The Scorpions are, by far, the most successful German rock band and one of the most successful international acts of all time and are considered the inventors of Hard Rock and Heavy Metal. The five-member band was formed in 1965 by guitarist Rudolf Schenker and still felt, even after almost 50 years in the music of the great rock scene. Already with their first European tour in 1973 celebrated the Scorpions singer Klaus Meine and his great success and ended up international hits like 'Rock You Like A Hurricane'. Since 1990, you do not arrive in Germany over the Rock Band: The Hymn of the opening of the Iron Curtain 'Wind Of Change' by the Scorpions finally got all the big breakthrough. The single is still the biggest selling single by a German band or a German artist. With a total of over 100 million records sold, the Scorpions were pioneers and models of bands like Bon Jovi and Metallica. 2010 exceeded enthusiasts sad news: Klaus Meine and Co. have announced their farewell to the stage - but his departure did not last long. Just three years later, the Scorpions have declared the resignation of the resignation and brought back into the world of music. In fact they will be performing more than 200 concerts in their final three - year tour and using the time to record a farewell CD with original and covered songs and the band has found the time and energy to bring to life a very special event: their first MTV Unplugged show. On 11 and 12 September 2013, Klaus Meine (vocals, guitars), Rudolf Schenker (guitars, vocals), Matthias Jabs (guitars), Pawel Maciwoda (bass) and James Kottak (drums) played two fantastic acoustic sets in the Lycabettus theatre of Athens.
The open-air theatre, which was designed by the Greek architect Takis Zenetos in 1965 – and thus is just the same age as the story of the Scorpions – is situated on Mount Lycabettus, at 300m height, and offers an impressive view of the Greek metropolis. But the spectacular scenery is not the only reason that convinced the Scorpions to choose Athens for the first ever open-air show in the history of MTV Unplugged. After more than 40 years and 2,000 concerts in 60 countries, they will make their final curtain call and step away from what has defined them for decades — their fans, their tours and their way of life. And along the way, the band will show once more what they do best: playing live. All the unique tour-history of the band from Hannover, from its beginnings up to the star on the 'Walk of Fame' in Hollywood, will be included in this section and which dedicated to the activities live of Scorpions. It been taken into consideration all the tours undertaken from 1971-72, but even before, to date, with a detailed examination of the dates, setlist and anecdotes related to individual tours with in addition the number of audio-video shows of my personal collection of Scorpions bootlegs. The bootlegs circulating often among fans through the circuit of the tape trader. The tape traders, namely the exchange of tapes existed since the sixties and lives his age of gold during all the eighties and most of the nineties, the pillars on which was founded the free dissemination of live music, ethics barter, magnetic tapes and - inevitably - the postal service. The advent of digital - and the Internet, in particular - has rendered obsolete simply too uncomfortable and the tape trading, and that though still practiced by some hard-core fans (both in its original form, either as exchange of cd-r). The trader keep in touch and you know mainly as a showcase for using sections of the ads were for magazines like Kerrang! and Sounds (now it comes to your blog or website): publishing a short excerpt of their lists of live recordings, inviting other fans interested in writing for exchange. Often a tape was a copy (or even more) generation, barely listenable. But you could also get the quality is very enjoyable. A barter of tapes required an average of a few weeks to be completed, taking into account the time of the items, the distances and the passage of duplication (which according to the laziness or commitments of the parties could take away many days). Yet with this rudimentary network, a live recording could ciroclare everywhere and in the hands of traders more careful and fast or just a fan of a certain band. Obviously, a problem could also be the reconstruction of dates, formations and exact tracklist but the charm of this particular world was this too...
In a nutshell, it now seems easy: sitting next to a drink, with a glance at the TV and other to PC, Google, clicks, bootleg! And here came on your hard disk a concert favorite band, maybe just a few days before the concert itself (or even a few hours!), tirelessly even a little. All this was nothing short fiction in a past where the word bootleg meant shady, grinding and illegally craved. Where to find the show that the band had not released officially meant walking in the big city between expo or unknown music stores, searching through thousands of vinyl records and CDs in search of' object so desired. Often it was a show recorded bad, with much public and some distortion, the setlist was rarely complete and usually the amount that you were forced and willing to pay was inversely proportional to the actual quality of the object. In its heyday of the disc illegal, because of a law in force until the early nineties, in Italy (my country) could be implemented and CD discs containing unauthorized recordings. Incidentally what going on in other states, such as Germany, Luxembourg, Australia and Japan. The laws allowed the production of certain unauthorized recordings provided were given, theoretically, the possibility to artist to claim his reward. They were times when disks if they were still selling many and record companies, in the absence of precise laws, rarely moved against those who distributed these media. At beginning of the nineties the situation suffered but a dramatic change: the legislation of these states were changed in a narrow sense and the world of bootleg back to a level of secrecy that then was exploded by the advent of the Internet peer-to-peer networks.

"I love bootlegs. I'm a bootleg freak. It's a collector's thing. It's not about the sound." - Nikki Sixx (MÖTLEY CRÜE)

The importance of their irreducible spectacular force live...
Criticized by rivals of the giants of the seventies with the same emblem of hard rock in the eighties, the Germans have embodied Scorpions, with their long and unpredictable career, all the convulsions and changes in the world Hard'n'Heavy for at least two decades. Ensemble in the history of hard rock, beyond the resounding commercial success, the Scorpions were among the first, along with contemporary Wailters Bob Marley, to break the monopoly of Anglo-American pop-rock music, and, for scorpions Teutonic's work and even more meritorious as it suddenly going to challenge the Anglo-Saxon musicians on their own ground, without the license of uniqueness stylistic and philosophical where they could enjoy the Wailers. But the thickness of the Scorpions goes even further. In fact, they have imposed a gestures and a way of doing the show and to take the stage in which they were forced to confront all the protagonists of the first wave of hard rock of the seventies and has immensely influenced the entire subsequent generation of heavy metal, stating that one of its cornerstones stylistic could not miss athletics live and uninterrupted succession of plastic poses as shouldering the guitar imitating machine gun, the frantic rush to the stage and the constant "headbangin'" (rhythmic shaking of the head of other downwards) during the performance. Before the Scorpions, the rule was that all of the musicians static Rolling Stones or Led Zeppelin, with the only singer to assume the burden of a spectacle with the movement, a furious magma visual and sound that saw the five-member rock out on stage in real their acrobatic performance and muscle (their famous "pyramid" at the end of the concert), thus making your show unique and unforgettable. And their success due solely to their performances alive, always superenergetiche and fiery, for years the best around in rock. To analyze the phenomenon Scorpions can not be that from their being unmistakably and indelibly Germans, by their nature, profoundly Teutonic, they capitalized on all the virtues and masked very well the defects. How large German national football: a few ideas, but very clear and put into practice with great determination and firmness as interpreters of exceptional skill. Why to make legendary songs finished and arranged with the accept, monolithic riffs and raw and the repetitive and predictable pattern (riff- verse-chorus), or to sing out loud audiences composed of thousands of grim "metal fans" with sad and languid ballads and do it for twenty years following, please also far more than a handful of musicians ordinary, you need to have at least as a guitarist Rudolf Schenker (ie the greatest "rhythmic" of all time, with Malcolm Young of AC / DC, James Hetfield of Metallica, Dave Mustaine of Megadeth and a few others...) and a singer from uvula almost limitless as Klaus Meine, a great example of pure class to mess serving team. And you have to put into account that such training, and was forced to give up almost immediately in the service of a brilliant champion of the guitar as Michael Schenker (brother of Rudolf), hired in 1973 to the tune of pounds from the British UFO, after only a year of stay in the Teutonic combo. Replacements were a talented rival before Jimi hendrix, ie Uli Jon Roth, remained in the band until 1978, and then a disciplined gregarious love of the blues, Matthias Jabs, with which, however, wrote the best pages of their long history. The Scorpions have to their credit many albums (some of the masterpieces, some good and some mediocre) and miles of concerts across. The Scorpions were one of the most formations imitated in the history of hard rock and Heavy Metal, but no one ever and managed to build a praise of simplicity so as effective as the other. Band that has been able to take advantage of every opportunity immense populatity of their style, also had the merit to make a decisive contribution to the building of heavy metal culture through sanctification of the moment concert, always interpreted as a gathering of the people of quasi-religious and cathartic, in which to celebrate the music, the audience and the spirit but never (directly) musicians on the stage, eager only to be mere intermediaries between the gods and their disciples invisible metal. Unconsciously or not, they all have something.

P.S.: A very special "Thank You" to Christian Constans for his HUGE help with the site http://scorpcol.freeheberg.com/

- EARLY DAYS (1965-1970) -
Number of shows: 16 (but the number is certainly greater: many dates are missing...)
Start: 1965 - ?? - ?? - Sarstedt, Germany 
End: 06/15/1970 - Stadtjugendring; Sarsted, Germany 
Country: Germany 
Groups Headliner: Easybeats, Dave Dee, Dozy, Beaky Mick and Tick, Remo Four, We, The Eloy, The Rivets, The Lords
Support Groups: Flash of Lightning, Folklore Grouppe of Hannover

1965-05 - Zentralkino; Sarstedt: the place where everything begun. The very fisrt time the Scorpions were on stage: 

1965-??-?? - Sporthalle; Hildesheim, Germany:
Here is the comment of Wolfgang about his show: "Did I have told you already, that I have a pic from one of the very first concerts in Hildesheim  - just me on drums , where we played just three songs, I remember it as it was yesterday because - the first song was " dizzy miss lizzy " from Chuck Berry / later covered from the Beatles. This song started with 8 notes from the guitar and then the drummer and the rest of the band started with a hit on the cymbal ( the only one !! ) is our case this cymbal felt down from stand to the ground after heavy hitting once - in the 60 s most of the cymbal stands did not have a locking nut on the cymbal stand, but just a rubber pin, where the cymbal was layed on. Band stopped the song -> cymbal back on the stand - songs started again - and after hitting the cymbal it felt down again second time - band stopped again. When we started the song the third time -  cymbal back on the stand - there was only just a light hit to the cymbal and the band could do the song to the end!".

1965-12-01 - Bierbergen, Germany:

"Scorpions in the beginning", says Rudolf Schenker (born 31 August 1948, Hildesheim, Lower Saxony, Germany), "starting from '65 already, we werevery much focused on guitar playing, especially on lead guitar. And our first guitar player, next to me, was already very good in lead guitar playing and my brother, who joined the band, because very successful.
Uli Jon Roth was a very well-known guitar player or because a well-known guitar player, so we always were saying that maybe we were a continental or European Yardbirds. Because somehow there came guitar playetìrs out of the Scorpions who made their own careers wordwide by being very good and by influencing many other young bands". Rudolf explains: "This is my side, the bands who inspired me: Elvis Presley, Little Richard, Buddy Holly. Eddie Cochran, all these people. But of course, when the Beatles came, and Rolling Stones, the balck and the white - the Beatles were white, and Rolling Stones were darkie guys. I liked the Pretty Things very much, and of course The Kinks and Yardbirds I liked. And for me, when I was a fan of Elvis Presley, I wanted to make music too, but somehow I was also a soccer player, and somehow I noticed how difficult it is so make music on the guitar, and the guitar had to wait in the corner until the Beatles and the Rolling Stones came. And i'll tell you one thing, when I had started to really work hard to become a guitar player was when I saw these five guys as friends travelling around the world and making music, to their friends. In my naive thoughts, which was good to be naive, this kind of dream came through my way of looking and building the Scorpions and finding the right people, musicians that I could also be in a good friendship with, which was very important for me. and that is also teh reasons that we are still togheter, because of the philosophy. The basic situation is friendship and enjoying being a gang, travelling around the world looking for adventure. Not looking for how you can make the most money".
Quite incredibly, Rudolf says that he had started using the name, The Scorpions in 1965. It is an obvious nod to the Beatles, in the same manner Alice Cooper and Dennis Dunaway had first called their band The Earwigs and then Spiders. However, it should be noted Rudolf came down on the side of the heavier bands against the Beatles: as much as everybody couldn't help but the affected by the fab Four, Schenker was less so. Other rationales for the name from Rudolf include the fact that in German the only difference is that there would be a "k" in place of the "c", and that the scorpion tail is like the needle on a turntable. There's also a numerology component (with 30s and 39s), the idea that many people are Scorpions, and the fact that there's an "s" in Schenker, and that he was born in a "s" town, Schwetzingen. The first producer Conny Plank had some outrageous plans for the band, including changing the name of the band in Stalingrad and Klaus Meine said in 2011: "Yes, when you think about it, it would have been a cool name today, in the Rammstein era. But back then we were way too close to World War II and it would have been no option for us at all. Conny took it even further. He wanted us to go on stage in Nazi uniforms. I dont know what Conny was smoking to come up with that idea, because it doesn't go togheter with our music at all".
"Hippy Hippy Shake, you know, from The Swinging Blue Jeans?" riffs Rudolf, when I asked him about his very early experiences of rock in any form. "'Hippy hippy shake' (sings it). Also from Eric Burdon, House Of The Rising Sun, or from a little bit later, from the Pretty Things, 'Rainin' In My Heart', or 'Don't Bring Me Down' by The Animals, and also from the Stones, Empty Heart, maybe? What else was very new? I mean, I was not a big Beatles fan; I didn't play much Beatles. But the Stones was already very much in our repertorie". "But everything we had in Germany was for us, young guys, terrible. There was more for us from the US, Coca-Cola, Elvis Presley and chewing gum-this was for us the lifestyle. This was for us the way of treally enjoying the life, because everything else, the German... it was be on time, be good in your job, you know, all this classic characteristics of being German. Don't make any jokes. Here, you have to be and work hard and make sure you have a job which you can maybe do until you are 65 and then you save anyway. So that was exactly the way we didn't want to go. And Klaus Meine (born 25 May 1948, Hannover, Germany) too, because Klaus played in a different band called Mushrooms. i'm in the Scorpions, and we said this is not what I want to do. We want to have adventure, we want to make something out of our lives. This was the situatiuon of what I called teh third dimension. it was something we picked up and said here is a way where we can live our lives, enjoy life and make other people happy, and this was the forcing drive of our career going forward". "That was of course, no question about it, two bands: Black Sabbath and Led Zeppelin", answers Rudolf, asked what had inspired him to take the band in more of a hard rock direction. "I can say that also already The Yardbirds had this kind of direction, because of Jimmy page, because of Jeff Beck, and who else was in there? Eric Clapton. So Yardbirds was a very important band too_For Your Love, amazing, great stuff_ That was the reason why Scorpions was also the German Yardbirds, because with Uli John Roth, Michael Schenker and Rudolf Schenker we were also kind of very guitar-oriented_very strongly known guitar players came from Scorpions". Deep Purple was an inspiration as well, although now we're talking more immediate inspiration, directly informing where Rudolf might take his own band... "They had the right songs. I was them the first time amd-maybe it was '68 or '69, I don't know-first of all how loud they played, Ritchie Blackmore, he was very, very much a great guitar player, adnd I think the whole combination with the keyboards... I think that this band was an organic rock band. It was really a way of bringing music the most effective way. Power, attitude, everything was insolved. and of course Child In Time, I think that was the bringer-and Smoke On the Water-for Germany. Because on the one hand, that's the reason why Scorpions. from the first album on, we had also two sides: the ballad side and the rock side. That's the same situation with Deep Purple, because Ian Gillan was the perfect guy to sing a song like Child In Time. I think the whole mixture, all of this, the right songs, the band, how they're performing, everything was perefct for the German market". But first it was "beat" groups for the guys, Rudolf starting "The Scorpions", in Hannover, in '65, with both Klaus and Rudolf's very young brother, Michael, joining the band on December 30, 1970, after leaving their starter group Copernicus. In the beginning, Rudolf also managed the band's affairs, as band management as we know it today was illegal in germany-of note, this is cited as one of the reasons bassist Francis Buchholz was the band's ersatz manager later on, well into the recording years. 
What is considerad the first real version of the Scorpions dates to 1968, however, featured only Rudolf from the band as we know it, Schenker joined by Karl-Heinz Vollmer, also on guitar, Achim Kirchoff on bass and Wolfgang Dziony (born in 1949 in Elze, Germany) on drums. The lineup of the band as it exited in late 1970, was in fact the same one that would record the debut album. "I think we respect each other", mused Michael, about his realtionship with his brother. "The way we grew up, there was no competition and no fights. For instance, I wouldn't go to my parents and ask for money; I would just carn it myself. we had a unique upbringing. At the same time, we are both very visual. In order to get somewhere in life, you need to have a vision. The vision brings you to the table. without a vision, you just do what everybody else does and you are just there. If you are an individual then you create something unique; it's just the way it goes. my whole family are very emotional people. Everything created is created with a lot of feel". Rudolf encouraged young Michael right from the start.
Every time Rudolf would buy a new guitar, he would pass the last one down to Michael. and when Rudolf was too busy and tired from working a regular job, he would pay Michael to figure out guitar licks, for him, for both of them, which came in handly as they worked out the dual parts beginning to emerge through the work of teh English invasion bands (other started influnces ranged from Little Richard through British blues boom groups like Fleetwood Mac). But Rudolf indeed talks about being too lazy to learn the proper chords, and given that impatience, it perhaps makes sense that he would steadfastly over the years define himself as a rhythm guitarist, a somewhat limiting missive. Klaus, of course, in the early Scorpions, soon took over lead vocal chores, which had previously been handled by Rudolf. Michael was all of 15 at this point (Rudolf was 22, as was Klaus), but already somewhat of a veteran, having sat in with his older brother's band at the age of 11, having been bit by the bug when Rudolf brought home a Gibson Flying V one day... Line up in 1965-1966:  Rudolf Schenker (guitar, voc.), Wolfgang Dziony (drums, voc.), Joachim Kirchoff (bass), Karl Heinz Vollmer (Lead guitar). At this time, Rudolf and Wolgang shared the vocals, about 2/3 for Rudolf and 1/3 for Wolfgang. "Katty" was the nickname of Karl Heinz Vollmer. He played in a band with Lotahr Heimberg before he joined Scorpions. This is the story by Wolfgang Dziony: "I met Rudolf in spring 1964 - exact date April 16, 1964 - when my parents moved from Hildesheim to Sarstedt - Lönsstrasse  16. My mother tookover a restaurant and pub at the corner just beside the House Nr. 16. In the Lönsstrasse 16 - base floor had been two apartments - left side family Schenker lived with the three kids -Rudolf , Michael and Barbara  - right side - same floor - my parents had their apartment, which was part of the restaurant deal  Already in summertime 1964 Rudolf was outside, a playground for kids, having his first guitar and played some songs from Elvis. Later in october 64 i met my wife Karin first time and she is still on my side, watching me and my health, so we will have 50 years anniversary ( married 44 years ). Same time we started the first try to make music together, on wednesday, when the restaurant/pub was closed.  We made some" noises "  inside the pub. Later, when it became too loud inside, we even get out and went into a sand mine outside Sarstedt, 2 km away , with some hand trailers to carry the small equipment we had. Rudolf was learning the profession " high voltage mechanic " so it was easy for him to fix our cables by " flying cables "  to the voltage supply of the sand producing machines, very old fans from Sarstedt remember very well, that we could be heard at our living place even from sand mine outside Sarstedt. My parents (and me) left Sarstedt already September 22, 1966 back to Hildesheim, I still went to grammar school there, which i did the three years beeing in Sarstedt.
Rudolf's mum  lived there in the Lönsstrasse 16 with a small (and best equiped !) museum in the kids room until Rudolf took here into a Schwarmstedt senior residencce near to him in 2008 - or 9 After i left the band in Oct/ Nov 1972, I was just doing my profession as a car mechanic. Later i went up to be workshop manager / and instructor for earthmoving machines (caterpillar) and the last years before i started to play drums again in 2003, I was sales manager and technical manager for some european manufacturer of forklifts and power lifting access machines. So, in fact i did not play drums form more than 30 years, really nothing, until Rudolf invited us to his 55's birthday party 2003 near his hometown Schwarmstedt. Later that night Rudolf came to me and said "come on, lets go to the stage making some music tonight " which i did after 30 years first time having sticks in my hand. Lothar Heimberg, which was also present , refused to do this after having not playing bass guitar for 25 years. So we did it, and Rudolf was impressed of my drum action, and he did not believe that i havent done 30 years . This was the day for me, where I noted :  hey , it makes fun to be a drummer again and i built up my drum set, which was stored in cases for 30 years , in my own home at basement. So i built up my own home studio, but not for recording,  just for drumming and having some friends with me for remembering the good old days. My own cover rock band was founded from me April 2009 and we are still together (just the bass guitar player was replaced in Sept,2013 , because he could not accept, that i had that old history and fans came to me asking for signing the "Lonesome Crow" during our gigs".
The line-up in 1967 was : J.Kirchoff, K.H.Vollmer, Werner Hoyer (voc.) , R.Schenker, W.Dziony. Werner Hoyer, from Hannover, was the very first separate singer. He was in the band less than one year.
Here is a comment from Wolfgang Dziony about the 1967-1968 era:
"In the time between end of 67 and end of 68  the band was looking for the identity, up to 1 year, ups and downs changing music styles more than once. You might not believe, but we had short time a guy called "Ede " Wolf from Hildesheim in the band , which was playing piano like Jerry Lee Lewis , which he did in concerts with us - even jumping on his piano and playing with the feets. Anthother guy, same time together with " Ede " Wolf , named Gentemann (son of a garden/ flowers  shop in Emmerke near Hildesheim)  was playing Saxophone with us. That time we played some songs from the soul area  ( early Ike & Tina Turner and some more )  I remember a song " land of thousand dances".
The Scorpions in 1968: Lothar Heimberg (bass), Wolfgang Dziony, Rudolf Schenker, Ulrich Worobiec (Lead guit.), Bernd Hegner (voc.). Ulrich Worobiec remplaced K.H.Vollmer at lead guitars at the end of 1967. He was from Starstedt. He left the band at the end of 1969, remplaced by Michaël Schenker. Nickname of Lotahr Heimberg is Lolo. He joined the band in 1968, thanks to Wolfgang Dziony. He left the band in 1973. After a break he played for two years with Bernd Hegner in a band called ARGOS. After a new break of three years, he created the band SERENE with others musicians from Hanover, including Achim Kirschning. He stopped the music business in 1983. On 2014-01-11, he joined Wolfgang Dziony on stage for a concert with Ballroom Hamburg Allstars. Bernd Hegner, nickmane "Keule", was the next singer after Werner Hoyer, he could also play guitars.
He was from Hidelsheim, and joined the band in 1967 or 1968. He left the band in 1969, and played in a band called ARGOS with Lothar Heimberg. Now he's a teacher, but still playing music, in a small range. Always in 1968 the band change and it is : W.Dziony, R.Schenker, Jimi Hendric (voc.), L.Heimberg, U.Worobiec. Gerd Andre, nickname "Jimy Hendric" is a singer from Berlin. He got this nickname because he looked like the famous guitar Hero! He was only a guest singer in few concerts in Berlin. Not a full Scorpions member. Finally, by Sylvester 1969 - August 1972, the band will be 'made: W. Dziony, R. Schenker, Klaus Meine (voc.), Michael Schenker (Lead Guit), L. Heimberg.

