971 | Bacillus |
| 1971 | Marz & Eperjessy | Marz & Eperjessy | E. | Bacillus | |
| 1972 | Tangerine Dream | time | E. | Ear (February 1972) | |
| 1972 | Hoelderlin | Hoelderlin's dream | E. | January 1972 | mushroom |
| 1972 | Jerry Berkers | On road | P / I / O | ear | |
| 1972 | Delf Jacobs | My songs | S. | United Artists | |
| 1972 | Ash Ra temple | Vibrations | E. | February 1972 | ear |
| 1972 | massage | The Dawn Anew Is Coming | E. | Bacillus | |
| 1972 | Emtidi | seed | P / E | February 1972 | mushroom |
| 1972 | Ash Ra Temple with Timothy Leary | Seven Up | E / ME / O | 1972 | Metronomes |
| 1972 | Annexus Quam | Relationships | E. | May 1972 | Metronomes |
| 1972 | Witthüser & Westrupp | Farmer Plath | Co-P / E | June – July 1972 | mushroom |
| 1972 | Demon Thor | Anno 1972 | Co-P / E | United Artists | |
| 1972 | Jeronimo | Time Ride | E. | March 1972 | Bellaphone |
| 1972 | nectar | A tab in the ocean | E. | Bellaphone | |
| 1972 | Midnight Circus | Midnight Circus | E. | Bacillus | |
| 1972 | Pell Mell | Marburg | P / E | 1972 | Bellaphone |
| 1972 | Twenty Sixty Six and Then | Reflections of the Future | E. | United Artists | |
| 1972 | Walpurgis | Queen of Saba | E. | 1972 | ear |
| 1972 | wind | Morning | E. | CBS | |
| 1972 | Electric sandwich | Electric sandwich | P / E | Brain | |
| 1972 | Wallenstein | Mother Universe | Co-P / E | June 1972 | mushroom |
| 1972 | Flea de Cologne | Lucky strike | P / E | November 1972 | ear |
| 1972 | Cosmic Jokers | Tarot | P / I / O | December 1972 | Cosmic Couriers |
| 1972 | March | The Dream Is Over | E. | Bellaphone | |
| 1972 | myth | myth | E. | 1972 | ear |
| 1973 | Tangerine Dream | breath | E. | December 1972 - January 1973 | Ear (March 1973) |
| 1973 | Lily | VCU | I / O | January 1973 | Bacillus |
| 1973 | Cosmic Jokers | Galatic Joke | P / E | February - May 1973 | Cosmic Couriers |
| 1973 | omega | omega | E. | April 73 | Bacillus |
| 1973 | Ash Ra Tempel and Klaus Schulze | Join Inn | E. | December 72 | ear |
| 1973 | Ash Ra temple | Starring Rosi | E. | 1973 | Cosmic Couriers |
| 1973 | embryo | Rock session | E. | Brain / metronomes | |
| 1973 | Jane | Here We Are | 1973 | Metronomes | |
| 1973 | Message | From Books and Dreams | |||
| 1973 | nectar | ... Sounds Like This | E. | 1973 | Bellaphone |
| 1973 | Walter Wegmüller | Tarot | E. | 1973 | ear |
| 1973 | Passport | Looking thru | E. | October 1973 | WEA |
| 1973 | Passport | Handmade | E. | WEA | |
| 1973 | Birth control | Rebirth | E. | November 1973 | CBS |
| 1973 | Tommy Fortmann | Sunshine in Deep Darkness | P | 1973 | United Artist |
| 1973 | nectar | Remember the future | RE | September 1973 | Bellaphone |
| 1973 | Chris Braun Band | Foreign Lady | P / E | November 1973 | Ariola |
| 1973 | Jeremy B. | This is my life | E. | 1973 | Bacillus |
| 1973 | Gila | Bury My Heart at Wounded Knee | E. | 1973 | WEA |
| 1973 | Wallenstein | Cosmic Century | Co-P | 1973 | ear |
| 1973 | Witthüser & Westrupp | Live 68-73 | E. | 1968-1973 | ear |
