The northern German classic rock-band Torfrock established themselves in the later ’70s, prior to going with an indefinite hiatus in 1982 and re-forming years afterwards to cultivate their formidable cult status over the concert circuit. Torfrock had been produced by Klaus Büchner and Raymond Voß in 1976, and the theory root the band’s development was to execute German-language traditional rock with a feeling of plainspoken north humor and without the high-minded pretensions. Büchner and Voß, who are performers in addition to musicians, had been influenced with the traditional rock rings of America and Britain. For example, their early repertoire included German-language interpretations of the common rock and roll staples “Hey Joe,” “Summertime Blues,” “Carol,” “The Blowing wind Cries Mary,” and “Let’s INTERACT.” More often than not, though, the music group wrote its material and also constructed its mythology (i.e., perish Torfmoorholmer Legende). Soon after developing Torfrock, Büchner and Voß resolved on a music group lineup also including Reinhard Heinrichs (percussion), Gunnar Kämmer (drums), and Thomas Rieckmann (bass). With this lineup set up, the guys documented and released the recording Dat Matscht Therefore Schön (1977), which include key songs within the Torfmoorholm mythology. Torfrock continuing documenting albums at a reliable rate within the years that adopted — Rata-Ta-Zong (1978), Torfrockball im Hühnerstall (1979), Vierter Versuch (1980), and Mein Gott, Sind Wir Begabt (1982) — before Büchner and Voß made a decision to put the music group on hold to be able to pursue additional projects. Specifically, Büchner enjoyed an excellent run of achievement within the schlager duo Klaus & Klaus with Klaus Baumgart, debuting in 1981 using the solitary “Da Steht ein Pferd auf’m Flur” and liberating albums including An der Nordseeküste (1982), Tierisch Menschlich (1985), Schwer Ist der Beruf (1986), Wir Feiern Wieder Feste (1987), and Die Herzensbotschaft (1990). Voß, alternatively, formed the rock-band Eltern Haften für Ihre Kinder and documented a self-titled recording. In 1988 Torfrock re-formed, though Rieckmann departed the next year, changed on bass by Uwe Meitzner. The music group after that proceeded to record its return recording, …Alle an die Ruder! (1990), including “Beinhart,” a chart-topping solitary in Germany and a high 20 strike in Austria and Switzerland. The comeback was topped off by way of a concert trek commemorated around the live recording Aufe Beinharte Tour (1991) and its own accompanying house video, in addition to by the recording Torfrock Oder Watt? (1992), which presented “remixes” of 17 lover favorites. Torfrock continued to be semi-active within the years that adopted, releasing a fresh recording every few years (Goiler Tonträger, 1994; Rockerkuddl, 1996). The music group was mainly relegated to cult position within the wake of its return, however, which designed increasingly infrequent studio room albums, a larger reliance around the concert circuit, and best-of compilations like the three-CD Beinhart: Alle Strikes (2000). Torfrock even so do make another return with Einigkeit und Blech und Freizeit (2001), the band’s initial new record in five years. The discharge proclaimed the band’s 25th wedding anniversary and was accompanied by a favorite tour commemorated for the live record Die Beinharte Bagaluten-Wiehnacht (2002) and its own accompanying house video. Torfrock resurfaced on-stage every once in awhile within the years that implemented, drawing crowds which were a testament to the band’s apparently undiminishable cult pursuing.