Fomer Mushrroms vocalist Klaus Meine and guitarist Michael Schenker (born on 10 January 1955 in Hannover, Germany), younger brother of Rudolf, were in a band called Copernicus in their native Hannover with bassist Holger Twelve and drummer Mike Grimcke prior to joining Scorpions in December 1970. Previous to this, Michael Schenker had travelled through his first act The Innovates in 1966 though Cry, later Cry Express, in 1968 and from Copernicus to the Scorpions precisaly.
Over the weekend on stage Monday hoarse voice (pic below)... Klaus remembers: "This was my first band in 1966, the mushrooms we played in clubs in Hanover and in the surrounding villages, we were all amateur musicians Parents guitarist, Dieter Krause, has had a house here in beech.
I come from a simple working-class family, but they had this house. And since there was a cellar where we could try. Dieter and the other guitarist Teddy had guitars cornea. I had because after all, has already led to my Sennheiser microphone. In our shows went really no more than 90 minutes or so, but on the night of 20 to the morning of the second clock.
It was always 20 minutes played, then pause, then another 20 minutes. Dance, but also cover of The Stones, The Beatles, The Who and The Shadows. Our manager Zippel sitting at the box office, it was his job, and has collected the voices of two market. At that time, I did my apprenticeship as a decorator, and the boss always knew when I showed up Monday as voice over".
Rudolf Schenker initially also handled lead vocals and he adds: "Klaus is such a blessed and good singer who has vocally developed unbelievably well in the last decades. I must honestly say that Klaus has so internalized the SCORPIONS sound that my BLACK SABBATH-style of singing that I had then in 1968/1969 when we still covered songs, would not fit anymore today. During song compositions like 'Fly To The Rainbow', I sometimes take over the vocals. Perhaps the time will come again, but I currently do not need to contribute vocally".
The very first concert of Scorpions of which there are records dating back to 1965 to Sarstedt, a town close to Hannover, Germany. In the second show at the Sporthalle; Hildesheim, Germany the Scorpions 3 songs played. In 1967 in the village of Groß Düngen, Germany the lead guitar Wolfgang Dziony was remplaced by Harald Großkopf because Dziony was at hospital for appendicitis. December 31, 1969, was a decisive moment in the history of the Scorpions in concert in Langelsheim (in the district of Goslar), Klaus Meine and Michael Schenker finally decided to join the band of Rudolph. Probably the last show before the Lonesome Crow tour was played to Stadtjugendring; Sarsted, in Germany (June 15, 1970). Of course in these 5 years or so the band will have played many more concerts in clubs or festivals in their Germany, but now you have only known of these after the tourhistory research. Their attire consists of jeans, hoodies, jackets jeans or t-shirts, a look absolutely normal for teens of that age. In their setlist they played covers of other bands: Beatles, Pretty Things, Rolling Stones, Yardbirds, The Kinks, Elvis Presley... Songs likes Dizzy Miss Lizzy, Johnny Be Good, Long Tall Sally, all or nothing, Satisfaction... They also played before Lonesome Crow release, all songs of Lonesome Crow live.

Very early 1966 - Freizeitheim Vahrenwald; Hannover, Germany. This is the place , where they had their rehearsal room and where they played several times up to 1972:

1966-??-?? - Beat Club; Wallensen , Germany:

1967 - Fehmarn Island :

In concerts at Jaguar Club - Scala Herford.
Here are comments by Wolfgang Dziony about those shows: "If I remember right we played  Jaguar Club , Herford three times - with me, so it can be each either one time - opener for Dave Dee, Dozy, Beaky, Mick and Tich I have seen a short video that date, i dont know where - where Michael as a kid of 11 years was seen in front of the stage. The other gig was as the opener for the australian band " easybeats "  they had the hit single " friday on my mind " - (this song later was covered by Gary Moore ) as a very bad remembering fact was - when we arrived - it must be in the autumn - oct or nov.  we could not find the Club in town, because it was  so foggy, ( I was driving our VW bus as often ) that we could not see the buildings and the street plates beside the streets in the town Herford. It took 2 hours inside Herford to find the Club i remember, that " easybeats " had no equipment arrived - maybe out of  same reason - foggy day  - no amps no PA - no drums -  they just had their guitars so they asked us to use our complete backline and our PA - after our  opening -  we agreed and they did ! I cant remember the date, but mid / end of 60 s  the Jaguar club was  one of the famous location for rock gigs. The third time Jaguar club in Herford was as opener for the german band  " Rivets " (I remember the name of the singer Henner Hoier)".

1965-??-?? - Sarstedt, Germany
1965-??-?? - Sporthalle; Hildesheim, Germany 
1965-12-01 - Bierbergen, Germany
1965-12-11 - Bierbergen, Germany
1966-??-?? - Beat Club; Wallensen , Germany
1966-09-03 - Hamburg, Germany
1966-09-04 - Hildesheim; Germany
1966-09-13 - Beat Club; Elze, Germany
1966-12-17 - Beat Club; Hannover - Döhren, Germany
1966-12-18 - Beat Club; Hannover - Döhren, Germany
1967 - Fehmarn Island 
1967-02-11 - Jaguar Club Scala; Herford, Germany
1967-06-10 - Jaguar Club Scala; Herford, Germany
1967-??-?? - Groß Düngen , Germany
1969-12-31 - Beat Club, Langelsheim, Germany
1970-06-15 - Stadtjugendring; Sarsted, Germany

Wolfgang Dziony remermbers about those old handmade posters (1966-12-17/18) - Beat Club; Hannover Dohren, Germany: "This is one of the first handmade posters - made by Heinrich Schenker -  and we went out together to put these posters everywhere around the gig location on trees and in show windows of shops:

Bootleg Audio: -
Bootleg Video: -

- LONESOME CROW TOUR (1971-1974) -

Number of shows: 61 (but the number is over 130 concerts...) 
Start tour: 05/29/1971 (Fredddom Festival, Goslar, Germany) 
End tour: 06/30/1974 (Glocksee Club, Hannover, Germany) 
Countries: Germany 
Groups Headliner: Nazareth, UFO, Vinegar Joe, Edgar Broughton Band, Longtall Ernie and The Shakers, Greenslade, Colosseum, Family, Status Quo, Steamhammer, New Abraham Group, Sam Apple Pie, Bobbeis Children, Clouds, Brinsley Schwarz, Ashton-Garder -Dike & Co, Ekseption, Man, Can, Frumpy, Bronco, Faces, Eloy, Mythos, Rory Gallagher, Karthago, Nektar, Reaction, Atlantis, Birth Control, Time Of Commotion, Euphrat, Epitah, Kraan, Guro Guro, Embrvo Pope Zoot, Hard Cake Special, Erstgeburt, Doloinfers Passport 
Support Groups: Tiger B.Smith, The String Band, Karthago, Abacus, Livin Blues, Randy Pie, Nektar, Otto, Addition, Kin Pink Meh, Wallenstein, Flaccio Blame

In February 1972 the Scorpions released their debut album Lonesome Crow with a line-up featuring the Schenker brothers, Meine, bassist Lother Heimberg and drummer Wolfgang Dziony. This is the first tour in support of debut album and sees the band perform extensively around only the whole Germany, combining club dates with billings at festivals (the Scorpions plays full Lonesome Crow album & classic rock covers). From the beginning the band states with all his might that the 'activity' live must be one of the cardinal points of the Scorpions. In fact the band toured Germany heavily to promote the record putting in support gigs to Rory Gallgher, Uriah Heep, Chicken Shack, Atomic Rooster and UFO among others. In the open-air concert in summer 1971 played a Leine river (Hannover) and the drummer Wolfgang Dziony recalls for this show: "The pic of the live gig was 1971 in summer in Hannover at the " Leine " river - excat date is not known anymore. The place is directly at the rivers beach (but no sand) in front of us . The audiance -except some 15 belonging to the band -  some hundreds of people - are standing 50 m away - opposite on the other side of the canalized river - 15 m higher - thas the reason of the perspective of the pic, which is taken from the other side of the river".

Headphones on, album... Klaus told: "It was the time of the first album, because I still smoked Note that the boots were very foundation and at that time belonged to anyway...
A little know me by the beard. I call this my was progressive. This was also the time when one more album when they came out to get enough has induced with headset - it was not as hectic as it is today. This was, I believe, Deep Purple. O Black Sabbath! The new album is really great. We really grown into a good time and was still inspired by the best, I think".

The Scorpions will change still: in fact the American drummer Joe Wyman was also a member of the band for 1972/73 touring duties and this is the line-up November - December 1972: L. Heimberg, Joe Wyman (new drummer), M.Schenker, R.Schenker, K.Meine... and Joe Wyman says: "Here is my short story. I just turned 19 (1972) and was traveling through Europe when one day in Germany I walked in a record store, and met the owner who was from England. We talked for a while and I mentioned that I would like to find a band in England to play drums for and make money so I could stay in Europe. He told I could advertise in a music magazine, so he helped me write an ad in the Melody Maker Magazine. About two weeks later he (the record store owner) contacted me and said there was a band (Scorpions) interested. I called them and set up to meet the band in Hanover, for an audition. The band at this time had Klaus, Rudolf and Michael Schenker and a bass player named Lolo. Michael who was 16-17 years old was a awesome guitarist, and was teaching his brother Rudolf how to play the correct guitar parts. They where impressed with my drumming because they hired me right away. They had just finished their first album/record and wanted to promote their new music around Europe. I stayed with Rudolf in his apartment, until I got a place of my own, and rehearsed and played out at clubs and concerts mostly in Germany. They where rated one of the top German bands at the time and we opened some concerts up for a few famous English bands that came around. All the songs we did where in English so I helped them with pronouncing some of the lyrics. It was hard living in Germany due to me not knowing the language, and it was cold!
The reason I did not stay with the band was that they hardly made any money and could not or would not pay me. So when I ran out of my own money, I had to give them an ultimatum and said pay me or I'll leave the band. They were not happy about that and stole my drums to try to force me to keep playing. Out of money, no drums and an angry band, I had my parents send me some money and flew back to the USA. There is a lot more to this part of the story, but would take too long to write About 12 years later one day I heard a song on the radio, and I knew that voice! Klaus has a one of a kind voice. It took them 12 years and several band member changes for them to finally make it to the USA. I have met up with them since back stage at their concerts, and made amends with Klaus and Rudolf. The last time they had concerts here in Florida, they got a new manager and he would not let me go back stage too see them. I have always been able to go back stage to see them with no problems , so who knows if I'll ever see them again. Today I am privileged to be teaching drums, playing in my own local band around town here in south Florida, and I buy and sell drum sets for a living. People ask me all the time if I regret leaving the band, I just say no, and ask them how many people do you know, get the chance to be a member and play with one of the worlds most famous bands. I have been fortunate to say I have!".
He leave the place to Harris drummer Werner Lohr, membership of the Scorpions  in the first half of the '73: the band is L.Heimberg, M.Schenker, K.Meine, Werner Lohr (drums), R.Schenker (pic up).
The opportunity to support UFO once more came in the summer of 1973: in the show of June in Resensburg, Germany, the band's flash blond guitarist, Michael, would be poached by the latter of those, Phil Mogg's precocious UFO, who were nonetheless sounding like Krautrockers at this point, promoting their "space rock" album Flying. UFO vocalist Phil Mogg recalls: "Bernie Marsden who was playing with us at the time when we had a tour in Germany to do, forgot hispassport, and things weren't great. We'd seen Michael play with Scorpions-an outstanding guitarist!-so we asked if we could borrow him for the gig, and we did two nights with him and then asked him to join". It's one of those things, really", adds UFO bassist Pete Way. "Scorpions was supporting us, and Michael was the guitarist player for Scorpions. Bernie lost his passport and we had to play. And it was actually Phil who said, 'Well, that bloke's really good, isn't he? The blond fellow'. And he filled in. And from then on... he didn't speak English and we didn.t speak German particularly and that was it. He was in the band". Klaus Meine recalls: "That was a loss that almost brings tears to the eyes.
 I can still remember well, it was in 1972/73 during the time after Lonesome Crow, the first album, a real important step, when Michael went to England. London was a dream for every musician at that time. We brought Michael to the airport, said our goodbyes, and some had tears in their eyes. One was happy for him because one knew that this was a big chance for him. But we lost a great musician and it was naturally a family matter for Rudolf; we were at a loss. To be honest, we did not know if we we were even gong to make a second album. There wa a big question mark behind that. I can still clearly remember that. But it was a good step for michael; he carved a great international career, long before we were a part of the international rock family". Michael Schenker says: "I think God wanted it that way. I don't think it would have worked as well for Scorpions or my brother it I had been in the band. I think by moving me out of the Scorpions... my brother is more like a group person and I am more of an individual person. His dream was always to be in one of the biggest bands in the world and my dream was to be one of the best guitarists in the world. The visions show that he is a group person and I am a loner. My brother shares his energy with the others and I just simply go within myself and get it from the essence of my being. I was quite independent. I recorded Lonesome Crow when I was 15". "When Michael joined for Phenomen, he was the lucky link", adds Phil. "It made our sound, which I think is very British, a little European with his playing German or Teutonic. So it became a very European rock band". 

The first show with Uli Roth (born 18 December 1954) will take place in the little town of Vechta (June 29th, 1973), which was situated to the north of Hanover. Uli says: "I really enjoyed playing live with the band and we became a good team on stage right away. The audience responded very well and the whole thing felt right to me. After the show, Rudolf and I drove back togheter in the van. Rudolf was sitting bahind the wheel and we shared our thoughts. I had participated in the show without any preconception and with a completely open mind. Dawn was breaking and the fod was gradually rising from the fields and as we were talking, I began to fell that some kind of constellation of destiny was in the making. This was to be the first of many long drivers by car where the two of us would hold inspiring conversations. Both us were of a philosophical bend and loved to talk about these subjects. During a pause I spontaneously said to Rudolf 'That was really a lot of fun on stage tonight! If you ever have any other gigs like that, plese call me". The rest is history... The departure of Michael Schenker led to the breakup of the band. In 1973, Uli Roth, who had helped Scorpions complete the Lonesome Crow tour, was offered the role as lead guitarist, but turned the band down, preferring instead to remain in the band Dawn Road. Rudolf Schenker eventually decided that he wanted to work with Roth, but did not want to resurrect the last Scorpions lineup. He attended some of Dawn Road's rehearsals and ultimately decided to join the band, with a new rhythm section which consisted of Roth, Francis Buchholz (bass, born 19 February 1954 in Hannover, Germany), Achim Kirschning (keyboards) and  Eloy, Dawn Road and Morrison Gulf drummer Jürgen Rosenthal (drums). Roth and Buchholz persuaded Rudolf Schenker to invite Klaus Meine to join on vocals, which he soon did. While there were more members of Dawn Road than Scorpions in the band, they decided to use the Scorpions name because it was well known in the German hard rock scene and an album had been released under that name. Uli adds: "A first concert was suddenly on the horizon, it was a nation-wide live television broadcast in Lindau on Lake Costance, August 18th, 1973. 
We were supposed to perform two songs. At that point in time, we were anything but battle-tested, but despite of this, we were not nervous. We sounded very different from all the other bands on the bill, which included seasoned stars from the German scene, including Atlantis, The rattles and Guru Guru. Our two-song appearance eraned us a recording contract with one of industry's majors: RCA Hamburg". And this is one of the great videos of the band what had been broadcasted in the 70's: the band just in this their first appearance at a festival in Lindau, Lake Constance in 1973 in bootleg. The show was also part of nationwide television broadcast. As mentioned by the same Uli, the Scorpions played two songs which were broadcast on November 9, 1973. One of them is "This Is My Song". Unfortunatelly it's incomplete. The first and the last seconds are missing. There is the only one live video recording what I know where Jürgen Rosenthal is the drummer. Another great appearance in video is a incomplete TV PROSHOT recording of "I'm Going Mad" from the very first album Lonesome Crow. The band had still searched for theirselves. this album is more psychedelic than hard rock.
Such as clothes and stage the situation is really very simple and as is the right to be a band for beginners: t-shirts out of the jeans, jacket,... and a normal drum set in a small space to juggle.
As audio-bootleg to report an very interesting demo-pre Lonesome Crow: two tracks from the incoming album Lonesome Crow: "Action" and "I'm Going Mad".
They are different like the album versions. These should made in the studio in the October of 1971. Klaus Meine says: "Those were our first steps into a studio; I believe it was in a private studio in Osnabruck and that album was never finished. We had joined a talent competition, and the first price was a recording contract. The competition took place in the Niedersachsen Halle (Lower Saxony Hall) of Hannover. But we were disqualified on this night because we were too loud. The glorious recording contract went past us at first; we were only the second place. But a few weeks later, the phone rang.
The band that had won-I don't remember anymore which it was-disbanded, and that is how we got pushed to the front and we bagged the recording contract. Full of hope and enthusiam, we went to this studio in Osnabruck, But as far as equipment went, we were already off to a good start that we could quickly deduce that this supposed studio was more a hobby studio, and that the so-called recording contract had no value. The recording that we made there could be thrown in the garbage. But it achieved one thing; we went out of there and said: 'Damn, now we really want to see what a real studio looks like!' Then we drove to Hamburg and met with Conny Plank in Star Studio. Looking back, he was one of the biggest legendary producers of the time; he had produced Kraftwerk and many other great bands at the time. That was our first step in a real studio and conny Plank produced our first album Lonesome Crow". In Glocksee Club, Hannover, Germany (June 30, 1974) is last show with Jurgen Rosenthal which record still the second disc of the band Fly To The Rainbow ('74) but can not join the tour in support of the album. Doobie Fechter, also named Jürgen Fechter; was the drummer joined the band following Rosenthal's enforced army draft. The Scorpions in summer 1974: Jürgen Rosenthal (drums), Rudolf Schenker (guitar), Klaus Meine (vocal), Achim Kirschning (keyboards), Uli J. Roth (guitar), Francis Buchholz (bass) before recording the Scorpions' album Fly To The Rainbow...

1971/05/29-30-31 - Fredddom Festival; Langelsheim, Germany 
1971/summer - Leine river; Hannover, Germany 
1972/04/05 - Stadthalle; Heidelberg, Germany
1972/04/16 - Musikhalle; Hamburg, Germany
1972/05/02 - Halle Schwarz-Bunte; Lübeck, Germany
1972/05/03 - Landhalle; Munster, Germany
1972/05/21 - Fredddom Festival; Langelsheim, Germany
1972/06/06 - Niedersachsenhalle; Hannover, Germany
1972/06/08 - Weser-Ems Halle; Oldenburg, Germany
1972/06/09 - Deutschlandhalle; Berlin, Germany
1972/06/10 - Philipshalle; Dusseldorf, Germany
1972/06/11 - Radio Bremen; Bremen, Germany
1973/01/13 - Phillipshalle: Düsseldorf, Germany
1973/01/14 - Nordseehalle: Emden, Germany 
1973/01/16 - HR-Studio: Frankfurt, Germany
1973/01/18 - Rosengarden; Mannheim, Germany 
1973/01/19 - Sporthalle Bellevue; Saarbrucken, Germany
1973/01/20 - Ellentalhalle; Bietighem, Germany
1973/01/21 - Niederrheinhalle; Wesel, Germany 
1973/01/26 - Jahrhunderthalle; Frankfurt, Germany
1973/02/16 - Piccadilly: Karlsruhe, Germany 
1973/03/03 - Inter Beat Festival; Gifhorn, Germany 
1973/03/29 - Big Eden; Berlin, Germany
1973/03/30 - Dachluke; Berlin, Germany
1973/03/31 - Sloopy; Berlin, Germany 
1973/04/01 - Chita 2000; Berlin, Germany 
1973/04/05 - Zoom; Frankfurt, Germany 
1973/04/06 - Collosseum; Mannheim, Germany 
1973/04/11 - Go Go Metropol; Marl, Germany 
1973/04/12 - Picadilly; Hagen, Germany 
1973/04/13 - Thing; Würzburg, Germany 
1973/04/14 - Top Act; Weißenohe, Germany 
1973/04/15 - Red Act; Schönsee, Germany 
1973/05/02 - Soldatenheim: Faßberg, Germany
1973/05/03 - Zur Grille; Minten, Germany
1973/05/04 - Little Big Apple; Kehlheim, Germany
1973/05/05 - Stadthalle; Bamberg, Germany
1973/05/12 - Laden; Duisburg, Germany 
1973/05/16 - Go Go Metropol; Marl, Germany 
1973/05/17 - Picadilly; Hagen, Germany 
1973/05/19 - Jugendclub; Bottrop, Germany 
1973/05/30 - Kaisersaal; Lübeck, Germany 
1973/06/?? - Resensburg, Germany
1973/06/09 - Stadthalle; Witten, Germany 
1973/06/16 - Renaissance Club; Hamburg, Germany 
1973/06/23 - Blue Note; Wilhelmshaven, Germany 
1973/06/29 - Vechta, Germany 
1973/08/18 - Lindau, Germany
1973/11/01 - Mosarsaal; Rosengarten, Germany
1973/11/23 - Jugendhaus, Berlin, Germany
1974/02/01 - Pop Meeting, Grugahalle, Essen, Germany
1974/02/02 - Pop Meeting, Grugahalle, Essen, Germany 
1974/03/03 - Rhein-Neckar-Halle; Heidelberg, Germany
1974/04/06 - Super German Rock Festival; Oststadthalle; Karlsruhe, Germany
1974/04/07 - Super German Rock Festival; Festhalle; Freidrichschafen, Germany
1974/04/13 - Super German Rock Festival; Donauhalle; Ulm, Germany
1974/04/14 - Super German Rock Festival; Kurshessenhalle; Kassel, Germany
1974/04/15 - Super German Rock Festival; Ernst-Merck-Halle; Hamburg, Germany
1974/06/30 - Glocksee Club, Hannover, Germany 

Bootleg Audio: 1
Bootleg Video: 2

- FLY TO THE RAINBOW TOUR (1974-1975) -
Number of shows: 94 (but definitely missing dates, probably in Denmark...)
Start tour: 1974/09/07 (Stadthalle; Hattersheim, Germany)
End tour: 1975/08/30 (Borken Open Air, Germany)
Countries: Germany, Holland, France, Belgium, Luxembourg, England
Groups Headliner: The Sweet, Edgar Broughton Band, Dr.Hook, Omega
Support Groups: ???