| 1974 | Demon Thor | Written in the Sky | P / E | November 1974 | United Artists |
| 1974 | Jay C. Corry | Love Me Or Leave Me | P / E / AR | 1974 | Metronomes |
| 1974 | Sergius Golovin | Lord Krishna of Goloka | E. | 1974 | ear |
| 1974 | Rough cut | Ballermann | E. | February 1974 | Brain / metronomes |
| 1974 | Santiago | New Guitar | P / E / AR | 1974 | BASF |
| 1974 | Cosmic Jokers | Planet sit-in | P / I / O | 1974 | Cosmic Couriers |
| 1974 | Cosmic Jokers and Klaus Schulze | Galactic Supermarket | P / I / O | 1974 | Cosmic Couriers |
| 1974 | Cosmic Jokers | Sci-Fi party | P / I / O | Cosmic Couriers | |
| 1974 | Atlantis | Ooh baby | P / E / AR | 1974 | Polydor / Phonogram |
| 1974 | Birth control | live | E / M | August 1974 | CBS |
| 1974 | Passport | Jubilee Concert 1974 | HE | 16th October 1973 | WEA |
| 1974 | Ike & Tina Turner | Baby Baby, Get It On (Single) | E. | November 1974 | United Artist |
| 1974 | Popol Vuh | beatitude | E. | 1974 | Cosmic Couriers |
| 1974 | nectar | Down to Earth | E / RE | March - June 1974 | Bellaphone |
| 1974 | Tea | Tea | P / E / AR | 1974 | Vertigo |
| 1974 | A meditation mass | A meditation mass | E / RE | Brain | |
| 1974 | Cosmic Jokers | Tarot | I / O | Cosmic Couriers | |
| 1974 | Manuel Göttsching | Inventions for Electric Guitar | E / M | August 1974 | Cosmic Couriers |
| 1974 | Flea de Cologne | Geyer Symphony | E / P | December 1973 | ear |
| 1975 | Tea | The Ship | P / E / AR | 1971-1973 | Phonogram |
| 1975 | Wallenstein | Stories, Songs & Symphonies | S. | mushroom | |
| 1975 | Eric Burdon Band | stop | P / E | 1971-1973 | (July 1975) |
| 1975 | Can | Landed (Track # 1- # 4) | ME | 1975 | Virgin UK |
| 1975 | Inga hull | Second hand girls | P / E / AR | 1975 | Phonogram |
| 1975 | Scorpions | In trance | P / E / AR | 1975 | RCA Records |
| 1975 | Passport | Cross-collateral | E. | 1975 | WEA |
| 1975 | Galaxy | Nature's Clear Well | P / E / AR | 1975 | Venus Records |
| 1975 | Heidelinde Weis | So i sing | 1975 | Intercord | |
| 1975 | Klaus Doldinger | Doldinger Jubilee 75 | E / M | 1975 | Atlantic / WEA |
| 1975 | Atlantis | Atlantis Live | P / E | 1973-1975 | Vertigo |
| 1975 | Atlantis | Get on board | P / E / AR | 1975 | Vertigo |
| 1975 | Lammers / Gong | Out in the Garden / Woman | P / E / AR | 1975 | Monopoly records |
| 1976 | embryo | Bad heads and bad cats | E. | 1975 | April (April 1976) |
| 1976 | Send Fruhling | Symphonic Pictures | P / E / AR | 1976 | Brain |
| 1976 | Passport | Infinity Machine | E. | January 1976 | Atlantic / WEA |
| 1976 | Scorpions | Virgin Killer | P / E / AR | 1976 | RCA Records |
| 1976 | Jay C. Corry | Love Me or Leave Me | Co-P | 1976 | Metronomes |
| 1976 | Jackie Carter | Treat me like a woman | P / E / AR | 1976 | Atlantic / WEA |
| 1976 | lady | lady | P / E | Phonogram | |
| 1976 | Atlantis | Top of the Bill | P / E / AR | 1975 | Venus Records |
| 1976 | Edmundo | Let's Spend the Night Together (Single) | P / E / AR | 1976 | Big Mouth |
| 1976 | Midnight Special | Dance, mom, dance | P / E / AR | 1976 | Big Mouth |
