1. Fou Fou [3:59] MP3 soundclip of Fou fou [3:00]
  2. Toujours [2:59]
  3. Rue Fortune [2:23]
  4. Balsam [2:18]
  5. Cafe Central [3:40]
  6. Le Jardin [4:30]
  7. Gloria Dolores [4:14]
  8. Etoiles [3:55]
  9. Schöne Welt [4:48]
  10. Final [0:49]

    Bonus tracks:
  11. Tempera [7:25]
  12. Etoiles (remix) [3:53]
  13. Übers Feld [5:40]
  14. Le Jardin (remix) [5:03]
  15. Mittsommer [6:01]
  16. Rue Fortune (remix) [2:21]
Originally recorded and mixed April - July 1978 at Paragon studio, produced by Peter Baumann.

Schagzerig Greene - Cello
Wolfgang Diumshede - Flute
Hans Brandeis - Guitar

One of the most remarkable albums of the so-called Krautrock scene has to be Jardin au Fou by Hans-Joachim Roedelius (Cluster, Harmonia), issued in 1979.
All the more noteworthy as it bore no resemblance whatsoever to what was expected of avant-garde electronica and displayed none of the typical Krautrock characteristics. Rhythm machine, sequencer and abstract sounds are conspicuous by their absence. Indeed, listeners were stunned by one of the most beautiful, charming, ethereal and peaceful albums in the history of German rock music. It was produced by Peter Baumann at his own Paragon Studios in 1978, a year after he left Tangerine Dream to concentrate on a solo career and production work. At the time, he was charged by the French label EGG with delivering three productions from the German electro/avantgarde/ Krautrock cosmos. He thus recorded three long-playing records by Konrad Schnitzler, Asmus Tietchens and Roedelius – the Jardin au Fou album. None other than Asmus Tietchens, friend and artistic companion to Roedelius, has written the following in the liner notes for the reissue: ”Jardin au Fou (fools’ garden) is a thoroughly romantic album, bursting with joie de vivre and unadulterated joy. With the greatest of pleasure, Roedelius cranks up a carousel of fairground organs, popping corks, waltzes and sweet melodies. Musical ideas come thick and fast. If you listen carefully and immerse yourself in Jardin au Fou, you might hear traces of the baroque in this romantic music. Roedelius concentrates on keyboards, in particular the acoustic grand piano. He played most of the tracks by hand exploiting his virtuosity to the full. The sweet disposition of the album as a whole borders on the naive, bearing none of the Krautrock hallmarks one might expect. Sweetness and light it may be, yet the music of Roedelius is less naive than it first appears. It carries a certain, gentle gravitas borne of maturity, reflecting the ongoing quest of a musician for new paths and forms. Jardin au Fou confronts the listener with the unfiltered, open perspective on how Roedelius sees things. Today, some thirty years after it was created, this music has lost none of its shine.”
If that says it all, perhaps we can just add that the CD features six bonus tracks: three remixes of compositions from the LP and three new tracks which Roedelius recorded for the 1998 CD rerelease on the Japanese Captain Trip label.

Press Information Originally released on the French label Egg, this was the Cluster veteran's second solo recording, produced by Peter Baumann in 1978. While "Durch die Wueste" (his first) hunted and pecked at styles, "Jardin au Fou" was where he cemented that particularly light-hearted and wistful Roedelius sound.

Not a garden of madness, rather a garden of whimsy and odd delight, it is simple melodious keyboard music whose character is imbued with unexpected chord progressions that don't resolve in traditional ways, a naive rhythmic sense, and melodic lines that go where you least expect. One gets the feeling that Roedelius had envisioned the scenery of a park on a Sunday afternoon in Paris, or some kind of music from a traveling circus show, when the inspiration for this recording struck him. Farfisa organ mimics an accordion; piano and very primitive synth are the other main colors employed. And triple meter is ubiquitous - almost every piece being in 3/4 or 6/8, giving a palpable French atmosphere everywhere. A new cover design and six bonus tracks make this one extra special. In fact this is the only case I've heard where the extras are as good, or even of higher a standard than the album proper. Three of them are simply remixes of "Jardin" pieces, of similar instrumentation to "Lustwandel", that being mellotron and clavinet, etc. But the other three are for me the CD's brightest moments. Echoing his early 90's output - "Variety of Moods" and others, these morcels go much deeper into heart of Roedelius' compositional craft, showing how far he has come since the 70's in honing his methods.

1998. Mike Ezzo