Although Jürgen Rosenthal recorded the album he left very shortly after the recordings were completed playing his last show on June 30th 1974, five months before the album Fly To The Rainbow would be released. After Jurgen there was another drummer for about a year that was never on any official recordings. His name was Doobie Fechter (a.k.a. Jürgen Fechter Doobie) and he was the drummer between J.Rosenthal and R.Lenners. He played with the band in France, Belgium, Germany... Doobie left the band in 1975 for personal reason (he left just prior to the recording of In Trance to spend more time with his girlfriend). Few years later he came back in the music business with a band called T.N.T. and recorded an album DEFLORATOR (1984). After the split of T.N.T. he joined the band VIVA (1988). It is incredible that the keyboard player Barbara Schenker, sister of U.F.O. and MICHAEL SCHENKER GROUP guitar hero Michael Schenker and SCORPIONS rhythm guitarist Rudy Schenker, was founder of Hard Rock band VIVA. In fact in 1981 Barbara Schenker formed the ROCK act VIVA at a Scorpions gig in London where she met Swiss Italian Marc Paganini backstage inviting him to join VIVA as a frontman. Initially the VIVA formed in 1980 in Hannover, as a very young POP Rock Band. The manager  ended up behind bars and VIVA split up.
Rudy Lenners was from Belgium and had seen the band play there. When he learned of the auditions to fill the vacant drum seat he immediately jumped at the chance to audition. However he did not make the first cut. However he asked the band to please allow him to play for them once more where he completely changed the band's opinion and they immediately brought him on. Being Belgian, Rudy Lenners was only able to communicate with the band in English until he picked up a little German.
The limited but still substantial tour itinerary for Fly To The Rainbow would find the band, again for the most part, stuck legging it around Germany, playing with the likes of Edgar Broughton and Dr. Hook. The Scorpions journeyed the autobahns once more in 1975 as support to the Sweet.
Uli Roth says: "We began to write songs for nw album Fly To The Rainbow. During autumn and winter of the year 1973, we played a series of gigs, mainly in clubs, but also several festivals. we were experimenting with our repertoire and increasingly integrated new material into the sets. Preceding the album, we first recorded a demo featuring some of the new songs. Directly following a tour with DR.Hook & The Medicine Show on April 1st, 1974, we began the official recordings for our second studio album in Munic's Musicland Studio. The remainder of teh year 1974, saw us play more and more concerts, although initially it was not exactly easy to procure those opportunities. At that time, Rudolf was effectively managing teh band, due to the absence of a professional manager, and he had a talent for it. Anything but an easy undertaking, Rudolf sometimes had the strangest and most outlandish ideas, some of which were actually implemented. Our ship navigated from port to port - and some of those definitely took some getting used to. Such as our month-long club tour in the fall of 1974 with Casey jones from Liverpool and a 16 mm film projector, which featured music 'videos' such as 'YMCA' and 'Kung-fu Fighting' during the intermissions. But all this made us grow".
"Achim Kirschning as well, had gradually left the band as it were, in 'installments'. Due to the total dominance of guitar sounds, keyboards only were relegated a small role on the side. It had been Rudolf who had forced our hand regarding this point. We had to decide which sonic direction we should take. We chose the guitar. It was not enough of a platform for a skilled keyboard player to build a career on and Achim decided for himself to listen to his inner vouce of reason and to embark on a more solid, respectable road. He became a maths teacher at the local high school and nowadays he is the head-master at the very Robert-Koch school in which we had our rehearsal room".
The line-up in Fly To The Rainbow tour: Uli J.Roth, Rudy Lenners (drums), Klaus Meine, Rudolf Schenker, Francis Buchholz.
Klaus Meine adds: "Naturally we could not live on music alone in the beginning of the 1970s. You had to instead bring money. We bought a sound system through a loan. This great equipment then had to be transported to our gigs, meaning there must be a reliable means of transport. Money was never in the cash register and we had to really play a lot for the small honoraria that was there then to even receive money. I did not work again as a decorator after my training. During  the time when I started for teh Scorpions, i was fo example, a driver for a big company that delivered medications to pharmacies. I had very big liberties there and luckily enough, my boss was a junior manager who supported me really well. he could understand when I came to him sometime and said that I needed this back-up for my health insurance and that I needed to earn a bit of money. But at the same time I also needed the freedom that perhaps I could only work for two and a half weeks in a month, because I had to be somewhere in Belgium on tour with the Scorpions, and we had a few lucrative gigs. Thank God, he was a cool guy who had supported me during that time, but regretfully also died very young. so I was lucky that I could earn a little bit of money. At the same time I could further follow the way with the Scorpions without having to tell the boys: 'Sorry I cannot stand on the stage on Wednesday in Flensburg, in Bad Salzuflen or in Gronau, because I have to work or I will lose my job'. But the point came sometime when we played more as a band, when we started taking off and we already had our first and second album out. At this point we had to ask oueselves, dare we jump in the cold water and bacame a professional musician? In 1973/74 we said goodbye to our part-time jobs and concentrated completely on the band only".
"Dieter Dierks saw us live at the Philips Hall in Dusseldorf in 1974. At the festival, we played at 3 am middle of the night, when everyone was already asleep. Dieter was one of them who came out of his sleeping bags as we began to play. He was so impressed that he said he between my teeth and speak through. Tale the cork away then it becomes easier for you to talk clearly. But he did not just ask it from me, he had demanded their all from everyone, and one can hear that in these songs and these albums. the albums later on became successful, of course because of Uli's, Rudolf's and my songwriting, and later Herman was added to that. But it was also naturally the hunger to be successful, and that on a global scale. That has always developed more strongly during the 1970s. added to that , we played international from 1975. We started with small steps to Belgium, France and the Benelux, then we made big tours in small clubs in England. We came back reinforced from that, and then we went directly to the studio to work on the next album (In Trance). So we were permanently working with all of our hearts, going into things with passion. And Dierks had not only damanded it from us but also himself, and togheter we gave everything to bring this band to success".
In first show of the tour (Stadthalle; Hattersheim) Doobie Fechter  was on drums. There was also on stage, Matthias Jabs with his first band DEADLOCK in the live of Dusseldorf, Phillips Halle (June 20, '75). The first international tour starts in France, Strasbourg, January 5, 1975. And just in France, Wattrelos, Foyer Socio Educatiff (probably January '75) is one of the few known existing bootleg-show from this tour. Some claim it's from 'In Trance'-tour, because it has "Robot Man", but I'm strongly for it being from FTTR-tour. This show has extremely rare versions of 'Far Away' from FTTR and 'Johnny B. Goode', old Chuck Berry rock'n'roll classic! The Omega had toured together by the Scorpions then in France and them were also the opening act in this date. The show in Birmingham, England, Town Hall (1975-03-17) is a very rare soundboard-recording from the first Scorps' tour in England. Just guessing for it to be radiobroadcast. Rare recording of 'Life's Like A River', which was rarely played during Roth-era. First of the radiobroadcasts from Germany from that tour was the concert in Essen, Germany, Grugahalle on April 06, 1975. Only part of the show was broadcasted. Unfortunately. Great versions of 'Drifting Sun' and 'Red House' (Jimi Hendrix cover), which were dropped after this tour. 'Fly To The Rainbow' is epic! Klaus still has immature voice there. There should be better quality versions of this around, since I've seen this one also released as an bootleg-cd. The real place of the show is Essen and not Cologne. There are lot of bootlegs what have the name as 'Live In Cologne'. This should be because these two towns are very close to other. But there is a picture about an original tourposter where the place is Essen and the venue is the Grugahalle. As video exists one other great bootleg of the band what had been broadcasted in the 70's: it is a promo playback performance from a german TV studio of "Speedy's Coming" - alternate version. In the band there was new Belgian drummer Rudy Lenners. This recording should made at the end of 1974. Scorps' did Beat Club in those days. This TV programme was a repetition of the old "Kraut Rock" was was usualy in the 70's in Germany.
The stage was taking more and more a look professional and less amateur compared to the past with the band he had started using open shirt on the torso and black leather clothes. Only Uli Roth to wear clothes in style Hendrix: baggy pants to the ankles and boots with heel high. A standard set-list, with more covers, was this (note the song 'Robot Man' will be part of their third studio album In Trance...): 'Little Woman', 'Far Away', 'This Is My Song', 'They Need A Million', 'Drifting Sun', 'Rock'n'Roll Queen', 'Fly To The Rainbow', 'Jam', 'Red House', 'Speedy's Coming', 'Robot Man', 'Long Tall Sally' (cover Little Richard), 'Johnny B. Goode'.

1974/09/07 - Stadthalle; Hattersheim, Germany 
1974/09/08 - Zur Grille; Minden, Germany 
1974/09/14 - Stadthalle; Bad Neustadt, Germany 
1974/09/20 - Kulturhalle; Frankenberg, Germany 
1974/09/21 - Turnhalle; Witzenhausen, Germany 
1974/09/22 - Freiburg Open Air Festival; Freiburg, Germany 
1974/09/27 - Bürgerhaus; Hess-Lichtenau, Germany 
1974/09/28 - Festsaal; Schwalmstadt-Treysa, Germany 
1974/10/03 - Kolpinghaus; Paderborn, Germany 
1974/10/06 - Stadthalle; Recklinghausen, Germany 
1974/10/11 - Mehrzweckhalle; Rheinhalle, Germany
1974/10/12 - Stadthalle; Wölfersheim, Germany
1974/10/19 - Markthalle; Ettlingen, Germany 
1974/10/20 - Jugendzentrum; Kleve-kellen, Germany
1974/10/23 - Grünpan; Hamburg, Germany
1974/10/25 - Arche Cosso; Gleboldehausen, Germany
1974/10/26 - Stadthalle; Cuxhaven, Germany
1974/10/27 - Penny Lane; Biebertal, Germany
1974/10/28 - Kino; Kirschheim-teck, Germany
1974/10/29 - Festhalle; Ludwigshafen, Germany
1974/10/30 - Studio Landau; Landau, Germany
1974/10/31 - Haus der jugend; Ludwigshafen, Germany
1974/11/01 - Raffael; Baden-Baden, Germany  
1974/11/02 - Remstalhalle; Korb, Germany 
1974/11/03 - Saalbau; Essen, Germany 
1974/11/06 - Festhalle; Röhrenfurt, Germany 
1974/11/07 - Ostfrieslandhalle; Aurich, Germany 
1974/11/08 - Berghölzchen; Hildesheim, Germany 
1974/11/09 - Schützenhaus; Westercelle, Germany 
1974/11/13 - Lasalle; Edemissen, Germany 
1974/11/14 - Lila Eule; Bremen, Germany 
1974/11/15 - Cobra Club; Hamburg, Germany 
1974/11/16 - Festhalle; Scharzfeld, Germany 
1974/11/19 - Bonanza; Dortmund-Nette , Germany 
1974/11/21 - Western Saloon; Solingen, Germany 
1974/11/22 - Big Apple; Wiesbaden, Germany 
1974/11/23 - Underground; Bad Godesberg, Germany 
1974/11/26 - Onkel Pö; Hamburg, Germany 
1974/11/27 - Big Ben; Offenburg, Germany 
1974/11/28 - Today Club; Geislingen, Germany 
1974/11/29 - De Walvis; Hengelo, Holland 
1974/11/30 - Scala; Moers, Germany 
1975/01/05 - Strasbourg; France
1975/01/24 - Pimm's Club; Liege, Belgium
1975/01/25 - Jardin Perdu; Seraing, Belgium
1975/01/31 - Jument Balance; Verviers, Belgium
1975/01/?? - Foyer Socio-éducatif; Wattrelos, France 
1975/??/?? - Centre Culturel Americain; Paris, France
1975/02/?? - Toulon, France
1975/03/17 - Birmingham, England, Town Hall
1975/04/23 - Deutschlandhalle; Berlin, Germany
1975/04/24 - Stadthalle; Braunschweig , Germany
1975/04/25 - Wesser-Ems Halle; Oldenburg, Germany
1975/04/26 - Grugahalle; Essen, Germany 
1975/04/27 - Rheingoldhalle; Mainz, Germany
1975/04/28 - Rosengarten; Mannheim, Germany 
1975/04/29 - Gartenhalle; Karlshure, Germany
1975/04/30 - Stadthalle; Offenbach, Germany
1975/05/01 - Killesberg Messehalle; Stuttgart , Germany 
1975/05/02 - Circus Krone; Munchen, Germany 
1975/05/03 - Jugendzentrum; Unna, Germany 
1975/05/05 - Foyer Socio-éducatif; Wattrelos, France 
1975/05/06 - Rundfunkaufzeichnung; Bruxelles, Belgium 
1975/05/07 - Casino; Marche-en-Famenne, Belgium 
1975/05/08 - Centre Culturel; Hollerich, Luxembourg 
1975/05/09 - Verviers, Belgium 
1975/05/10 - Apollo Club; Soumagne, Belgium 
1975/05/11 - Casino; Tuerveren, Belgium 
1975/05/12 - Antwerpen, Belgium 
1975/05/13 - Ostende, Belgium 
1975/05/14 - Knokke, Belgium
1975/05/15 - Gent, Belgium
1975/05/16 - La Ruche; Marcinelle, Belgium
1975/05/17 - Salle Albarire; Ligneuville, Belgium
1975/05/18 - Palais des Expositions; Namur, Belgium
1975/05/19 - Jardin Perdu; Seraing, Belgium
1975/05/23 - Hengelo, Holland
1975/05/24 - Berufsschule; Bottrop, Germany
1975/05/25 - Schule; Ratingen, Germany
1975/06/01 - Frankenberg, Germany
1975/06/04 - Big Ben; Offenburg, Germany
1975/06/06 - Raffael; Baden-Baden, Germany
1975/06/07 - Mulhouse, France
1975/06/08 - Stadthalle; Bad Godesberg, Germany
1975/06/13 - Haus der Jugend; Hildesheim, Germany
1975/06/14 - Stadthalle; Flörsheim, Germany
1975/06/20 - Phillips Halle, Dusseldorf, Germany 
1975/06/20 - Grugahalle; Essen, Germany (near from Dusseldorf, probably played both shows in a day)
1975/06/20 - Phillips Halle, Dusseldorf, Germany 
1975/06/21 - Haus der Jugend; Mönchengladbach, Germany (near from Dusseldorf, probably played both shows in a day)
1975/06/28 - Scala; Moers, Germany
1975/07/04 - Velbert, Germany
1975/07/05 - Havixberck, Germany 
1975/08/30 - Borken Open Air, Germany