| 1977 | Eric Burdon | Survivor | RE | 1977 | Polydor |
| 1977 | Scorpions | Taken by Force | P / E / AR | 1977 | RCA Records |
| 1977 | Send Fruhling | Sunburst | P / E / AR | 1977 | Brain / metronomes |
| 1977 | Wallenstein | No more love | S. | 1977 | RCA Records |
| 1977 | nectar | Thru The Ears | E. | 1977 | Bellaphone |
| 1977 | Various artists ( Udo Lindenberg / Alexis Korner / Jürgen Drews and others) | Tell! (Musical) | P / E / AR | Teldec | |
| 1977 | Tommy Fortmann | Piccolo Mondo / Old Fashioned Movie | P / E | 1977 | Hansa Records |
| 1978 | Send Fruhling | Ticket to Everywhere | P / E / AR | 1978 | Metronomes |
| 1978 | Scorpions | Tokyo tapes | P / E | 1978 | RCA Records |
| 1978 | Rory Gallagher | Photo finish | S. | Polydor (October 1, 1978) | |
| 1979 | Scorpions | Love drive | PAR | 1979 | EMI / Polygram |
| 1979 | Wolfgang Ambros | Live ... on ana long dark straws (Live) | S. | April 1979 | |
| 1979 | Rory Gallagher | Top Priority | S. | (September 16, 1979) | |
| 1979 | skin | Hot skin | P / E / AR | 1979 | EMI |
| 1980 | Scorpions | Animal Magnetism | PAR | EMI / Polygram | |
| 1981 | Hoelderlin | Mirage | ME | ||
| 1981 | Toy | The split | S. | EMI | |
| 1981 | Bullet | Execution | P / E / AR | 1981 | Polydor |
| 1981 | Vic Vergat | Down to the bone | P / E / AR | 1981 | Electrola |
| 1982 | revolver | First shot | P / E / AR | 1982 | Polydor |
| 1982 | Scorpions | blackout | P / E / AR | 1982 | Electrola |
| 1982 | Rory Gallagher | Jinx | S. | Chrysalis (May 2, 1982) | |
| 1982 | The plasmatics | Coup d'état | PAR | ||
| 1982 | Accept | Restless and Wild | CO | Metronomes | |
| 1982 | Warning | Warning II | P / E / AR | Polydor France | |
| 1983 | Accept | Balls to the Wall | CO | RCA / CBS (June 1982) | |
| 1984 | Black 'n Blue | Black 'n Blue | P / E / AR / CO | April 3, 1984 | Geffen |
| 1984 | Bullet | No Mercy | P / E / AR | Polydor | |
| 1984 | Scorpions | Love at First Sting | P / E / AR | 1984 | Electrola / Polygram |
| 1985 | Accept | Metal Heart (# 6) | PAR | December 10, 1982 | RCA (May 24, 1985) |
| 1985 | Twisted Sister | Come out and play | PAR | WEA (November 9, 1985) | |
| 1985 | Scorpions | World Wide Live | P | 1984-1985 | Electrola / Polygram |
| 1986 | Accept | Russian roulette | CO | RCA / CBS (March 1986) | |
| 1987 | The dead pants | To the bitter end | S. | Virgin | |
| 1988 | Scorpions | Savage amusement | PAR | 1988 | Electrola / Polygram |
| 1988 | Joshua | Intense Defense | S. | 1988 | RCA |
| 1989 | Accept | Eat the heat | P / E / AR | 1989 | RCA / CBS |
| 1990 | The dead pants | On the crusade to happiness | S. | Virgin (May 21, 1990) | |
| 1990 | New Legend | New Legend | PAR | BMG | |
| 1991 | The dead pants | Learning English Lesson One | S. | TOT / Virgin (November 11, 1991) | |
| 1992 | Ina Deter | Crazy times | E / ME / S | December 10, 1992 | RCA |
| 1993 | The dead pants | Buy me! | S. | TOT, Virgin (May 10, 1993) | |
| 1993 | Wolf Maahn | Straight into the blood - (Unplugged) | S. | June 22, 1993 | Electrola (December 16, 1993) |