Bootleg Audio: 3
Bootleg Video: 1

- IN TRANCE TOUR (1975-1976) -
Number of shows: 131
Start tour: 1975/09/06 (Circus Krone; Munchen, Germany)
End tour: 1976/09/26 (Stadthalle; Gütersloh, Germany)
Countries: Germany, Belgium, UK, France, Holland, Denmark, Luxembourg, Switzeland
Groups Headliner: Kiss, Eloy, Omega, Wishbone Ash, Stephen Stills, Bob Marley & The Wailers, The Kinks, War, Van Der Graaf, Generator Man, Rory Gallagher, Alberto Y Lost, Trios Paranoias, Horslips, Tea, Procol Harum, Golden Earring, Atomic Rooster, Message, Thin Lizzy, The Crazy World of Arthur Brown, Ginger Baker's Airforce, Savoy Brown, Hardin & York, Harlis, Novalis, Grobschnitt
Support Groups: Holderlin, Pell Mell, Black y Cats, Samia, Solar Plexus, Vesuv, Eela Craig, Martin Griffiths, John Kirkside, Argos, Kraan, Jubal, Hoelderlin, Atlantis, Embrjo, Dark Impression, Sahara, Jerry Floyd
The band is: Rudy Lenners, Rudolf Schenker, Francis Buchholz, Klaus Meine, Uli Roth.
The SCORPIONS with this line-up toured Europe more and more, sharing top billing with KISS. In Germany that same year, they were voted best live group. During their first UK tour in 1975, the SCORPIONS entered what might be called "the lion’s den", playing at Liverpool’s legendary Cavern Club. In the birthplace of hard rock, they succeeded in gaining the acceptance of the most dyed-in-the-wool British fans. Gigs at the renowned London venue, the Marquee, were further highpoints of the mid-1970s. 
Uli says: "In the spring '75, we played in Denmark, for the first time. We supported THE SWEET. It was a little strange, however... SWEET were actually a very good, seasoned english band who already had a series of cathcy hits under their belt and who were sporting all the usual regalia of rock-stardom, including sleek red leather clothes and fitting hair-styles. But at the same time, they had the perhaps somewhat unenviable reputation of being a teeny-bopper band and acted as a magnet for droves of 12-15 year old teenage girls, for whom our much rugged, less hit-oriented music had to be rather alien, It still puts a smile on my face to remember the moment when we entered the stage in complete darkness, in a sizeable and full hall in Copenhagen and a veritable inferno of screaming girl's voices greeted us, just like one had seen in the early BEATLES films. However, as soon as the stagelights started to flare up and we broke into an at least equally loud.. 'This is my Song' the chorus of eager young mounths fell silent. The young audience was perplexed, sturned perhaps, and didn't quite know whether this was good or bad... Regardless of that, we enjoyed the tour. An importnat moment in the first half of that year, was our performance at an indoor festival at the Philips Hall in Dusseldorf. We shared the bill with a host of mainly international bands. This was not teh first time we had played a festival of that kind, but it was to become a key moment in the history of the band. At a stroke, our standing in the German scene was elevated considerably because several influential press people had been present. Something different was happening that night and it was electrifying. Our performance was scheduled for way past midnight. More often that not, a festival appearance at such a late hour results in that which is commonly referred to as 'the kiss of death', particularly so when the audience is already exhausted from listening to a seemingly endless chain of bands. But that night, we did everything right. Our inspiration was in full swing. The band felt like a comlete entity. We played in perfect tandem, passing musical balls between oursekves like a football team and improvised several parts from scratch, just because it felt like the right thing to do at the time. And gradually , but noticrìeably, the initially somewhat lethargic audience thawed, began to warm to us and soon after, got transformed into a single ocean consisting of several thousand people which went with us and soaked up the whole thing, note for note. It was an extraordinary moment. For the SCORPIONS, it was an early 'moment of glory'. The following day, Dieter Dierks, a producer, came into the hall and the word 'SCORPIONS' was on everyones' lips. The rest is history...".
Hell was back on the tour bus (left photo), Klaus Meine adds: "These are the Scorpions, and the buses were always a problem, I think 1975 is somewhere near Wurzburg. We all had money, and Rudolf Schenker has always said that if I loswollte in the gas station,... to buy cigarettes, 'Klaus hear only about smoking, we need coal as fuel!'
This bus was behind all supplied with equipment, front were up to three people seated. But when the door opens, between the equipment and the cab was something of a cell. Since it was pitch dark, we have called the 'devil'. And if we had a concert in Regensburg and Hannover are back, had to stop some hell. I do not know how many hours we used for the path, including mountains ripped Kassel, V-belts, push bus and things like that".
Uli continues: "In the beginning of the year, we had begun to play an increasing number of shows abroad and eventually, at the end of October we embarked upon our first tour into hwat back then was seen as the Promised land of rock music: England (to reality, the band had already played in the land of Albion about seven months before in the city of Birmingham...). We absolved the enormous distance between our home town, Hannover and Liverpool via Calais, Dover, London and Birmingham in our rickety Mercedes 406 truck, which I drove personally and which was by then way past its sell-by-date. It had to be a sign: our very first gig in England was to take place in exactly that same legendary Caven Club in Liverpool, which saw the 'discovery' of the BEATLES! This was more that a little odd, but, above all, it was a great honour for us. The audience danced in the Cavern Club while we played, although it was actually a pretty tricky undertaking to do so. We had already noticed several times that whenever the DJs played one of our tracks in a discotheque, the dance floor seemed to empty itself seemingly by its own accord as if directed by an invisible magical hand. Only a few indomitable stalwards remained who managed to brave the largely dance unfriendly, slightly angular, but always strident rhythmical patterns, in order to wrest some rather strange movements from our music. Hands were failing as if in a Nirvana-trance like state, while the feet didn't know exactly how to find the beat. It was definitely a highly entertaining spectable. The first England tour of the SCORPIONS was not very long, but it culminated in our first show in London, right in the legendary Marquee Club in Wardour Street, where we had a great gig". 
"Kiss came to Europe, to Germany, for the first time", recalls Uli, "Paul Stanley had heard In Trance, and he spoke to the powers that be and said, 'I want that band to be our support band'. In Germany. But we didn't know who Kiss was; at least I didn't. I had no idea. I remember on the first gig, riding the elevator, in my moccasins ready to go on stage, and I look and see this monster right next to me. It's Gene Simmons in his full attire, with the full platform heels etc., just smiling down at me. I thought, what the heck is going on here? And then I saw them on stage and he was spitting blood all over the stage, and I said yuck! But at the same time, I saw that it was kind of funny (laughs). So that was way before they became this massive band. And it was funny because, I think, at the last NAMM of the year before, I don't remember, I bumped into Gene Simmons again, and we got to talk about the old days, and he said, 'Is Rudolf still doing the headstand?' I said no. He remembered everything about that first tour! But the thing he remembered the most was the ticket prices1 He said 'Oh yeah, it was only ten bucks a tichet or something!' That was unbelievable, after all these years, that he was still annoyed about the ticket prices being too low or whatever".
Rudolf Schenker explains: "We'd always sung in English and, after all, England is the home of rock, so it was natural that the band wanted to try out on the club circuit". "I remember that our very first UK date (one of 22) was at the Cavern in Liverpool (which passed into licensing hour legend thanks to the Beatles). it was horrendous. Everyone seemed completely drunk and about midnight some of the guys just started pissing all over the PA".
Meine recalls those dim, dark days with a combination of relish and horror. And in those times, the five-star hotel was merely a murky bed-sit mirage, as Schenker details: "We stayed in all types of boarding houses, including the sort where you have to put money in the electricity meter. But it did the band a great deal of good and it was certainly an important step for us both in terms of confidence and also stature".
"We did 20-30 gigs in small clubs", says Buchholz, talking about the first experience outside Germany. "The highlights were the Cavern Club in Liverpool, where the Beatles played at the beginning, and at the Marquee in London, and that the concert was more important, as they are presented those of the record label and music magazines. Our promoter was getting so that London was the last concert. I did it cause he was afraid that the group would leave home after playing in London, without worrying about all the other dates less important. Especially because our pay was so low that we had to sleep in the hotel more poor that we could find. I remember the horrible sheets made of a thin fabric, easy to wash, which had not disogno to be ironed. But besides, some owners of these The hotel does not even washed the sheets. Rudolf slept with gloves and a scarf around his mouth cause he was afraid to get in touch with that fabric!".
The band now starts to have a lot more confidence with the stage and the clothing you could tell a little aesthetic style that the Scorpions will be using in the seventies (those with Uli, for instance): stage-heeled shoes, pants tight (wider at the ankles to the usual Uli), often made of leather Klaus Meine, shirts or leather vest, all made of narrow size and a big news: Rudolf Schenker is the contortionist being with the head attached to the floor, hands behind her and legs straight up, all shirtless ... with the soundtrack of 'Hendrix-style' solos Roth. In these shows, under the drum-set to start camp a blacks&white banner with the logo of the band.
Bootlegs of this tour are very rare. Here is a setlist from this tour, but it may change during the whole tour. And in some gigs of the spring '76 were already present songs from their forthcoming studio album (Virgin Killer, which was released five months later ...). 
Uli adds: "We arranged a meeting at his studio near Colonia. He offered to become our official producer and said he would bring us to America. First, he suggested we should do a demo of teh album we were about to record. The purpose for a demo was to be able to fine-tune the songs. Again, we were truly a good team and we didn't cross swords, creatively speaking. The matrial consisted of songs, in approximately equal parts, which klaus and Rudolf wrote togheter, while the other half was contributed by myself. Many of the Schenker/Meine songs were written in the dressing rooms of the many clubs and venues that we played, often before or after soundcheck". 
The setlist includes often Jimi Hendix's "Red House" and the song "All Night Long", makes it's first appearence... no studio version, but a live version was released  on 1978 live album Tokyo Tapes. Also rare versions of "In Search Of The Piece Of Mind". Great surprise is 'Life's Like A River' that gets one of it's rare plays in these gigs. After this tour it was dropped and brought back later only on Lovedrive-tour. Usually before "Speedy's Coming" UJR shows why he still is regarded as an inspiration to many axe-wizards; Uli and his wah-wah sounds amazing! Includes also marvellous solos by both Rudolf Scheker and Ulrich Roth. Set list: This Is My Song, They Need A Million, Life's Like A River, Rock'n'Roll Queen, Guitar Solo, Speedy's Coming, Guitar Solo, Long Tall Sally, Robot Man. Set list with Virgin Killer's songs*: All Night Long, Pictured Life*, Polar Nights*, Red House, In Trance, In Search Of The Piece Of Mind, Fly To The Rainbow, Rock'n'Roll Queen, Catch Your Train*, Speedy's Coming.

The Scorpions in Winterberg (GER), 1976:

Klaus Meine:

Rudolf Schenker with Uli Roth:

Rudolf Schenker and Francis Buchholz:

Rudy Lenners:

1975/09/06 - Circus Krone; Munchen, Germany
1975/09/27 - Wallerfanger, Germany
1975/10/17 - Halle Louis; Arlon, Belgium
1975/10/18 - Salle du Midi; St Mard, Belgium
1975/10/31 - Cavern Club; Liverpool, England 
1975/11/11 - Marquee, London, England 
1975/11/12 - Tarkhaus; Bocholt, Germany 
1975/11/13 - Festhaushalle; Recklinghausen, Germany 
1975/11/14 - Soltau, Germany 
1975/11/15 - Scala; Moers, Germany 
1975/11/16 - Festhalle; Forbach, France 
1975/11/18 - Philipshalle; Dusseldorf, Germany 
1975/11/19 - Schützenhof; Neusorg, Germany
1975/11/20 - Nurnberg, Germany 
1975/11/26 - Collège St Barthelemy; Liege, Belgium
1975/12/01 - Stadtghalle, Stolberg, Germany 
1975/12/02 - Stadthalle; Heidelberg, Germany
1975/12/03 - Munchen, Germany 
1975/12/05 - Stadthalle; Wolfsburg, Germany
1975/12/06 - Rheín Main Halle; Wiesbaden, Germany
1975/12/07 - Sporthalle; Gütersloh, Germany
1975/12/08 - Nordlandhalle; Rensburg, Germany
1975/12/09 - Rosenhalle; Mannheim, Germany
1975/12/10 - Rhein Mosel Halle; Koblenz, Germany
1975/12/11 - Rudolf Oetker Halle; Bielefeld, Germany
1975/12/12 - Nordlandhalle; Lüneburg, Germany
1975/12/13 - Halle Gartlage; Osnabrück, Germany
1975/12/15 - Forum; Leverkusen, Germany
1975/12/16 - Glocksee; Hannover, Germany
1975/12/17 - Stadthalle; Wuppertal, Germany
1975/12/18 - Musikhalle; Hamburg, Germany
1975/12/19 - Aula; Wilhelmshaven, Germany
1975/12/20 - Luther Haus; Unna, Germany
1975/12/26 - Stadionhalle; Rottweil, Germany
1975/12/26 - La Ruche; Marcinelle, Belgium 
1975/12/27 - Scheffelhalle; Singen, Germany
1975/12/27 - Christmas Festival; Arlon, Belgium
1976/01/02 - Bayreuth, Germany
1976/01/03 - Ingen, Germany
1976/01/04 - Duderstadt, Germany
1976/01/10 - Recklinghausen, Germany
1976/01/15 - Bordeaux, France
1976/01/16 - Toulouse, France
1976/01/17 - Lourdes, France
1976/01/18 - Limoges, France
1976/01/19 - Paris, France
1976/01/20 - Poitiers, France
1976/01/21 - Rouen, France
1976/01/22 - Lille, France
1976/01/23 - Colmar, France
1976/01/24 - Grenoble, France
1976/01/30 - Wolfsburg, Germany
1976/01/31 - Braunschweig, Germany
1976/02/06 - Stadtschulerat; Hannover, Germany
1976/02/08 - Kulturhalle; Frankenburg, Germany
1976/02/13 - Allehotel; Varel, Germany
1976/02/15 - Niedersachsenhof; Sittensen, Germany
1976/02/27 - Auditorium Janson; Bruxelles, Belgium
1976/02/29 - Atlantic Hotel; Düsseldorf, Germany
1976/02/?? - Créteil, France
1976/02/?? - Saumur, France
1976/02/?? - Clermont-Ferrand, France
1976/02/?? - Les Lices; Toulon, France
1976/02/?? - Thionville, France
1976/02/?? - Besançon, France
1976/02/?? - Strasbourg, France
1976/02/?? - Mulhouse, France
1976/03/03 - University; Keele, UK 
1976/03/04 - Nashville Rooms; London, UK 
1976/03/05 - Cavern Club; Liverpool, UK 
1976/03/07 - Black Swan; Sheffield, UK 
1976/03/08 - Ashfiekd; Sutton, UK 
1976/03/09 - Top Rank; Brighton, UK 
1976/03/11 - Glamorgan Poly; Pontypridd, UK 
1976/03/12 - Bewery Arts Center; Kendall, UK 
1976/03/13 - Casino Club; Wigan, UK 
1976/03/14 - Barbarellas Club; Birmingham, UK 
1976/03/15 - Quanitways; Chester, UK 
1976/03/17 - Bogarts Club; Birmingham, England, UK
1976/03/18 - Old Granary; Bristol, UK
1976/03/19 - College of Ed.; Swansea, UK
1976/03/20 - Nelsons Column; Burnley, UK
1976/03/21 - Lakeland Lounge, Accrington, UK
1976/03/22 - Outlook Club; Doncaster, UK
1976/03/23 - Ivanhees; Huddersfield, UK
1976/03/26 - 76 Club; Burton On Trend, UK
1976/03/27 - Cloud Nine Disco; Redditch, UK
1976/03/28 - Aberjmark Yahtha Club; Romford, UK
1976/03/29 - Marquee Club; London, UK
1976/04/04 - Kolping Hof; Fulda, Germany
1976/04/19 - Stadthalle; Alsfeld, Germany
1976/04/24 - Mehrzweckhalle; Berleburg, Germany
1976/04/25 - Turnhalle; Hohenlimburg, Germany
1976/04/30 - Jugendzentrum; Sotzweiler, Germany
1976/05/05 - Josefshalle; Weiden, Germany
1976/05/06 - Stadthalle; Schweinfurt, Germany
1976/05/07 - Pforzheim, Germany
1976/05/08 - Schwabenhalle; Donauwörth, Germany 
1976/05/09 - Vereinshaus; Kulmbach, Germany
1976/05/18 - Rosengarten; Mannheim, Germany
1976/05/19 - Phillips Halle; Dusseldorf, Germany
1976/05/23 - New Raiwe; Amsterdam, Holland
1976/05/24 - Stadhalle; Offenburg, Germany
1976/05/25 - Baden Baden; Germany
1976/05/27 - Festival; Lochem, Holland
1976/05/28 - Paard Van Troje; Den Haag, Holland
1976/05/29 - Falkoner Theater, Copenhagen, Denemark
1976/05/30 - Nouveau Théatre; Luxembourg
1976/06/02 - Volkhaus, Zurich, Switzeland
1976/06/03 - Circus Krone, Munich, Germany
1976/06/04 - MTV Grundighalle, Nurnberg, Germany
1976/06/06 - Sunrise Festival, Offenburg, Germany
1976/06/07 - Phillips Halle, Dusseldorf, Germany
1976/06/24 - Stadthalle; Heilbronn, Germany
1976/06/25 - Stadthalle; Lichtenfeld, Germany
1976/06/26 - Winterburg, Germany
1976/07/01 - Clochard; Göttingen, Germany
1976/08/07 - Stadthalle; Langsdorf, Germany
1976/08/08 - Waldcasino; Rötz, Germany
1976/08/13 - Hyde Park; Osnabrück, Germany
1976/08/14 - Stadthalle; Bargteheide, Germany
1976/08/15 - Freilichtbühne; Wiesmoor, Germany
1976/08/21 - Rock Festival  Gelnhausen; Mullerwise, Germany
1976/08/28 - Im Stadiom; Rottweil Am Neckar, Germany
1976/08/31 - Festival Deutchlandhalle; Berlin, Germany
1976/09/04 - Sensational Sunshine Festival Phillips Halle; Dusseldorf, Germany
1976/09/05 - Stadthalle; Bad Hersfeld, Germany
1976/09/08 - Fährhaus; Hamburg, Germany
1976/09/10 - Großmarkt; Basel, Germany
1976/09/11 - Stadthalle; Sotzweiler, Germany
1976/09/19 - Theatron; München, Germany
1976/09/25 - Stadthalle; Pegnitz, Germany
1976/09/26 - Stadthalle; Gütersloh, Germany

Learning from the best... Klaus told: "It was August 28, 1976 in Rottweil. Then we did a tour with Rory Gallagher and that we met later in the study, it was just a guitarist divine... We tried (sitting at the side of the stage, I and Rudolf) to look our for something from him... Musicians as if he had people in the grip of him, we learned how to build a concert. Three year later we were in the United States and we have learned from Ted Nugent and AC / DC. And then we were there, Metallica, Iron Maiden and Bon Jovi were the opening act. I remember as the manager of the band Bon Jovi said: 'Sit down there and see what you get Scorpions'".

Bootleg Audio: 2
Bootleg Video: -

- VIRGIN KILLER TOUR (1976-1977) -
Number of shows: 67
Start tour: 1976/10/02 (Westfallenhalle; Dortmund, Germany)
End tour: 1977/05/05 (Sound Circus; London, England)
Countries: Germany, Belgium, UK, France, Holland
Groups Headliner: Richie Blackmore's Rainbow, Status Quo, UFO, The Small Faces, Dr.Feelgod, John Mayall, Procol Harum, Golden Hearring
Support Groups: Supercharge, Bango, Harry Chapin, Boogaloo Band, Deep Motive, John Cale, Quicksilver, Mes Service, Van Der Graaf, Generator, Budgie, Franz K., Wallenstein, Magna Carta, Giltrap

The Scorpions for the first time in their career, recorded a studio album with the same members of the previous disc. This is the line-up: Francis Buchholz (bass), Uli Jon Roth (lead guitar), Klaus Meine (vocals), Rudy Lenners (drums) and Rudolf Schenker (rhythm guitars):
The tour for Virgin Killer indeed represented a bit of a milestone, with the band mounting a second, more intensive assault on the UK that saw them perform nearly every night beginning on April 22nd of '77 in Manchester, through to May 5th in London, before heading back to Germany for a second exhaustive leg. as alluded to at the beginning of this chapter, the nation-blanketing swing is considered one of the many factors that helped give rise to a new wave of metal about to sweep the UK, namely the march of metal militia affectionately known as the New Wave Of British Heavy Metal.
Uli Jon Roth recalls that period: "A few months later, during March, 1976, a more extensive UK tour followed. During the summer, we recorded and produced viegin Killer, which, in a way, was perhaps a kind of early culmination point for the band. In terms of guitar playing, I aspired to explore the boundaries of the instrument on this album more intensely that I had on the previous one. Rudolf's incisive riffs grew even more strident, more edgy and striking. Only Rudolf could have come up with those. Later on. this was emulated by Ramnstein, but they kind of brutalized it and chiseled it into stone as it were, pouring out the music like icy-cold steel. But with Rudolf, there was another quality to the whole thing. It seemed more elastic and it was new, sounded less calculated, more inspired so-to-speak. Klaus' voice was also striking a harder kind of tone and sometimes went fully up to the limit of the range. There was less vibrato, but things were still primarily rooted in the melodic realm. Klaus had always been able to come up with catchy melodies. He had soaked up the music of the BEATLES from the beginning and the themes came to him effortlessly. It was the same in my case, but I didn't have the desire to write traditionally structured songs, because I have an inbuilt a version to repeat melodies over and over. 
Once of twice always seemed enough for me, anything above that seemed boring. Of course, that is a highly 'uncommercial' approach. In order to wrire hits one mustn't be afraid to repeatthings. I was always predominantly interested in larger forms, other than songs, such as pieces that had a more symphonic character to them. I have always preferred to write musical journeys rather than songs. But I am also fully aware that this approach is not exactly in keeping with the spirit of our times. I soon realized that this type of thinking would definitely not be congruent with the musical frame work and the overall style of the band. However, regardless of that, in those days my guitar in a strane way was a perefct counterfoil for Klaus and Rudolf. 
We gelled and complemented one another. Francis' bass playing presented a very reliable, stable foundation which rounded off the whole thing and Rudy lenners, our drummer from Belgium, fitted into the concept instinctively. The band was a unity and our sound and style was unique and instantly recognizable. In that, we definitely stood out from among the other bands. Somehow we had managed to fuse opposites into an interesting new organism of sound and gradually a new center was crystallizing itself from these opposite poles".
On this tour, the song "All Night Long" became the opener. The setlist was changed a little during the tour. The end of concerts was reserved to Uli's improvisations and jam. This was an amazing solo by Uli Jon Roth, who gets to play a mindblowing version "Star Bangled Banner", just like Mr. Hendrix did some decade earlier. In some gigs in industrial heartland of England, the opening tracks "All Night Long", "Pictured Life" and "Backstage Queen" are exactly the same opening to the classic Tokyo Tapes recordings. The shows in England were almost a year before the Japanese platter and the overall set list reflects this slightly earlier period, "They Need A Million", "Polar Nights", "In Trance", then the awesome "Fly To The Rainbow" send the crowd into raptures, "Rock 'n' Roll Queen" was a song that Uli, Rudy and Klaus had thrown together at a previous gig and is not much more than a Jam between band to fill time and allow Klaus a break, but once again the crowd are right behind the band and appreciate Uli's intricate guitar work. Klaus returned to the stage for "Catch Your Train", then "Top Of The Bill". This leads us into the rock & roll set the Scorpions used to use to get the crowd going at this time in thier career, and reflects Klaus and Rudy's early influences. "Hound Dog" and "Long Tall Sally" were both originally hits in 1956. This leads us into 'Dark Lady' the crowd often sing for the band to do one more over and over stamping and banging The gigs are wrapped up with the Scorpions very own heavier version of rock and roll, in "Robot Man", a great rock track to finish a great rock-show.
In the show in Tivoli, Holland, April 15, '77 (the Scorps had visited Holland quite a few times...), the Dutch crowd knows the songs and requests stuff: "Speedy Coming" is being asked several times.There are about half a dozen audio bootlegs recorded between Germany, Netherlands and England.
The setlist type was this (the songs "In Search Of The Peace Of Mind" and "Hell Cat" were not played in UK): All Night Long, Pictured Life, Backstage Queen, They Need A Million, Polar Nights, In Trance, In Search Of The Peace Of Mind, Fly To The Rainbow, Rock & Roll Queen, Catch Your Train, Speedy's Coming, Top Of The Bill, Hound Dog / Long Tall Sally, Dark Lady, Robot Man, Jam / Hell Cat / Jam + Star Bangled Banner.
May 5, 1977, Rudy Lenners played his last concert with Scorpions: the drummer left the band due to health problems. Lenners left the band cause tired to move away from home (he prefers work as a teacher in a school for the disabled, a choice that does him honor, but that will deprive him an annuity dream ...). To remember a little anecdote: during the session of Virgin Killer, Lenners was taken to hospital because of a nervous breakdown, cause the producer Dieter Dierks had compelled him to repeatedly record the same piece...
The stage and the clothes from the scene of the band were practically similar to last tour in support of the album In Trance.
1976/10/02 - Westfallenhalle; Dortmund, Germany 
1976/10/05 - Jugenzentrum; Essen, Germany 
1976/10/14 - Nordmarkhalle; Rensburg, Germany
1976/10/15 - Halle Gartlage; Osnabrück, Germany
1976/10/16 - Weser Ems Halle; Oldenburg, Germany
1976/10/17 - Münsterlandhalle; Cloppenburg, Germany
1976/10/23 - Scala; Moers, Germany
1976/10/28 - Mutualité; Paris, France 
1976/10/29 - Chapiteau; Le Havre, France 
1976/10/31 - Coburg Stadthalle
1976/11/04 - Mr Digby's; Birkenhead, UK 
1976/11/06 - Granary; Bristol, UK 
1976/11/07 - Boat Club; Nottingham, UK
1976/11/08 - Golden Diamond; Mansfield Nottinghamshire, UK 
1976/11/11 - Electric Circus; Manchester, UK 
1976/11/12 - Coll. of Ed.; Stoke, UK 
1976/11/13 - Aberdenn University, UK 
1976/11/17 - Bogarts; Birmingham, UK 
1976/11/18 - Strathclyde University, UK 
1976/11/19 - Odeon; Warringhton, UK 
1976/11/20 - Casino Club; Wigan, UK 
1976/11/21 - Marquee Club; London, UK 
1976/11/23 - Town Hall; Accrington, UK 
1976/12/04 - Festhalle; Zweibrucken, Germany
1977/01/05 - Kiel, Germany 
1977/01/06- Musikhalle; Hamburg, Germany 
1977/01/08 - Stadthalle; Stolberg, Germany 
1977/01/09 - Scheffelhalle; Singen, Germany 
1977/01/11-  Elzer Hof; Mainz, Germany 
1977/01/12 - Sporthalle; Darmstadt, Germany 
1977/01/13 - Gustav-Siegle-Haus; Stuttgart, Germany 
1977/01/14 - Voralbhalle; Göppingen, Germany 
1977/01/15 - Schwarzwaldhalle; Pforzheim, Germany 
1977/01/16 - Stadionhalle; Rottweil, Germany 
1977/01/17 - Rhein Mosel Halle; Koblenz, Germany 
1977/01/18 - Fruchthalle; Kaiserslautern, Germany 
1977/01/19 - ATSV-Hall; Saarbrücken, Germany 
1977/01/22 - Volkshalle; Langsdorf, Germany 
1977/01/25 - Rosengarten; Mannheim, Germany 
1977/01/26 - Audimax; Köln, Germany 
1977/01/27 - Stadtaula; Mönchengladbach, Germany 
1977/01/28 - Niedersachsenhalle; Hannover, Germany 
1977/01/29 - Vestlandhalle; Recklinghausen , Germany 
1977/01/30 - Stadhalle, Mülheim/Ruhr , Germany 
1977/02/19 -  Ontmoetingscentrum; Harelbeke, Belgium 
1977/02/24 - Kant-Kino; Berlin, Germany 
1977/02/26 - Ottersbergerhof; Ottersberg, Germany 
1977/03/03 - Festhalle; Bad Mergentheim, Germany 
1977/03/12 - Palais des Fêtes; Mulhouse, France 
1977/03/24 - Stadthalle; Bremerhaven, Germany 
1977/04/01 - Paradiso; Amsterdam, Holland 
1977/04/09 - Olympiahalle; Munchen, Germany 
1977/04/10 - Westfallenhalle; Dortmund, Germany 
1977/04/15 - Tivoli; Utrecht, Holland 
1977/04/18 - Paradiso; Amsterdam, Holland
1977/04/22 - Electric Circus, Manchester, England 
1977/04/23 - Wakefield Tech. Coll.; Wakefield, England 
1977/04/24 - Casino Club; Wigan, UK 
1977/04/25 - Cat's Whiskers; Burnley, UK 
1977/04/26 - Barbarella's; Birmingham. UK 
1977/04/27 - Sound Circus, London, UK 
1977/04/29 - Rock Gardens; Middlesborough, England
1977/04/30 - Bolton Institute; Lancaster, England
1977/05/01 - Top Rank; Sheffield, England 
1977/05/02 - Outlook Doncaster, UK
1977/05/03 - Top Rank; Brighton, England
1977/05/05 - Sound Circus; London, England

Bootleg Audio: 6
Bootleg Video: -

- TAKEN BY FORCE (1977-1978) -

Number of shows: 32
Start tour: 1977/10/14 (Stadthalle; Holzminden, Germany)
End tour: 1978/12/26 (Stadthalle; Wuppertal, Germany)
Countries: Germany, France, Japan
Groups Headliner: Genesis, John McLaughlin, Alvin Lee, Ten Years After, Joan Baez, Frank Zappa
Support Groups: Glasshouse, Horst Baltes

Lenners  would not stay with the group for very long and later turned up in the early 80s in both K-WEST and STEELOVER and for the last SCORPIONS RCA studio album, Taken By Force, drummer Herman Rarebell came into the fold. Prior to enrolling into the band Rarebell had been assembling a band project with PROCUL HARUM man Bobby Harrison. With Rarebell on board, the band first toured Japan in April 1978 from which the double live album Tokyo Tapes (recorded in Tokyo Sun Plaza Hall April 24th & 27th was drawn. Shortly after, Ulrich Roth left to form ELECTRIC SUN.
Herman Rarebell (born November 18, 1949 as Hermann Erbel) recalls his entry in the band: "Al the time I lived in England and worked as a drummer in a recording studio. One day I met Michael Schenker, and he was telling me that the band of his brother was looking for a drummer. I held an audition and after barely a week Rudolf informed me that the place would have been mine. I also remember the exact date: May 10, 1977! The first ever gig we did in a small town in Germany... things did not go well,, we had a lot of technical problems and around there was a lot of tension. The first big concerts we played them during the Japanese tour of 1978. At beginning was tough, the stage created apprehension, remember continuous stomach cramps... then I did the habit and I played without problems in front of crowds in the world whole!".
After two albums with the same line-up, the Scorpions still change: Uli Jon Roth - lead guitars, Francis Buchholz - bass, Rudolf Schenker - rhythm guitars, Klaus Meine - vocals and Herman Rarebell - drums.
Obviously the tour in support of the fifth studio album of the band had its peak in the Japanese leg, to which must be added about twenty dates in the usual Germany and some in France, all before leaving for Japan.
Notes Klaus Meine: "The Japanese really loved the Scorpions. When we came there it was like beatlemania".
Uli Roth says: "The band's star was ascending in a constant and steady upward motion. I knew it, we all knew it and we had laid the groundwork well. We were more than ready for the next step. But it was not going to be my step anymore. For quite some time, we had waited for the chance to play the US, but there was always something that had been in the way. The main reason was, however, that the thenCEO of RCA America , Bob Summers, was not really into the band. There was simply no support for such a venture, although all the signs for a breakthrough in the near future were there for all to see. Now, at long last, there was talk of an American tour in the first half of 1978, but I now didn't want to do it because in my mind I had already left the band for good. My head was filled with fresh and radically different song ideas for a new album of my own. They were the kind of songs which were not suitable for SCORPIONS at all.
In Japan meanwhile, good things had developed for us Virgin Killer which was like tailor-made for the Japanese market in more ways than one, had turned gold in the previous year there; it was to be our first ever gold album. These were the days before the internet, and we had been blissfully unaware of the fact that we already had a sizeable fan following in the land of the rising sun. But now, there suddenly was an offer for a Japan Tour on the table. the only problem was that I wasn't interested in it any longer. But Klaus called me up and said we should really play there. I told him that they shouldn't really play there. I told him that they shouldn't book any more shows, because it was high time for me to leave now and go my own way. It was quite a long conversation and Klaus said we should record a live album there as a crowning finishing moment of this era of the SCORPIONS. I can't recall how long he spoke, but I was listening intently and what he said made a lot of sense. At the end of it, I said 'okay, I will do Japan, but not America'.
With hindsight, I was glad that Klaus persuaded me to do the tour because teh first tour in Japan, which resulted in the recording of the Tokyo Tapes live double album, was really to become a fitting monument to the memory of those days and the whole trip was a great experience for all of us.
Our flight from Hamburg to Tokyo included a one day stop-over in Hong Kong. this bustling city represented a totally new experiences for us. It was the end of April, 1978. The air was fully saturated with humidity and it felt oppressive and hot. As soon as one stepped out of the fully air-conditioned Holiday Inn Hotel where we were staying, it was as if one had been slapped in the face with a wet rag, but one soon got used to it. In the morning, we had several photo sessions in various sightseeing locations of Hong Kong, which was a city with many different faces. The results can be glanced at on the inside covers of Tokyo Tapes. we also went to the notorius Kowloon Harbour, which had served as the back-drop for the legendary Bruce lee's film legacy Enter The Dragon shortly before his untimely death just a few years prior. We rented a junk, a typically Chinese boat, and I captured the whole thing on film. It was a memorable day for us.
The fact that SCORPIONS had been the first German rock band to tour Japan created a sizeable amount of media interest back home and resulted in a lot of publicity for us. Due to this, several journalists and media people had been invited to share our trip. The next day we flew to Tokyo. On that flight, Rudolf and I were seated next to one another. As so often before, we were engrossed in an intense conversation. But this time, things were different. We both knew that our separation was imminent - a band is kind of like a marriage of sorts; the whole thing had come full circle. The cycle of my years with that band had almost run its course and, just as everything had started with our drive to Vechta in 1973, now, five years later, it was about to fade out.
By all accounts, teh tour was a big success. All the shows were practically sold out and we played three evenings at the Sun Plaza hall in Tokyo. For me personally, the first night of these had been the best concert we had ever given without a doubt. That evening, everything fell into place perfectly. The stage sounded fantastic, playing wise we were in top form, and the audience likewise, was with us all the way. They were actually not allowed to get up from their chairs during the concerts, because a girl had been tragically killed at a show recently, but with their enthusiasm in full swing, that official order was soon forgotten as they burst from their seats applauding. before the concert I sat alone in my dressing room and meditated. I felt very inspired and all was well. When we entered the stage, I briefly glanced up into the spotlights. this was a reflex which immediately put me into a trance-like kind of state of mind. Through my meditations, I had learned to reach that state of mind in a split second, where the brain is sort of switched to the predomnant frequencies of alpha-waves. This remarkable state of mind enables the brain to respond only to the truly essential bits of information, that which one focuses on, and it shuts out everything else. All the unimportamt, trivial everyday thoughts are gone and there is nothing but music inside of you. One experiences a feeling of complete inner calm, which arises from the center, but at the same time one also feels a tremendous amount of energy - a spiritual, psychic kind of excitement, which is an altered state of mind. One sees things in a different way. For example, time itself is being perceived in a different way. It feels was more elastic and more multi-dimensional. The reason I am describing this here is because one complete half of music itself is time-related, while the other half, which is sound, unfolds itself in the air, that is space. Unlike, say, a painting, which lives in visual dimensions and is fixed to a point of perspective, music derives its power from the fact that sounds are unfolding themselves in equal parts, bith in he spatial dimensions, as well as those of time. Note follows upon note, just lke a logical chain of glittering, magical pearls of pure tone - imbued by the radiant light of the cosmos itself. Nothing could be more beautiful. The rest was only most intense music, pure inspiration. 
We played everything better than usual, improvised a lot and gave things a new turn. Klaus had envisaged a beautiful Japanese folk tune, 'Kojo No Tsuki'. He had memorized the lyrics on the plane, things like that never took long for him. We were at the sound check on teh stage of the Sun Plaza Hall and Klaus briefly sang the melody for me - a capella - because we had not yet heard the song. The melody was perfect. It completely captured and expressed the very sound of Japan in a few simple notes and it aimed straight for the heart. It was the kind of melody  which even would 'work' for those who didn't even possess a heart any longer. While Klaus sang in Japanese, I stood next to him and listened intently. In my mind, I made up and arrangement and showed it to the others. We played it and the first attempt pretty much sounded like it was already fit for an album. After that , we played it every evening and Klaus exhanged Japanese phrases with the audience who loved it. The song became one of the definite highlights of Tokyo Tapes. The only problem on that evening was that we were in Japan to record a live double album, and on this, our best ever evening, the tape recorders were not turning, because they simply were not there! I was quite shocked about this abd complained to Dieter Dierks who just shrugged his shuolders. He probably wanted to save money because the cost of recording mobiles and crew were prohibitive. Instead, we recorded the second and third shows. Luckily, both of these turned out to be very good as well, but in my mind they didn't have the same kind of magic of the first evening. That was a real pity and I was annoyed about it for a long time afterwards. Apart from in Tokyo, we also playd the two cities of Osaka and Nagoya. On route to these we made a stopover in Kyoto with its mystical temples and Japanese gardens which we briefly able to visit.
Back home we had our last ever show in June. it was a television play-back appearance on German TV in Munich under the moderation of Thomas Gottschalk. the other performers on the bill were STING, who sang for EBERHARD SCHONER at the time, CHI COLTRANE and AC/DC. We performed one song and that was it".
The images from the cover of the double LP Tokyo Tapes , edited by Hans G. Lehmann, testifies to the energy and the sense of freedom of those times, in spite of the alleged ill-feeling within the Working Party was. It was the time of the live album and, just to name a few, in just a little more than a year, among others, came out Live Bootleg by Aerosmith, Strangers In The Night by UFO and Live And Dangerous by Thin Lizzy. "When we went to Japan for the first time we were greeted at the airport in Tokyo as if we were the Beatles", recalls Herman. "All those fans, the girls, it was amazing. They took us into one of those Japanese restaurants where you eat beef soft (the famous Kobe beef). We were told that massaging the cows to eat them, and their flesh becomes soft and delicious. I remember those days, the first visit to the baths... Do not forget never those girls that sit above and massage you with his whole body, with the oil, but not with Lemani, they do it with their pussy! Tokyo Tapes exudes genuine emotions. Do not forget that the band was pretty much at the beginning. So of course you feel that atmosphere, you feel that everything was a novelty, the first time in Japan, the first Japanese groupie; we had never seen anything like it until then. I remember one of the first concerts I did with the band, in Le Havre, in Northern France. At that time, the record company said: 'If they call you to play outside of Germany, we will post the disk that country'. So we went to France, even if for only one date and we played in front of thirty people. We finished the first song and no one applauded. After the second, nothing. Imagine the silence and then, during the third song, a guy yelled: 'Hitler, go home!' Nice atmosphere A few weeks later we were in Japan, and already in the airport there were hundreds of screaming girls. Obviously you feel totally different. He returned to Hanover there took a month to recover. The agent asked me 'cause I continued to wear the kimono!".
Few years ago some voices said that Uli told me that they couldn't use the recording of the first Tokyo night because there was anything problem with Rudy's guitar sound. And that unfortunately video material doesn't excist about this tournament: but in the words of Uli the reasons for the absence of the first date in the double album Tokyo Tapes were other and that he filmed something (not on stage but else)...
The stage does not differ from the last tour, and the same goes for their wedding scene (Hendrix style for the usual Roth & more black or red leather for the others) with Rudolf and Rarebell often found in chest. Under the set of drums and sometimes above, stands now the usual band logo.
The only setlists known for this tour are from the Japanese concerts: All Night Long, Pictured Life, Backstage Queen, Polar Nights, We'll Burn The Sky, Suspender Love, In Trance, In Search Of The Peace Of Mind, Fly To The Rainbow, Rock & Roll Queen, He's A Woman - She's A Man, Speedy's Coming, Catch Your Train, Top Of The Bill (Part 1.), Drum Solo, Top Of The Bill (Part 2.), Houng Dod / Long Tall Sally, Steamrock Fever, Dark Lady, Kojo No Tsuki, Robot Man, Hell Cat, Jam (Kamigayo-Star Spangled Banner-Third Rock from the Sun).
The Scorpions played two non-album-tracks ("All Night Long" and "Suspender Love") on this mini-tour and the setlist were practically played regularily those days...
"Kojo No Tsuki" is added as an encore and the audience response is amazing! And Klaus' pronouncing in Japanese is even better than his pronouncing in English. Great job!
Sometime they cut the "Catch Your Train" and "Hell Cut". There is very interesting when the man introduced the band in german language at the beginning of the show.
Always from the land of the rising sun are the only bootleg audio of this tour: a very fantastic quality what looks soundboard recording directly from the mixing desk or radio broadcast! For the videos note the 'Taken By Force Promo Videos' where the Scorpions played in a German TV studio. In fact there is a playback performance for the promotion of the new album Taken By Force with the tracks "He's A Woman - She's A Man", "We'll Burn The Sky" and "The Sails Of Charon".
There is a playback promotional performance ('Steamrock Fever', 'I've Got To Be Free') what made in a japanese TV studio in the The Pops local programme. The Scorpions had been very popular and famous in Japan after the new album Taken By Force, for this they had been invited for a five stations tournament in the April of 1978 where they had played sold out concerts in Tokyo, Osaka and Nagoya.
At last there is a playback promotional performance from "The Rock Pop" programme in a german TV chanel with the song "He's A Woman - She's A Man" (1978): last appearance with the band of the guitarist Roth.
After that Roth left, the band switched record labels from RCA to Harvest EMI, That year the group inducted Scottish guitarist Billy Rankin as replacement, previously a member of PHAZE. The union would be brief though, with language difficulties being cited. Rankin would subsequently join NAZARETH.
Klaus recalls: "When we appeared on TV in japan Uli refused to do the song 'Steamrock Fever'; that was just against professionalism. I believe that he later on did it, but one could really see that it was difficult for him; he had very clear artistic concepts. we stayed in contact with Uli and followed each others' careers - great musician!".
Then in 1978 an advertisement appeared in the Melody Maker: the SCORPIONS were looking for a new lead guitarist. In London, they auditioned 140 hopefuls, before deciding on Hanover-born Matthias Jabs (he played also at the end of the Tour in some gigs)...

1977/10/14 - Stadthalle; Holzminden, Germany
1977/10/15 - Steigerwaldhof; Wiesentheid, Germany
1977/10/16 - Inntalhalle; Rosenheim, Germany
1977/10/18 - Stadthalle; Kaufbeuren, Germany
1977/10/19 - Festhalle; Friedrichshafen, Germany
1977/10/20 - Elzer Hof; Mainz, Germany
1977/10/21 - Festhalle; Stadthagen, Germany
1977/10/22 - Hermann Allers Halle; Cuxhaven, Germany
1977/10/23 - Weser Ems-Halle; Oldenburg, Germany
1977/10/25 - Kongresshalle; Augsburg, Germany
1977/10/26 - Kongresshalle; Giessen, Germany
1977/10/27 - Paulussaal; Heilbronn, Germany
1977/10/28 - Haldenberghalle; Göppingen, Germany
1977/10/29 - Konzertsaal; Ulm, Germany
1977/10/30 - Festhalle; Albstadt, Germany
1977/10/31 - Mehrzweckhalle; Neu Ulm, Germany
1977/11/01 - Stadthalle; Lahnstein, Germany 
1977/11/02 - Aula; Eversten, Germany
1977/12/10 - Théatre; Denain, France
1977/12/14 - Palais des fêtes; Mulhouse, France
1977/12/17 - Marly, France
1978/01/27 - Niedersachsenhalle; Hannover, Germany
1978/02/24 - Festhalle Durlach; Karlsruhe, Germany
1978/02/26 - Kongresshauss, Coburg, Germany
1978/04/23 - Sun Plaza Hall; Tokyo, Japan
1978/04/24 - Sun Plaza Hall; Tokyo, Japan
1978/04/25 - Shi-Kokaido; Nagoya, Japan
1978/04/26 - Festival Hall; Osaka, Japan
1978/04/27 - Sun Plaza Hall; Tokyo, Japan
1978/08/26 - Open Air Festival; Ulm; Germany (M JABS Lead)
1978/09/03 - Open Air Festival; Saarbrucken; Germany  (M JABS Lead)
1978/12/26 - Stadthalle; Wuppertal, Germany  (M JABS Lead)

Japanese Magazine 'Music Life' for SCORPIONS TOUR IN JAPAN '78:

Bootleg Audio: 5
Bootleg Video: 3

- LOVEDRIVE (1979) -

Number of shows: 86
Start tour: 1979/01/30 (Messahalle; Basel, Switzerland)
End tour: 1979/12/07  (Ocean State Performing Arts; Providence, USA)
Countries: Switzerland, Holland, Belgium, England, Scotland, Germany, France, Austria, Japan, USA, 
Groups Headliner: Ted Nugent, Journey, Aerosmith, AC/DC, Thin Lizzy, Sammy Hagar, Pat Travers, The Who, Miriam Makeba, Cheap Trick, Todd Rundgren, Mahogany Rush, Udo Lindenberg, Eric Burdon, Edgar Winter, Blackfoot, Frank Marino, Henry Paul Band
Support Groups: Jessie Ballard, Inner Circle, Rainbow, Cheap Trick, April Wine, Steve Hackett, Ian Gillan, Bram Tchaikovsky, The Movies, Little Bo Bitch, The Yaghts, Molly Hatchet, Zanki & Band, Nils Lofgren, Steve Gibbons Band, Fame, Rootboy Slim, Movies, Sex Change Band, Jonny III Skafish, Jim Desmond/Bijou Wazmo Nariz, Pez Band, Lake, Snowball, Falcon Eddy

The first fruits of the new partnership (Harvest EMI) was the groundbreaking Lovedrive album in 1979, the first to feature new guitarist Matthias Jabs whose past form was as a member of JANE member Walter Nadolny's project LADY, who realesed one single in Germany titled "Feel The Fire" and FARGO.
Lovedrive also included the griefly returning Michael Schenker, having temporarily bailed out of UFO, on three tracks. Nichael Schenker featured on "Another Piece Of Meat", on title-track and the instrumental "Coast To Coast" but would bail out mid-session. Previous to Jabs enrolling former SKID ROW and UFO guitarist Paul Chapman had been in the frame for the job but after rehearsals with teh band in June of 1978 was re-enrolled into UFO. The band's debut American appearance was in the of 70,000 fans in 1979 at the Cleveland 'World Series of Rock' festival on a bill including Thin Lizzy, Aerosmith, Ted Nugent, and AC/DC. Futher touring on a package with AC/DC and Ted Nugent followed.

Since August 1978 this is the line up of the band (below from left to right): Matthias Jabs, Francis Buchholz, Rudolf Schenker, Klaus Meine and Herman Rarebell

Matthias Jabs ((Hannover, October 25, 1955) told on the relationship between Uli Roth and Scorpions: "I've known Uli since my childhood days. He comes from the same area as I did. I went to school with his younger brother. We already knew each other before Uli was with The Scorpions. During Uli's time with the Scorpions, good things happened in the 70's, but Uli had his own style and the gears did not click well togheter. It was two parallel worlds. It went well for a long time, and the songs were good. Uli could play the guitar really well, but in order to achieve more, a band must also really sound like a band. I think, in the connection I was the perfect new member at that time. I fit in there really well because I was very ong-oriented when I played. I have always done two parts. even before the Scorpions. That fit perfectly and almost a new style was created. With songs like "No One Like You", you will see later that you can plasy them without even hearing the vocals. And in the United States, you use that for radio Commercials to announce concerts. You didn't have to hear a chorus and everyone knew which song it was. You hear the guitar and you know.