| 1996 | The dead pants | Opium for the people | S. | JKP / EastWest (January 26, 1996) | |
| 1996 | Scorpions | Still Loving You (# 7) | P / E | by: Various Artists (OST): Bordello of Blood , Mercury Rec. | |
| 1996 | The dead pants | On behalf of the Lord | S. | JKP / EastWest (October 28, 1996) | |
| 1997 | Scorpions | Bad for Good | PAR | 1997 | by: Deadly Sting: The Mercury Years , Mercury Records |
| 1997 | Scorpions | Lovedrive (remastered) | P | EMI | |
| 1997 | Scorpions | Animal Magnetism (remastered) | P | EMI | |
| 1997 | Scorpions | Blackout (remastered) | P | EMI | |
| 1997 | Scorpions | Love at First Sting (remastered) | P | EMI | |
| 1997 | Scorpions | World Wide Live (remastered) | P | EMI | |
| 1997 | Michael Jackson | Ghosts from Blood on the Dance Floor | S. | CBS (May 20, 1997) | |
| 1998 | Black 'n Blue | Hold on to 18 (# 2) | P / CO | By: Various Artists: Geffen Vintage 80's Presents: It Rocks !! Geffen Records | |
| 1998 | Bullet | Down By The Neonlights (# 9) | P | October 13, 1998 | by: Various Artists: Heard It on the Radio: FM Hits, Vol.1 , Renaissance Rec. |
| 1998 | The dead pants | We are waiting for the Christ Child | S. | JKP / EastWest | |
| 1999 | Scorpions | Rock You Like a Hurricane (# 10) | by: Various Artists: Jawbreaker (OST), London Records | ||
| 1999 | The dead pants | Immortal | S. | August - November 1999 | JKP / EastWest (December 6, 1999) |
| 1999 | Elisabeth White | Maybe God's a Woman Too | S. | Wagram / BMG | |
| 2001 | TV Smith | Useless | S. | JKP (April 9, 2001) | |
| 2001 | Black 'n Blue | Ultimate Collection (Tracks # 2/3/4/17/19/20) | CO | Universal / Geffen Records | |
| 2002 | The dead pants | Away game | S. | JKP / EastWest (January 21, 2002) | |
| 2005 | Nisha Kataria | If you want to be mine | PAR | tba | |
| 2007 | Wolf Maahn | Straight into the blood 2 - (Un) plugged | S. | Libero / Rough Trade (November 28, 2007) | |
| 2008 | Tommy Fortmann | Warrior of the night | P | tba |
Web links
Individual evidence
- ^ Andreas Kraatz: Behind closed doors - Dieter Dierks. In: Metal Hammer , edition 10/1986, pp. 22-25.
- ↑ Walter K. Schultz: When the Fööss learned to walk . 2010, p. 80.
- ↑ Loop Di Love on Hitparade.ch, accessed on March 20, 2014
- ^ Andreas Kraatz: The Scorpions. A wild marriage in court. In: Musikexpress. The archive. 2nd December 1990.
- ^ Herman Ze German Rarebell, Michael Krikorian: And Speaking of Scorpions ... 2011, ISBN 978-1-4636-0110-2 , p. 57.
- ^ Lecture by Hagen Backhaus
- ↑ mediabiz about DVDplus
- ↑ a b c Lutz Becker, Holger Hakensohn, Frank H. Witt: Managing companies sustainably . 2012, p. 24.
- ↑ dvdplusint.de
- ↑ Christoph Wagner: The sound of the revolt . Bulkhead. Mainz 2013, p. 114.
- ↑ Pop music: late economic miracle . In: Der Spiegel . No. 34 , 1974, p. 79 ( online ).
| personal data | |
|---|---|
| SURNAME | Dierks, Dieter |
| ALTERNATIVE NAMES | Dierks, Hans-Dieter (real name) |
| BRIEF DESCRIPTION | German musician, sound engineer, producer, publisher and studio operator |
| DATE OF BIRTH | February 9, 1943 |
| PLACE OF BIRTH | Stomping |