I believe that a band is a symbiosis of the most different of people, and in this case, musicians that need each other. If one has the feeling that he does not need the others, then he works on his own and they are not as strong togheter - that is my impression. Some say the chemistry must be right. that does not explain everything. I believe the word 'simbiosis' fits even better, because in a band one is dependent on the other. When one does not understand that, then one cannot be a member for decades".
"I played i bamds in hannover ever since I was 15 or 16, and through that I was already known. I had a practice room with my band in a school in Langenhangen where the Scorpions had to get through before they reached their own practice room. Therefore, I very often met with Rudolf. As the rumor circulated that Uli would leave the Scorpions, some in the Hannover scene presumed that 'there can only be one successor'. i can remember that Rudolf once called me and pretented that he would probably make a solo album, and if we could meet and play togheter. In retrospect, I know that it was to find out what kind of man this Matthias was. But when I came to play, I knew nothing about it. I had no idea that around 130, 140 guitarists had laready tried out in London. It was good that way. I went in there very relaxed; and I knew exactly what I was going to do, and in the end it also worked out".
This is one of the most chequered carrier of the band's life. Uli leaves the Scorps after the japanese tournament in May of 1978. Rudy tries more than 150 guitarist because he wants to find the best result to the reneval of Uli. He chooses Matthias Jabs and the band begins to work with big energy on the new album Lovedrive because they have the first contract by EMI and they have to release it in 1979. Scorpions plays in some festivals then with Matthias. Matt learns the song very well and can replace Uli's playing by his own style. In line with these events Michael Schenker leaves his band UFO and Rudy invites him back to the band. Rudy can gain Matty over that they can finish the new album much more faster if Michael should connect to the band. So Michael plays 3 songs' solos into the new album. After the releasing of Lovedrive Michael finaly join to the band as a 100% member. Matthias leaves the Scorpions because of it and goes to spend his holiday with his girlfriend. The Scorps begins thier tournament with Michael. The main part of the german dates they plays together but after that Michael has his alcoholic problem again so he can't continue the tournament. Then they invite Matthias back and ask to play in the rest of the german places. Matt plays about 10-12 shows with the Scorps but after that Michael gets back again to the french places. So Matthias leaves the band again. Few concerts later Michael Schenker falls back into the old bad ways and he has some problem with the alcohol again. Rudy realises that they can't work together with Michael and calls back Matt as the main lead guitarist of the Scorpions. So he finishes the french tour (from the Lyon show) with Scorps and travels to Japan as the fixed fifth member of the greatest band in all around the world.
Matthias continues: "We played equally great shows in August/September 1978; I remember that we were bumped up to the opening act in Saarbrucken and Ulm during teh festivals. So my very first concert happened in front of a lot of people, early in the morning, but it was great. After further shows, we wnet to the studio to record Lovedrive. We had already recorded three-fourths of the album when Michael came to Germany and passed by the studio to take a peak.
Now the album was quickly done and Michael played with the idea of leaving UFO. Michael was very famous and it was clear that the would play some songs for teh album. The Scorpions thought that, that would have great commercial effect because at the same time, he is also the brither of Rudolf. When the album was done, they came to me before the tour to inform me that Michael really did leave UFO and that the Scorpions would really like to go on a tour with him. I totally understood that; I had no problems with it.
It only took a few weeks until Michael was gone again. He also called me before and offered me a chance to play for him in a show in Cologne. But I did not want it - and I first went away. then suddenly teh Scorpions stood there without a guitarist. Therefore one had to search for me in a terrible complicated way and fly me in. It came to a big meeting with the promoter; the tour would probably have been cancelled, and I agreed: 'OK, I will play for teh Germany tour until the end, but afterwards, you have to see what you do'. Michael was there again for the France tour, but after two concerts he was gone again. There was only one possibility from here on, and the rest of the band also signaled that at teh same time: no 'here and there' anymore, and if I still wanted it, then it would be for always. These experiences bonded us closely togheter. After this short European tour, it was off to Japan and then to the USA. An entirely new phase started for all five members here anyway. It was equally new for all in the USA, and we were all equal for half a year. That was a very good start for me as a new member".
Herman explains: "During the time that we recorded Lovedrive, Michael was in and out. I remember that we played in Lyon, France, where there were 6,000 people waiting to see us show and not 'even presented at the concert. The promoter told us: 'you will do better to leave now, I think soon there will be a mess. Luckily not happened. We told the audience: We can not play cause our guitarist is disappeared' . You discover then that was around on motorbikes, in Spain. God only knows why. And then reappeared after a few days, came to some evidence, and disappeared again, and we went on like this for a while. In the end we said: 'Listen, Michael, we can not work well'. From here on out we keep Matthias guitar'. The problem that could not handle the stress. A big trouble, cause is inevitable that there is stress if you're in a rock band".
The band was a headlining jaunt through England, mid-May of '79, followed by Japan in June, Rudolf quipped at the time that fans in the north of England responded much better than fans in the south, but that in Germany, the reverse was the case.
July 29th of 1978 represents the band's first touch-down in America, where they played Cleveland as part of a festival date that included Journey, Thin Lizzy and AC/DC along with headliners Ted Nugent and Aerosmith, to a crowd estimated at 68,000 (although Herman says that when Scorpions actually went on, in the morning, it was more like 30,000). Into August, the band along with AC/DC, supporting Ted Nugent, with AC/DC gettng replaced by Blackfoot mid-month as the tour hit that band's southern US home base. The tracks regularly played from the new album on this tour were "Lovedrive", "Always Somewhere", "Loving You Sunday Morning" and "Another Piece Of Meat", whit "Is There Anybody There?" and "Can't Get Enough" played about half as often.
The big dream of the band in '71 was: "We want to go to America!". And Conny Plank (the producer of the band's first album, Lonesome Crow) laughingly said: "You want to go WHERE? America? Do not you realize that the one is a place where the good musicians abound? You will not believe that all of you are waiting? You are dreamers".
Rudolf had heard similar comments from other publishers, and also on their second label, the RCA (the first work was on Metronome Records in Hamburg who had just given birth to Brain label).
Rudolf adds: "Michael, when he was in UFO, invited me often to London or the United States, and in that way I was able to get a good view of the scene there. I then quickly understood what the music business was all about. As we found the right management as a band, one of the greatest management ever, we took of with a big festival in Cleveland in 1979 and played before over 70,000 people - Michael on the other hand had to play the American clubs at that time. We therefore had something ahead of him. From then on we played as openers, next to AC/DC and other rock greats, in the biggest halls and arenas, and toured togheter through the United States and Canada. That was an effective leap for us to the American TOP 50 with Lovedrive".
"I said in an interview I did with a German magazine in 1971 that when we were starting out, we prospected a worldwide success in future, It was very clear to me". "We wanted to take our music everywhere, but at the time many people were laughing at us" add Klaus. Schenker continues: "I met a guy from RCA America at the time and told him we could be big in America. He said: 'Sell some more records and then maybe we'll talk about the tour'. I knew we could make it in the States!".
The famous management CCC, which consists of David Krebs, Steve Leber and Peter Mensch, along with Cliff Burnstein of Mercury, organize, as already mentioned, a tour with Ted Nugent and AC/DC in all the most great halls of North America. "We got  enough from advances to cover a lot of expenses", Rudolf told, "and we made a deal with record company that if we couldn't break on the tour, we would be let out of our contract. We toured nonstop from February 1979 until November 1980, with no time off. Klaus was in danger of losing his voice. His voice cords were like the fingers of a guitarist building up calluses on top of the strings".
Scorpions the jumped off to play the venerable and famous 19th Reading Rock Festival (August 24-26th 1979), Richfield Avenue, in England, Saturday, August 25th, the middle day of three, as a last-minute replacement for Thin Lizzy, who were to headline. Ergo, in effect, Scorpions headlined, and in fact, they were famous enough to do so, partly because the acts weren't all that massive for Reading in '79, the other headliners being The Police and Peter Gabriel, with the second on long bills for each day being The Tourists, Steve Hacket and a very early days Whitesnake. A year on from the introduction of punk to the festival saw a continuation of the previous years format, with Friday being the "New Wave" night and the domination of mainly Blues Rock, Metal or Prog acts on the remaining two days. Its interesting that 1979 did not feature any really hard core punk acts since the movement was still going strong in 79, and in general Reading never booked any of the really famous UK punk acts either (apart from the Jam in 1978). Bands such as The Clash, Pistols, Banshees, never got a look in. Perhaps this reflected the innate conservatism of the promoters, who, although providing quite a spread of musical styles over the years, never did bite the bullet and put together such eclectic mixes of music as Freddy Bannister did at the Knebworth festivals. There was always the feeling that Reading was a tad predictable in its booking policy after 1970, even if a band such as Hawkwind or Thin Lizzy missed a year or two, you could always rely on them returning eventually to the fold.
So last up were replacement headliners The Scorpions, who were deputizing for Thin Lizzy. They proved to be highly energetic hard rockers who electrified the crowd with their onstage presence and high octane riffing and they were invited back to no less than two encores. Given that most of the crowd would have been unfamiliar with their music and were no doubt there to see Lizzy, this Reading debut could be described as a triumph .
The band was in the middle of their first US tournaments. Then Jack Berry (booking boss of the festival) invited them to play in Reading. The Scorps cancelled 3(!) USA dates to play at saturday night at Reading. In the song "We'll Burn The Sky" has an amazing version there. Matthias played fantastic solo at the end of the song. Klaus' screams were unbelievable high!
Reading was followed by the Nurnberg Open air in Germany on September 1st. Headlined by The Who, the bill also included cheap Trick, AC/DC and the Steve Gibbons Band. Then it was back to the Sates for another ten dates, in Texas and along the east, to close out 1979 and all touring obligations for the record.
These things tend to go full circle, as Herman relates: "From a touring point of view, when we started in the beginning, we were opening act for Ted Nugent, and I remember Aerosmith. We played in front of AC/DC, Def Leppard opened for us, and we werespecial guest of AC/DC in the end. We were lucky, because it was the same management, so we were doing the good... They gave us enough space on stage - if you call three-and-a-half yards deep enough to play on stage, and it means that the drum riser was built up in the middle of the stage. Klaus could not run from one side to the next, because the drum riser was between. But it was enough space, and they gave us enough lights to perform our 30 minutes in front of all the people, and then after came AC/DC and then came Ted Nugent. It was a strong bill, and we learned a lot, but they gave us enough space and enough lights overhead - it was Leber Krebs who managed all three bands".
"Ted Nugent, at the beginning, was very arrogant to all of us", continues Rarebell, who says that he and Bon Scott were so close, they used to go out after the shows and sit in with local bands. "Ted wouldn't talk to any of the opening acts, so to speak. And the only time he talked to me on the first tour, was because I fucked one of his girlfriends, you know. He didn't like that, and he told me something. I said, 'Listen, leave it up to the woman'. So I think he almost started a fight, but then he looked at my arms and he thought about it two times. I'm not easy with those things, as you know. I'm a peaceful man, but if somebody goes about me, I know how to handle myself. So I never had a fight with him, and I never fucked any of his other women, you know (laughs). From that day on, we respected each other. And then one night he started talking, 'Are you into hunting?' And I got to know the guy. We had different opinions about life, but we seemed to like each other, somehow. Maybe because of that. But I told him, I said, I don't like hunting, and I don't like animals to get killed. Probably no one ever told him that before".

As for Aerosmith... "Well, we have known them for a long time, because, David Krebs, as you know, he was their manager, over two decades, and the first people actually that I met in the band were Brad and Steven. And Joey I met several times, and then later on in life, as you know, one show in '85 they opened up for us in Phoenix. By that time they were split, the band was terrible, they played terrible, and the band was finished. As you know, Bruce Fairbairn brought them back to life. But I've known them for a long time and they know us. At one time, when Joey went away, they wanted to use Michael Schenker as a guitar player. I don't know if you know that. and they auditioned him. But Michael and Aerosmith are like sun and moon, OK? It would've been really... he would've gotten killed. Really, for sure. You put one crazy guy in, then, OK. But five, that is very, very bad. Anyway, I've known them all for a long time, and because of them, we were introduced to Def Leppard, who managed by Peter Mensch. Peter Mensch actually found the band in Germany, turned David Krebs and Steve Leber on, and then in '79, they got us into Cleveland Jam to open up at 10 o' clock in the morning. I remember. Thst festival was with Thin Lizzy, AC/DC, Journey, Ted Nugent and Aerosmith. it was amazing, really amazing".
"We all thought that", says David Krebs, regarding his office's belief that the band had to concentrate its efforts in the US. "As a student of history, I told the Scorpions that the one thing we were gonna do, was not tour England. i said in my opinion, if I looked at England, they were an energy trap for anybody coming from the continent, because they felt rock 'n' roll was like, their thing. And the Scorpions, for years, had been trying to crack through England to get to America. We came right to American. I think their first show was opening to 80,000 people in Cleveland, which was headlined by Aerosmith. And they were great. And I think that that went against the grain of thinking, but it was perfect for them. The English had no great love ro see... especially a German band to make it; there's no way".

This tour was marked by many changes in the setlist, especially due to the change Michael Schenker / Matthias Jabs and the alternation of the role of guest and headliner of the band. And this was a good criterion for collectors to search for live recordings from this tour. On a part of German tour (in Berlin bootleg), a part of the French Tour (Paris) and some European venue (Amsterdam) Michael Schenker was the lead guitarist. This was the setlist type, as headliner, of those shows is the following: Pictured Life, Backstage Queen, We'll Burn The Sky, Loving You Sunday Morning, Lovedrive, In Trance, Is There Anybody There?, Always Somewhere, Lipstick Traces, Fly To The Rainbow, Doctor, Doctor, He's A Woman - She's A Man, Another Piece Of Meat, Top Of The Bill, Robot Man, Kojo No Tsuki, Steamrock Fever, Can't Get Enough.
In these European leg of the Lovedrive-tour. Michael Schenker's solos are incredible and he plays most of them very differently compared to the records. I'm not complaining about Matthias' playing, but he does play most of the solos note for note. And you can note this clearly, since he created new solos for the old song, instead of just playing Uli's solos like on the records. Great version of "In Trance", which became more hypnotic with Michael Schenker doing the lead guitar. Also I hear some jamming here too. "Doctor Doctor", the UFO-song, is a great addition to this setlist and also there are Michael's own "Lipstick Traces" with our Scorpions backing him up. Audience response is excellent on any song they play. These shows the band really going for the big league and it's not a wonder. Very tight performances. Klaus' voice is superb and he makes no mistakes here. Beautiful 'Kojo No Tsuki' is also played during this early part of the Lovedrive-tour and it was dropped after Michael left (of course during the Japanese-tour it was there again).
The Paris show is incredible proof that Michael could play guitar even though he's condition was discrace "Doctor, Doctor" and "Lipstick Traces" are so rare to hear played by only the scorpions, so this already makes this worth the trouble. Michael's pretty much playing the same solos than Uli did. During the tour the Scorps played Life's Like A river first time since In Trance-tour and after this was dropped. Most all of the Lovedrive-songs are played in favour of the Uli-stuff. After this tou "Is There Anybody There?" was dropped until it was brought back alive and kicking during the Face The Heat-tour '93. Can't Get Enough" is brought to end the show and it kept on closing practically every Scorps' show until Savage Amusement-tour '88. Great rocker!
When Matthias Jabs joined the band, the setlist of the European tour (in the bootlegs of Cologne, Glasgow, Newcastle, London or Vienna) and Japanese (Nagoya, Osaka and 3-dates Tokyo on June 05,07,08,1979) tour was: Pictured Life, Backstage Queen, We'll Burn The Sky, Loving You Sunday Morning, Lovedrive, In Trance, Is There Anybody There?, Always Somewhere, Life's Like A River, Fly To The Rainbow, He's A Woman - She's A Man, Another Piece Of Meat, Top Of The Bill / Drum Solo, Robot Man, Kojo No Tsuki, Steamrock Fever, Can't Get Enough.
Matthias Jabs is back about a month ago after short break. The band is happy playing with Matty and the new songs were performed with great enthusiasm. UFO-songs are naturally dropped. Matthias Jabs does an exellent job 'Fly To The Rainbow' (not the full song, but the fast part) and on 'Life's Like A River'. 'Kojo No Tsuki' stands on it's own in front of the Japanese crowd. After this tour this song wasn't included in the set in Japan until the Face The Heat-tour '94. Klaus and the other guys have obviously very special relationship with the japanese fans, after all it was the first place they experienced hysteria...
On their very first US tour, Scorpions were opening acts of Ted Nugent. The short setlist was in most shows this one (Cleveland Stadium; Cleveland, Ohio & Milwaukee, WI, USA bootlegs: Pictured Life, Backstage Queen, We'll Burn The Sky, Loving You Sunday Morning, Lovedrive, In Trance, He's A Woman - She's A Man, Another Piece Of Meat, Can't Get Enough.
The Scorpions in their first North-American tour in 1979. They played a shorter set (30-40 minutes) in festivals with different other artists. (In Milwaukee Sammy Hagar was the headliner) The band selected songs of old era and new stuff too. Matthias Jabs had been the lead guitarist of the band permanently in the last spring. He is playing very well the Uli songs. He gives new colour to these recordings.
There a second USA leg tour of the Scorpions. They toured there at first in this year also but they cut their US stations because of some european places. Like Reading Festival and other german stations (in the festival of Nürnberg, Zeppelinfield 9(!) bands with the Scorpions had been invited on September 1). The band continued the US concerts in autumn. That days the Scorpions had been more popular day after day. The show in Dallas, TX, made in the Convention Center as an opening for Sammy Hagar. The setlist is simple amazing. They could play only 40 minutes but they could compile their setlist very well. The old and the new 'Lovedrive songs' are hanging together. Matthias plays his best and now it looks like that he could adapt ownself to the band. The preface of "He's A Woman - She's A Man" is a little bit shorter than the band's full longer own concerts but super! Great performance of "Can't Get Enough"!
The recording in Chicago, IL , USA, Aragon Ballroom (1979-11-18) is different like the two Schaumburg, IL concerts from the beginning of August. Klaus says Chicago few times during the concert. The date should be the the 6th of August too because the band also played in the "Windy City" then. Chicago is a special place to the Scorps. They have been so popular there from the Lovedrive era. They always play longer shows becasue of the fantic Scorps fan audience there. I heard that they were the headliners only in this town in their whole first north-american tour in 1979. Interesting...
One some dates, they were Opening Acts, like in B'Ginnings; Schaumburg, IL (1979/08/07), the setlist was longer: Pictured Life, Backstage Queen, We'll Burn The Sky, Loving You Sunday Morning, Lovedrive, In Trance, Always Somewhere, Life's Like A River, Fly To The Rainbow, He's A Woman - She's A Man, Another Piece Of Meat, Top Of The Bill, Robot Man, Steamrock Fever, Can't Get Enough. Great quality soundboard-recording from radio-show from the US-tour. Band obviously enjoys playing in the homeland of rock'n'roll for the first time and the crowd are loving them also. You can hear them singing on most of the songs, so it's obvious that their music had been circulating in America also. If you look at the setlist you notice that it's pretty standard set of that tour, so my guess is that this was really one of their headlining gigs of the America.
There are 2 video-bootleg promo of "Is There Anybody There". The first is a Promo playback performance from the BR german TV programme (Szene, '79-01-18). This is the once of the two promotional playback performances what I know about this Lovedrive era. This recording made in a german studio and had played in the BR german TV chanel in the programme Szene 79 'Hits of 70's'. Matthias joined to the band just about one year before this stuff. He had played by his first Stratocaser with the scorpion graphic on it.
The other Promo playback performance of this song is from another german TV programme. This recording made in a german TV chanel in the programme Plattenküche. Only two weeks had left from the japanese tour where Matthias had been full member of the Scorpions.
A TV broadcasting from the japanese programme of the show in Tokyo, Japan, Sun Plaza Hall (June, 05, 1979) is the only live concert recording bootleg-video from the Lovedrive. Few month after the show a japanese TV programme projected this recording. One year after when Uli left the band and few month after that Matthias had been the sterling 5th member of the Scorpions the band toured in Japan again. They had played 5-6 concerts in the country of the rising sun. The local TV station recorded the show what was in the Sun Plaza Hall at 5th of June. There are some mistakes about the correct dates on few other traders' websites where they are written the show to September. The band played twice in Japan in 1979 and the second part was in September indeed but this recording made on the summer concert.
The rarest of the audio recordings exisiting of this tour are Milwaukee, WI - USA (1979-08-10) and Nürnberg - Germany - Zeppelinfield (1979-09-01).
There are two different recordings about this fantastic and obbligatory video for any fan. A shorter what is about 25 minutes and the longer one what is about 45 minutes. The longer version exists extra songs like "Life's Like A River", "Fly To The Rainbow" and "Top Of The Bill". Herman's drum solo is totaly different in the middle of "Top Of The Bill". There are so tracks what exist in live video just in this recording (memorable version of "Life's Like A River"/ "Fly To The Rainbow"!). Matthias playes fantastic in this masterpiece and he came up to Uli. Just like in Uli's classic "Fly To The Rainbow". The band is in full of energy and they made the first steps to the way of success with this "classic line-up". The video also shows Scorps receiving golden discs for record sales in Japan: their fourth studio album Virgin Killer ('76) sold 100,000 copies.

Liverpool 19th May 1979 - New guitarist Matthias Jabs played with the Scorpions at Liverpool Empire. This concert is that the lighting was very poor and being amazed by the audience singing along to a song with Japanese words 'Kojo No Tsuki' (this song was still a little unfamiliar for Scorpions fan...):

Reading 25th August 1979 - Scorpions replaced Thin Lizzy, who had pulled out due to personnel changes in the band:

From this Tour the stage undergoes changes and the band begins to use that their typical energy that will be for the Scorpions a real copied trademark for the eighties! Even the clothes on stage of the five components undergo changes: Klaus sported a red tights with white high boots with showy heels which alternated with black leather pants and white or black t-shirt. Rudolf strictly leather pants with open shirt or sleeveless shirt and the usual heeled boots (like his brother Michael, but he was also often shirtless and sometimes with long boots up to above the knees). Vest and red pants with boots for bassist Francis and all leather for Matthias (open jacket or shirt and pants closed). Finally, the less complicated it was Herman, who wore leather pants with shirtless or with rowers more open that closed: his battery was on a raised platform with headlights illuminated below.
In the huge rock festival held in Nurnberg, Zeppelinfield, the Scorpions were supporting band of the evening for WHO, AC/DC, CHEAP TRICK etc. Over 70 thousand people were whitnessing this evening and in this circumstance, instead the battery of  Rarebell rose for a couple of meters due to a pressure caused below and here the drum-set was without lights in the lower part. The logo of the band (if there was) was either under the drum set or up on stage. Often see real walls of Marshall amps behind the 5 five Scorpions. The Lovedrive album, until now, is the only album that they already played all songs live: in fact all songs of this masterpiece made part of some tour set list during their carrer!

1979/01/30 - Messahalle; Basel, Switzerland (M.SCHENKER Lead)
1979/02/17 - Ahoy Ahll; Amsterdam, Holland Audio (M.SCHENKER Lead)
1979/02/18 - Westfallenhalle; Dortmund, Germany (M.SCHENKER Lead) 
1979/02/19 - Stadhalle, Bremen; Germany (M.SCHENKER Lead)  
1979/02/20 - Halle Munsterland; Munster, Germany (M.SCHENKER Lead) 
1979/02/22 - Vestlanhalle; Recklinghausen, Germany (M.SCHENKER Lead) 
1979/02/23 - Philipshalle; Dusseldorf, Germany (M.SCHENKER Lead) 
1979/02/24 - Eilenriedehalle; Hannover, Germany (M.SCHENKER Lead) 
1979/02/26 - Ostseehalle; Kiel, Germany (M.SCHENKER Lead) 
1979/02/27 - Kassel, Germany (M.SCHENKER Lead) 
1979/02/28 - Neue Welt; Berlin, Germany  Audio (M.SCHENKER Lead) 
1979/03/01 - Musichalle; Hamburg, Germany (M.SCHENKER Lead) 
1979/03/03 - Stadhalle; Erlangen, Germany (M.SCHENKER Lead) 
1979/03/04 - Stadhalle; Offenbach, Germany 
1979/03/05 - Stadhalle; Heidelberg, Germany 
1979/03/07 - Sartory Saal; Koln, Germany Audio (M.JABS Lead)
1979/03/08 - Kongresshalle; Saarbrucken, Germany (M.JABS Lead) 
1979/03/09 - Haidenberghalle; Goppingen, Germany (M.JABS Lead) 
1979/03/10 - Messhalle B; Schwenningen, Germany (M.JABS Lead) 
1979/03/11 - Volkhaus; Zurich, Switzerland (M.JABS Lead) 
1979/03/13 - Schwabinger Brau; Munchen, Germany (M.JABS Lead) 
1979/03/15 - Kongresshalle; Augsburg, Germany (M.JABS Lead) 
1979/03/16 - Audimax; Resensburg, Germany (M.JABS Lead) 
1979/03/17 - Halle; Wurzburg, Germany (M.JABS Lead)  
1979/03/18 - Donauhalle; Ulm, Germany (M.JABS Lead) 
1979/03/22 - Avignon, France (M.SCHENKER Lead)
1979/03/23 - Marseille, France (M.SCHENKER Lead)
1979/03/24 - Perpignan, France (M.SCHENKER Lead)
1979/03/27 - Rouen, France  (M.SCHENKER Lead)
1979/03/28 - Hippodrome Pantin; Paris, France  Audio (M.SCHENKER Lead)
1979/03/29 - Hall du Tivoli; Starsbourg, France (M.SCHENKER Lead) 
1979/03/30 - Reims, France (M.SCHENKER Lead)
1979/03/31 - Palais des Grottes; Cambrai, France (M.SCHENKER Lead)
1979/04/01 - Le Havre, France (M.SCHENKER Lead)
1979/04/02 - Le Mans, France (M.SCHENKER Lead) 
1979/04/03 - Cinéma Rex; Tours, France Probably Cancelled (M.SCHENKER Lead)
1979/04/04 - Lyon, France (M.JABS Lead on all shows after)
1979/04/05 - Grenoble, France
1979/04/06 - Annecy, France
1979/04/07 - Mulhouse, France
1979/04/10 - Ancienne Belgique; Brussels, Belgium  
1979/05/12 - City Hall, Sheffield, England
1979/05/14 - Victoria Hall; Hanley, England 
1979/05/17 - Apollo Theater; Glasgow, Scotland 
1979/05/18 - Free Trade Hall, Manchester, England 
1979/05/19 - City Hall; Newcastle, England 
1979/05/20 - Hammersmith Odeon; London, England 
1979/05/24 - Apollo Theater; Glasgow, Scotland 
1979/06/03 - Shi-Kokaido, Nagoya, Japan  
1979/06/04 - Konseiken Hall, Osaka, Japan
1979/06/05 - Sun Plaza Hall; Tokyo, Japan 
1979/06/07 - Koseneinkin Kaikan; Tokyo, Japan
1979/06/08 - Korakuen; Tokyo, Japan 
1979/07/28 - Cleveland Stadium; Cleveland, Ohio
1979/07/31 - Colliseum, Fort Wayne, In 
1979/08/01 - Indianapolis, IN, USA 
1979/08/02 - Cincinatti, OH, USA 
1979/08/03 - Civic Arena; Pittsburg; Pensylvania
1979/08/05 - Spectrum; Philadelphia, USA 
1979/08/06 - Navy Pier; Chicago, IL, USA 
1979/08/07 - B'Ginnings; Schaumburg, IL, USA
1979/08/08 - Cedar Rapids, IA, USA 
1979/08/09 - B' Ginnings; Schaumburg, IL, USA 
1979/08/10 - Milwaukee, WI, USA  
1979/08/11 - Civic Center St Paul, MN, USA 
1979/08/12 - St. Goarshausen, Germany, Open Air Loreley 
1979/08/14 - Atlanta, GA, USA 
1979/08/15 - Jacksonville, FL, USA 
1979/08/16 - Charlotte, NC, USA 
1979/08/17 - Hampton, VA, USA 
1979/08/18 - Capitol Center; Largo, USA
1979/08/19 - Wilkes-Barre, PA, USA
1979/08/22 - Atlanta, GA, USA
1979/08/25 - Reading Festival; Reading, England
1979/09/01 - Open Air Festival, Nurenberg, Germany
1979/09/14 - Stadthalle; Wien, Austria
1979/11/03 - Convention Center; Dallas, Texas
1979/11/04 - Hemisphere Arena; San Antonio; Texas
1979/11/12 - Convention Center Arena; San Antonia
1979/11/15 - Worcester Auditorium; Worcester; MA
1979/11/18 - Aragon Ballroom; Chicago, Illinois
1979/11/20 - Music Hall; Cleveland, USA
1979/12/01 - Pacific Capitol center; New Jersey, USA
1979/12/02 - Fairgrounds; Allentown, USA
1979/12/06 - Cumberland County Civic Center; Portland, USA 
1979/12/07 - Ocean State Performing Arts; Providence, USA

Scorpions first time in US:

Bootleg Audio: 21
Bootleg Video: 3


Number of shows: 103
Start tour: 1980/03/06 (Tokyo; Japan)
End tour: 1980/10/28 - Hammersmith Odeon; London, England
Countries: Belgium, England, Scotland, Germany, France, Sweden, Japan, USA, Canada
Groups Headliner: Rainbow, Judas Priest, Ted Nugent.
Support Groups: Viva, Tygers Of Pan Tang, Def Leppard, April,Wine,
Saxon,Riot,Touch, Blackfoot

This Line up become stable until 1992... Klaus Meine - vocals, Rudolf Schenker - rhythm guitars, Matthias Jabs - lead guitars, Francis Buchholz - bass, Herman Rarebell - drums:
The first show of Animal Magnetism tour begins with the date of Sun Plaza Hall, Tokyo in Japan (6 Mar 1980), but you do not have much information on this show...  In 17 Apr 1980 the support of teh Scorpions at Festhalle, Frankfurt in Germany was the band Viva of Barbara Schenker, sister of Rudolf and Michael: during the 80s, she got famous when she founded this hard rock band (Barbara plays keyboards, synthesizer, spinet).
Touring in support of Animal Magnetism in mid-Aprl of 1980, continues in Germany and France, always a Scorpions stringhold. "Which surprises me most because we are German;  'cause you knoe our fucking history", mused a perplexed Herman, doing press at the time, on why Scorpions  are so big in Frnce (as is AC/DC). "There was Hitler in the war screwing them up. The British bands come over here putting on German gear, it makes me laugh. What do they think they're doing bringing another Hitler back? It is interesting for them if they come from England and America. They come and play little Hitler because you have all that shit on English TV. You are polluted by those movies telling you Germans were all bad. Okay, there is a helluva lot of bad Germn people, but I tell you, six yeas I lived in England, I met a lot of bad people as well. I don't give a shit about borders because they don't exist. All we wanna do is play good music and give those people a good time. People who believe in borders don't get anywhere. our planet is very small. Go out at night and look at the sky, then you know what's happening. There's a million planets out in the system and so why do we believe in our little countries, our little egos? What for? Rock'n' roll is the international language. People know what you mean all over the world. Okay, we're got a bad past. It doesn't matter anymore. We were born behind that time. I tell you I couldn't give a shit about borders. We could be Europe as a nation, America as a nation - one day it will be the world as a nation".
By mid-May, the band briefly touched down in the UK, with Tygers Of pan Tang as support. Later in the month, the band embarked upon a considerable north American leg, a sandwich act between openers DEf Leppard and headliners Ted Nugents.
On August 16th, 1980, Scorpions played Monsters Of Rock in Donington, along with Touch, Riot, Saxon, April Wine, Judas Priest and Rainbow, who headlined (Scorpions were third on the bill, playing just before Judas Priest and the headliner Rainbow). The show was commemorated as a live album, a single record, on which only Rainbow and Scorpions were represented by two tracks, Scorpions contributing "Loving You Sunday Morning" and "Another Piece Of Meat". As importantly, the Doninton showcase was considered a milestone event for metal in the UK, an ushering in of the New Wave Of British Heavy Metal, even if the only NWOBHM band proper on the bill was Saxon. The year was closed out with additional UK and mainland European dates. Little did they know, but Scorpions wouldn't be hitting the open road again until March of 1982.
"There was a vertain vibe", muses Matthias, surveying the experience of the Animal Magnetism album a whole. "We had just finished our first our first tour in the sattes supporting Ted Nugent, and AC/DC as a special guest for a half a year. It was out first time ever on teh states and it took us six months and we came back and the next tour was already booked, again with Ted Nugent. We weren't a special guest then and I don't remember who teh opener was that time. So we had to do this album quickly. That was the quickest album we've done. I think it took us two months. Since the big studio was booked, we were in Studio 2 at Dierks again, and we were in a very small place, and there was a certain vibe. We obviously let out out... on there are the first impressions we made when we were in the states for teh first time. So much to talk about, like the lyrics for 'The Zoo - you can tell we had been to New York. Stuff like that. We were very much influenced. It was a very unique working atmosphere, different from any other production we've done. It was a certain vibe. Song-wise, there are the ones you mentioned, but 'Only A Man' was one of teh songs, and there were other good ones too. To us, it was sometimes surprising that teh album, in North America, including Canada, was received so well. It must be the vibe".
During this tour the setlist didn't change a lot on the European dates. The intro of the show was the riff of Animal Magnetism song and jumped to Lovedrive. There was an acoustic set with Holiday and Lady Starlight. A real strong setlist. Here is the classical setlist of the European dates: Lovedrive, Don't Make No Promises, Loving You Sunday Morning, We'll Burn The Sky, Animal Magnetism, The Zoo, Holiday, Lady Starlight, Always Somewhere, Pictured Life, He's A Woman - She's A Man, Another Piece Of Meat, Top Of The Bill, Drum Solo, Robot Man, In Trance, Steamrock Fever, Can't Get Enough. On the US dates, they were opening act, so the setlist was shorter. Here are some examples of setlists: Lovedrive, Don't Make No Promises, Loving You Sunday Morning, We'll Burn The Sky, Animal Magnetism, The Zoo, He's A Woman - She's A Man, Another Piece Of Meat, Steamrock Fever, Can't Get Enough (the song Lovedrive played at The Spectrum; Philadelphia, PA). Only existing soundboard-recording from the Animal Magnetism-tour. This one's from the UK-leg of the tour in Newcastle, at the Mayfair ballroom (October 10, '80). Great sounding gig! This gig was booked in order to response to the huge demand there was for the band in Newcastle during that time. When they usually played at the City Hall, this time they used this nightclub. In Europe "Make It Real" (Paris show) had been dropped from the set and they added "Pictured Life" (Bruxelles) instead of it. Memorable versions of "We'll Burn The Sky", "Always Somewhere", "Pictured Life" and "In Trance" with Matthias. One of the full shows about the rare 'Animal Magnetism' Tour teh concert from Southampton, England, Gaumont Theater (19th May, 1980). The setlist is simple amazing! Michael Schenker back on lead-guitar!!! Matthias played in the whole show but Michael had been invited as a special guest is the song 'Can't Get Enough'. Klaus announced him in the middle of "Can't Get Enough". After that Michael bursts into a amazing solo only he can create. Very good!!! Michael doesn't improvise the solos that much, but again his playing is so tight. He follows the Matthias' solos easily and adds something of his own into them! This all is pretty amazing, because what I've heard his drinking-problem was very bad during those months. Great concerts were also in the French tour in the autumn of 1980. Klaus sings great as always in this period. His voice is better and better from month to month. the band played 5 songs from their new album 'Animal Magnetism'. The intro was a foreplay of the album's "title song". There is the full version of "The Zoo" what they had played just in this tournament. After that they haven't played the third verse. I still like the combination of "Holiday" and "Lady Starlight". Acoustic version of "Lady Starlight". "Holiday" is also played on every Scorpions gig after this tour. Since it hasn't yet became such a crowdpleaser, teh band only plays the short version that goes straight into Lady Starlight. Sad that only short version this wonderful song is played. Too bad that after this tour, the songs from uli times started to disapear from setlist, losing space to their material from polygram releases. on this tour Klaus' voice was on the top, but on the next year, unfortunatelly he would have problems with his vocal chords...
There is also a Promo playback performance TV PROSHOT recording of "Make It Real" & "Don't Make No Promises". The first promo videos of the newest released album 'Animal Magnetism' is 10 minutes and the perormance made in a studio and it's playback. After there is a AMAZING STUFF video (Intro + Lovedrive, 6 min.) when the Scorpions played in Paris, Hippodrome Pantin, April 21) at the very first french station on their new album Animal Magnetism Tour. The album released only 20 days ago and they chose only 4 tracks to play in the incoming tournament. As I know there is very rare to find live video recording from the 70's and early 80's of the Scorps. I had never heard about this recording... The recording had been recorded from the french Studio 3 TV programme.
The audio bootlegs rarest of the Animal Magnetism Tour '80 are Brussels - Belgium - Ancienne Belgique (1980-04-22 ), Spokane, WA - USA - Spokane Coliseum (1980-05-29), Stockholm - Sweden - Göta Lejon (1980-09-10) and Glasgow - Scotland - Apollo (1980-10-09).
The band always wore t-shirt, jacket and leather pants and the news more relevant was a big scorpions with a tail and claws under the drum set of Rarebell: now the band really started to make a name not only in Europe and then could dare definitely more on stage...

Donington 16th August 1980:

1980/03/06 - Tokyo; Japan
1980/04/11 - Ostwestfallenhalle; Kaunitz, Germany
1980/04/12 - Stadhalle; Karlshrue, Germany 
1980/04/13 - Circus Kronebau; Munchen, Germany
1980/04/15 - Freiheitshalle; Hof, Germany
1980/04/17 - Stadthalle; Offenbach, Germany 
1980/04/18 - Stadthalle; Wolfsburg, Germany
1980/04/19 - Ernst-Merck Halle; Hamburg, Germany 
1980/04/21 - Hippodrome Pantin; Paris, France 
1980/04/22 - Ancienne Belgique; Brussels, Belgium
1980/04/25 - Sporthalle; Koln, Germany
1980/04/26 - Tauberfrankenhalle; Lauda-Königshofen, Germany 
1980/04/27 - Hemmerleinhalle; Nurnberg, Germany 
1980/04/28 - Donauhalle; Ulm, Germany 
1980/04/29 - Haldenberghalle; Unighen; Germany
1980/05/01 - Stadthalle4; Bremen, Germany
1980/05/02 - Eilenriedehalle; Hannover, Germany
1980/05/03 - Neue Welt; Berlin, Germany
1980/05/04 - Neue Welt; Berlin, Germany
1980/05/05 - Ostweehalle; Kiel, Germany
1980/05/06 - Nordlandhalle; Luneburg, Germany
1980/05/08 - Stadthalle; Kassel, Germany
1980/05/09 - Grugahalle; Essen, Germany
1980/05/10 - Eberthalle; Ludwigshaven, Germany  
1980/05/11 - Saarlandhalle; Saarbrucken, Germany 
1980/05/13 - City Hall; Newcastle; England 
1980/05/14 - Appolo Theater; Manchester; England 
1980/05/16 - City Hall; Sheffield; England  
1980/05/17 - Apollo Theater; Glasgow; Scotland   
1980/05/18 - Odeon Theater; Birmingham; England  
1980/05/19 - Gaumont Theater; Southampton; England  
1980/05/23 - Cow Palace; San Francisco; California 
1980/05/24 - Vancouver, Canada
1980/05/25 - Sports Arena; Los Angeles, California
1980/05/27 - Paramount Theater; Portland, Oregon
1980/05/27 - Spokane, Whashington, USA
1980/06/11 - Civic Auditorium; Omaha; Nevada 
1980/06/12 - Veteran Hall Auditorium; Des Moines; IA 
1980/06/14 - MECCA Arena; Milwaukee, Wisconsin 
1980/06/15 - Rosemont Horizon; Chicago; Illinois 
1980/06/16 - St Louis; MO, USA
1980/06/18 Kemper Memorial Arena; Kansas City; MO 
1980/06/19 - Reunion Arena; Dallas; Texas 
1980/06/22 - Memorial Coliseum; Phoenix, AZ, USA  
1980/06/25 - Convention Center Arena; San Antonio; Texas 
1980/06/27 - Summit; Houston; Texas 
1980/06/28 - Riverside Controplex; Baton Rouge; LA 
1980/07/01 - Mid-South Coliseum; Menphis; Tenessee 
1980/07/12 - Legend Valley Summer Jam; Hebron; OH 
1980/07/13 - Capitol Center; Largo; USA  
1980/07/14 - The Spectrum; Philadelphia; USA 
1980/07/15 - Veteran Memorial Coliseum; New Haven; Connecticut 
1980/07/16 - Memorial Auditorium; Buffalo; NY 
1980/07/23 - Wings Stadium; Kalamazoo; Michigan 
1980/07/25 - Aragon Ballroom; Chicago; Illinois  
1980/07/26 - Aragon Ballroom; Chicago; Illinois  
1980/07/27 - Rockford Speedway; Rockford; Illinois 
1980/07/28 - Five Flags Center; Dubuque; IA 
1980/07/29 - Wing Stadium; Kalamazoo, MI, USA
1980/07/30 - Public Hall; Cleveland; Ohio 
1980/07/31 - Stanley Theater; Pittsburg; PA 
1980/08/02 - Orpheum Theater; Boston; Maryland 
1980/08/03 - War Memorial; Syracuse; New York  
1980/08/06 - Civic Center; St Paul; MN 
1980/08/16 - Castle Donington; Leicestershire, England  
1980/09/09 - Olympen; Lund, Sweden 
1980/09/10 - Gota Lejon; Stockholm; Sweden 
1980/09/14 - Brielepport; Deinze; Belgium 
1980/09/15 - Arêne; Poitiers; France pic 
1980/09/16 - Salle du Parc; Bordeaux; France  
1980/09/17 - Halle Commingues; Toulouse; France  
1980/09/18 - Parc des Expositions; Tarbes; France 
1980/09/20 - Palais des Sports; Montpellier; France  
1980/09/22 - Alpexpo; Grenoble, France Audio 
1980/09/23 - Palais des Sports; Lyon; France 
1980/09/24 - Salle Du Baron; Orleans, France 
1980/09/25 - La Beaujoire; Nantes; France 
1980/09/26 - Salle Omnisports; Quimper, France 
1980/09/28 - La Rotonde; Le Mans; France  
1980/09/29 - Docks; Le Havre; France 
1980/09/30 - Parc des Expositions; Lille; France 
1980/10/01 - Palais des Sports; Reims; France  
1980/10/02 - Hall du Tivoli; Strasbourg; France 
1980/10/05 - Colston Hall; Bristol; England 
1980/10/06 - Empire Hall; Liverpool; England 
1980/10/07 - City Hall; Newcastle, England  
1980/10/08 - City Hall; Newcastle, England  
1980/10/09 - Apollo Theater; Glasgow Scotlland 
1980/10/10 - Mayfair Ballroom; Newcastle; England
1980/10/12 - University; Lancaster; England 
1980/10/13 - Victoria Hall; Hanley; England  
1980/10/14 - St Geoges Hall; Bradford; England 
1980/10/15 - Civic Hall; Volverhampton; England  
1980/10/16 - De Montford Hall; Leicestershire, England 
1980/10/18 - Apollo Theater; Manchester; England 
1980/10/19 - Apollo Theater; Manchester; England 
1980/10/20 - City Hall; Sheffield; England 
1980/10/21 - City Hall; Sheffield; England 
1980/10/23 - Guild Hall; Portsmouth; England 
1980/10/24 - Odeon Theater; Birmingham; England  
1980/10/25 - Odeon Theater; Birmingham; England 
1980/10/27 - Hammersmith Odeon; London, England  
1980/10/28 - Hammersmith Odeon; London, England

Bootleg Audio: 19
Bootleg Video: 2

- BLACKOUT (1982-1983) -

Number of shows: 119
Start tour: 1982/02/11 (Playhouse Theater; Edinburg, Scoctland)
End tour: 1983/12/17 (Westfallenhalle; Dortmund, Germany)
Countries: England, Scotland, Germany, France, Holland, Sweden, Denmark, Japan, USA, Canada
Groups Headliner: Van Halen, Rainbow, Foreigner, Loverboy
Support Groups: Bigfoot, Balckfoot, Iron Maiden, Trust, Girlschool, Riot, Triumph, Judas Priest,
Ozzy Ozbourne, Quiet Riot, Motley Crue, Ratt, Quiet Riot, Vandenberg, Ozzy Osbourne,
Def Leppard, Krokus, Michael Schneker Group

Scorpions (Line up: Klaus Meine - vocals, Rudolf Schenker - rhythm guitars, Matthias Jabs - lead guitars, Francis Buchholz - bass & Herman Rarebell - drums) hit the road immediately upon release of the album in late March, beginning with a few warm-up dates in continental Europe before executing a complete blanketing of the UK.
Klaus Meine says: "Early eighties we have worked in the south of France for the album Blackout. And I realized that I had problems with his voice. I noticed that was not there in the heights and depths. I could not sing easier. The first doctor who I was, he said: 'There you will find a new job.' I had knots on the vocal cords and had to undergo surgery twice. Nothing was more. If I have the time saw some band on stage and watched the singer, I said to myself: 'Klaus, haste did sometimes.' Rudolf said, 'look for a new singer!' I mean, the band was in the studio - just the singer was not there. But Rudolf said: 'We are waiting for you!' Then someone told me Dr. Kürsten in Vienna. A specialist who oversaw the great opera singer. The built me ​​again and I prescribed this ingenious device that generates threshold. There are electrodes out and so I could rub my vocal cords, strengthen and rebuild it. I took it with the world. Here I am in Tokyo (pic below)".
"The device has definitely helped. My voice had recovered and we did, einzusingen 'Blackout'. This was also a great success. So I went to Vienna and told my Dr. Sexton, I pledge to eternal gratitude, the gold record presented. Simply because it would not be without him. The hanging in the waiting room, probably today. Shortly before, I had not known what the future holds. I was at a point where I had finished my career as a singer. Don Dokken had already provisionally sang some vocals. Sure, it was my personal tragedy, but in the end the triumph of friendship: The band was Rudolf, who believed in me".

Klaus now had on tour what he called an elctronic device that could zap and dissolve any nodes that might develop in his throat. After a few more European stops, it was into North America, where into July of '82 they played mostly with Girlschool and Iron Maiden, into September and October. As was typical of the manic times for the band, having just played Seattle with Iron Maiden on July 16th, the band loud out they had the chance to squeez in a major gig in LA the very next night. What was supposed to be a typical outdoor concert (Day On The Green #2) featuring Loverboy and Foreigner was turned into the Anaheim Summer Strut, with the addition of a couple more acts. Recalls Rudolf, "We got back to the hotel at 2:30 in the morning, and had to be up at 5:30 to each the airplane for Los Angeles. thos is rock 'n' roll and I love it. It was so great out there today. The feelings were so good and strong. We are all very glad to come and play".  The band got to showcase Blackout to 75,000 people, having somehow got their gear a thousand miles down the coast overnight - and there was a show booked the next night again, halfway back up the coast in Oakland. "My voice is holding up very well", said Klaus, interviewed in Anaheim. "I went back to Vienna during a break in teh tour and saw the doctors. They did some tests and said that I was healthier than ever before. I still do exercises and take therapy for to be safe".
Rudolf, amusingly contrasting Scorpions with Maiden told Circus magazine,
"We have very hard songs, very slow songs and very fearful songs. In 1982, when Iron maiden toured with us, normally the male fans would say, 'I want to go hear Iron Maiden '. Then even the girls who liked Scorpions would say, 'Iron Maiden is not my music. I don't want to go'. Now, when they come to hear Scorpions, the girls tend to like Always Somewhere and Holiday, and the guys growl, 'Oh yeah, I can't get enough!' So they're both happy. And we can build up our atmosphere - your atmosphere". At the band's St.Louis stop on July 9th, a fan threw a glass jar with a few live scorpions in it, onto the stage. The jar shattered and the scorpions took over under and behind the amps, giving the road crew a more stressful that usual tear-down at the end of the night.
A month later, August 11th, Rudolf got himself into a bit of typical rock 'n' roll trouble in Corpus Christi, Texas.
"I still can't understand what happened. I was throwing a few things around, but I wasn't hurting anybody. then the hotel manager came up to me and said, 'You must leave'. I told him i was straying in the hotel, but he didn't seem to care. he asked me to come to his office for a minute, and the next thing I knew I was in handcuffs!  When the police arrived, they were told that they better be careful because I was a very dangerous individual. they took me away to jail and I ended up spending quite a while in there before I was able to get out. It was my first time in an American jail, and it wasn't very enjoyable. They treat you like a criminal (laughs). once our road manager came down and explained everything, they were only too happy to drop the charges and let me go. The funny thing was that as I was leaving, one of the officers who arrested me actually asked me for my autograph and some albums. I was happy to give him the autograph, but there was no way I was about to give him any free albums after the trouble they put me through".

Matthias Jabs wore this eye patch in some of his photos. Here is his response: "Back in 1982 in Corpus Cristy, Tx i was blinded by the follow spots at the very end of the show before the band took a bow and I didn`t see a cigarette lighter coming, that was thrown towards the stage. It hit me right in the eye. I never thought it was an intentional act by the thrower. I thank god that I still have good eyes. It was critical back then and they flew me to special Clinic in Houston.After one week I could take the patch off and see the world again. Thank god I can play guitar without looking".

Early '83 was spent on writing and early recording sessions for what was to become the band's next album. More on this later, but briefly, into April of 1983, the band went to Sweden to record at Abba's Polar Studios, featuring some intriguing personnel changes, i.e. a possible dropping out of the rhythm section, namely Francis and Herman. these recordings would be scrubbed, and the band would not return to Sweden come time to resume recording.
On May 29, 1983, Scorpions played Steve Wozniak's gargantuan US Festival, on the much lauded "heavy metal day" of the four day party. Without getting ahead of the story, the milestone gig reaffirmed the band's commitment to each other, with the classic lineup back in place. On the day, they played second to the headliner, Van Halen, following Quiet Riot. Motley Crue, Ozzy Osbourne, Judas Priest and Triumph. The band was flown in by a helicopter, transferred to a limo... by all accounts, they were floored by the magnitude of it all.

"Without a doubt", answers the US Festival's Michael Frisch, when asked if it might be perceived that Scorpions won the day. "Everybody over the years has said that Scorpions blew Van Halen away. It was probably Scorpions' best performance. Still to this day, they said that that the US Festival performance was one of their best".
Indeed the band was on fire, running all over the stage, Rudolf doing Pete Townshend windmill chords, the penultimate being a famous Scrpions dogpile to close out the night, winding up a ridiculously accelerated "Can't Get Enough" with a wall of thrashing sound.
The full set list for the stand consisyed of Blackout, Don't Make No Promises, Loving You Sunday Morning, Make It Real, Lovedrive, Coast To Coast, Always Somewhere, No One Like You, Can't Live Without You, He's A Woman - She's A Man, Another Piece Of Meat, Dynamite, The Zoo, and then finally the manic Can't Get Enough. It was a defiantly recent and modern batch of songs, crafted perfectly for the stage, for slamming rhythm guitars in lockstep, for a studied band of strategists designed to work like a machine. But the real significance of the US Festival's heavy metal day was its symbolism as a coming out party for metal in America, all of these bands on a swift, determined rise, save for the headliner who had already arrived, and Triumph who would stall. To be sure, the press and attention would be on the LA metal scene, but big metal bands from all over the map would do brisk business in the ensuing six, seven years as well, with Scorpions just about to break it big with Love At First sting.
"Pretty good performance", says Bob Crosby, also an US Festival VIP.
"But they all seemed to be fine. You would think that heavy metal day would have been a little more rowdy, but the talent were probably more behaved than some of the other days (laughs). But it was so big that it was somewhat intimidating to a lot of people. Judas Priest was very confident in their role, and their playing, and where they were at. They came off mature, as much more of a mature group than Motley Crue, who were more like the little guys just getting there. You know, jumping around. I have to say, being a bit of an older guy, it was a new sound of music that was coming on strong - I really wasn't doing heavy metal shows. But you just couldn't deny it. It was really coming on so strong, that you couldn't ignore it. And so yeah, in that sense it was probably the biggest platform of popular support, of at least anything I ever knew of at the time. US Festival stood out over several decades. And not only was it mass people, but it was sophisticated production, state -of-the-art at the time". And there were definite sentiments being voiced from the stage on heavy metal day that indicated an awareness that metal was on the rise. "There were", says Bob. "Every one of them felt that their time has come. That it was not a new rekindled sound or style of music, that it had come, that it had reached its acceptance, that it was now relevant. You could say that about country and classic rock, and now you could say it about heavy metal. It was its own genre, whereas leading up to that, you had punk and all these different versions of it that were short-lived, or weren't really piqued to where you would classify them with country and classic rock. But heavy metal seemed to do that".
"There were so many people there", recalls Judas Priest's Rob Halford. "There were like 350,000 people there. Wasn't that the biggest crowd ever? For that day? It was a three-day event. One was new wave, one was country, and one was metal, and metal walked in and just exploded. I think it was a unifying moment in America for a lot of people . It was almost like our Woodstock. That US Festival was our Woodstock in terms of that metal day. There was us, Van Halen, Scorpions, Triumph, Quiet Riot - how great was that? It was an absolutely sensational day out. Just everything was in the right place at the right time. It was a tremendous lineup, the bill with all those acts being togheter. Such a diversity as well, when you think about it. What a great mix. And yet the overall push of that whole experience was definitely geared towards a metal moment".
Matthias Jabs says in 2012:
"We have played so many great things that it is difficult to name the most special highlight among all of these experiences. But if asked, I would choose the 'US-Festival' in 1983 in San Bernadino Valley before approximately 320,000 people. One could only see people up until the mountains, and the nice thing about it was that we were still in a relatively early point in our career. This festival provided a certain turning point. We were very successful with Blackout and had just recorded Love At First Sting in the studio. As a preparation for this 'US-Festival' - where we were co-headliners for Van halen, the really great American band at that time - we had a short warm-up tour. That is how we found out that Van Halen wanted to forbid us to use special effects on the stage. And since the Scorpions never give up and are creative, we thought then to bring the special effects not on the stage but out of it. Our English tour manager at that time called the military, who were Scorpions fans, and they organized five fighter jets. These should be well-timed to our performance and fly over the stage. California is really in the south; the sun sets quickly. That means you have a time window of maximum three quarters of an hour then it is dusk, then dark. And they raced at exactly the right point in time before it became dark, and flew on top of the people. Naturally, that was a murderous introduction for the show, incredibly impressive. There was no way to top it, we were so hypped up that we had upstaged Van Halen that evening. The audience was completely fascinated, and we were too. When 320,000 people stand before you, you must pull up all of your strength in order to sustain the blow of energy that comes from the audience. In this situation you must rise above yourself, and we did that on this day. For me, that was the most impressive concert we have ever played".
Schenker adds: "The eighties were a fantastic period for the hard rock. There was so much energy and the inspiration was the maximum. For the Scorpions, the peak was at the 1983 US Festival in California. We had before playing Van Halen and they did not allow us to have special effects on stage. So we thought that maybe we could find something even better. So, for the opening the show did fly five hunting above the stage and the audience. Many say that outclass all. and that was the moment when we broke really in United States". 
Klaus Meine in 2014 told:
"There was so much energy and for us, a German band, go to America and live the dream of rock 'n' roll was a challenge but at the same time a paradise on earth. In '79 we signed with management more important of era and in four years we have found to be, after Van Halen, the second band in the bill of the US Festival in front of 350 thousand people. We knew that Van Halen would do a show from fear and then, to overcome them, we recovered five fighters that flew over the stage in the exact instant when we started our show. Five hunting, you know? The next day they said we had stolen the show from all the other bands. Let me be clear, we also played by god, cause you can have 100 jet, but if you suck does not save you even entire Luftwaffe. For us is always important that our live was memorable: over the years some have been found a bit excessive and, to review them today, I would say: 'What are you going through his head?', but when you are open for AC/DC or Ted Nugent, who came on stage dressed as Tarzan hanging from a vine, it is hard to get noticed". The US Festival was an event that had a staggering impact on the world of rock and roll. Despite only existing for two short years, it would help to lay the groundwork for the modern festivals (Lollapalooza, Outside Lands, Coachella, etc.) which we enjoy now. The US Festival began with an idea from Apple co-founder Steve Wozniak, who wanted to put on an event that would spotlight both music and technology. He mounted his first US Festival in 1982 with performances from classic rockers such as the Police, the Ramones, Talking Heads, and Tom Petty & The Heartbreakers, as well as artists from many other genres. “We put a copy of the check up on the video screen during their set showing that they got half a million dollars.” Wozniak lost a lot of money on both festivals reportedly $10 million alone on the ‘83 edition, which promoter Barry Fey quips was “the most expensive backstage pass in history.”  
“David tells me: ‘We’ll have to interrupt our tour and charter a 747 to bring our equipment and get it right back again.’ So I went to Steve: ‘David’s gonna cost you a million and a half, but it’s gonna cost you an extra half a million for Van Halen.’ He just shrugged his shoulders: ‘So?’ The addition of Bowie ultimately cost $2 million.” 
An estimated 425,000 took in the sights and sounds that year. The 1983 edition of the US Festival would take things to a bigger and better level. In the minds of many, the centerpiece of the event was ‘Heavy Metal Day,’ which featured performances from Quiet Riot, Motley Crue, Ozzy Osbourne, Judas Priest, Triumph, Scorpions and a memorable set from Van Halen, who were paid $1.5 million. “Expensive” was the key word for the ‘83 fest. Fey recalls in a new conversation with the Orange County Register that a requested last minute addition to the bill caused some headaches. The festival was completely booked, Fey placed a call to Bowie, who was on a European tour promoting his massive Let’s Dance album. This series of events left the Clash, who were picking up a measly $500,000 in non-punk rock dollars in an extremely ticked off state. They held press conferences and spewed venom [with Van Halen being a particular target] to express their displeasure, threatening that they would not perform. They did perform, but as Fey remembers, festival organizers got their own revenge, "Fey relates, and Van Halen had a favored-nation clause in their contract that said no one could get more than them and they were getting $1 million. Then Steve came to me and said, ‘God, Barry, I really love David Bowie.’ I say, ‘Steve, there’s no room. Let’s put this to bed.’ And he says, ‘Well, I really do love David … could you try? It is my money and my festival’”. 
On March 06, 1982, Scorpions toured in France and one of the higher moment was certainly the show at the Hippodrome Pantin, Paris. This show was recorded for RTL Radio and was broadcasted few days later. This saturday nigth, the crowd was crazy in the hippodrome. The first song in my recording is "Don't Make No Promises", but I think they began the show with "Blackout", not recorded by the taper or by the radio. They played with an incredible energy, we can hear clearly each instrument, but Francis bass is awesome.The setlist is a classic from early Blackout tour, but they didn"t play "Coast To Coast", once again maybe it was not recorded? They kept this incredible energy on each song. "We'll Burn The Sky", "Lovedrive", "Holiday"...are just more powerfull than ever. Klaus is very happy to be back in Paris after his long "Blackout" as he said before to play "Loving you Sunday Morning". The radio speaker is Francis Zegut, he really loves Scorpions, just before the first encore ("The Zoo"), he said: Here is the first encore of the Scorpions, Scorpions is a band who can play 1000encores!! This show is for me a great demonstration of the power and the rage of Scorpions in the early 80's. Very first time in Italy with 3 wonderful shows, at the start of tour '82: Bolzano (28 Mar) Palasport, Reggio Emilia (29 Mar) and Rolling Stone Theater, Milan (30 Mar). Michael Schenker appears as a special guest on the encore, "Can't Get Enough" song, in London show (24th April '82, Hammersmith Odeon). The Scorpions partly reciprocate always in London, England, Hammersmith: there is the full version of the song "Doctor Doctor" (TV PROSHOT, a jam of 8min.) where Klaus, Rudolf and Herman were special guests at the last track of MSG concert, on October 22, '83.
From the first American-leg of the tour "Animal Magnetism" is included instead of "We'll Burn The Sky", while "Always Somewhere" was alternating with the other ballad "Holiday".
In the North America Leg I (Toledo, OH, Sports Arena & San Antonio, TX, San Antonio Convention Center), there is only one recording where the Scorpions played "China White" alive!!! I never heard about that the band played that song in live so it was a giant suprise for me when I listened to it first. Klaus has fantastic voice on it. I really don't understand how he can sing so high and strong few months after his operation. His singing is stronger then ever before! He has a scream before the last song what's incredible sound. The setlist is simple awesome! Same like at the Blackout USA Tour only they changed the "Animal Magnetism" to "China White" there. They played a strong repertoire. 5 songs from the new album is a good promotion for that. As I know the Blackout album had been the most popular releasing of the Scorpions in North America. The "No One Like You" single had been all time classic and the live version is also very cool of that. I like that they played only one (and a half) slow song and the choice is the best. I prefer "Always Somewhere" so much. But the Blackout European Tour was the first where they played "Holiday" in full version. They dropped that at the whole US stations. The performance is one of the best what I heard from this years. The band is with full of energy and the audience also pulsates same together by the Scorps. In the Japan-tour '82, where the Scorpions were huge at this time, "No One Like You" is brought in the setlist and the traditional song "Kojo No Tsuki".

There is a short interview with Herman and Rudolf on the Studio 3 french TV programme. After that they played three song (Blackout, Make It Real & Always Somewhere) from the Scorps' one of the french concerts. Unfortunatelly ther is not information about the place or the date. It's funny when the the second track "Make It Real" is beginning the director is writing "Can't Live Without You" to the screen. He shouldn't know the band very well...Always a AMAZING video from the France (1982-03-09  Strasbourg, Halle Rhenus): another short recording from the early 80's of the soundcheck of the "Blackout" song. Unfortunatelly the video is only 3,5 minutes but very rare stuff. Few short questions from Herman and Rudolf and there is this incomplete version of the soundcheck where it looks that the band had been in their best form after Klaus' vocal chords problem. His voice is perfect clear. I wish I could go back into the golden years...!

In the second leg of the North American Tour '83 there is one of the best performance in the Scorpions history. They played in the US Festival in front of 350.000 people in the horrible hot californian summer (May 29th, San Bernardino, CA, USA, Glen Helen Park). Unfortunatelly only four songs, "No One Like You", "The Zoo" and "Can't Get Enough" had been broadcasted (Dynamite is the fourth) in video. The band captivated America...! Always video-bootleg, There is a rare playback performance TV PROSHOT recording of "No One Like You" what played in a german TV programme.

There is one of the oldest audience video recording about the Scorpions: Lund, Sweden, Olympen (December 08. '83) They went to Sweden and Germany for a few concerts at the end of 1983.
The new (and maybe the most success) album 'Love At First Sting' had been already in the studio and they released it in the January of the next year (1984). In this very special show with early presesentations of songs from the upcoming Love At First Sting-album they played two new tracks ("Coming Home" and "I'm Leaving You"). It's very funny when Klaus forgot to begin to sing the first line of "I'm Leaving You". :) There is the only one live video recording about "Don't Make No Promises" what usually had been the second song in the Blackout tour and the Love At First Sting tour's first stations. Unfortunatelly there is not the full show because the last three songs ("The Zoo", Another Piece Of Meat" and "Can't Get Enough") are missing. Only 67 minutes but so also one of the rarest video about the early 80's Scorpions.
I'm Leaving you" was already dropped in next shows of this short tour (Copenaghen & Gross-Weiden) unlike "Coming Home". After these concerts "We'll Burn The Sky" was dropped 'til the monsets Of Rock '86 -tour when it a little snippet of it was played. It was brought back on Pure instinct-tour '97.

Nearly 30 years ago (17th dec 1983, to be more concrete)
Scorpions (second in the bill with Iron Maiden headliner and along with Judas Priest, Def leppard, Ozzy, Quiet Riot, Krokus and MSG) played in Dortmund (GER) on the so called Heavy Metal Night. It was shown as filmed document in early 1984 (4th February in german TV). This is a TV recording about the Dortmund Rock Festival from the ZDF german TV chanel. There is well-known video about the 80's Scorpions. They played only 40 minutes (8 songs) because there were some other bands too. The full set list was: Blackout, Don't Make No Promises, Loving You Sunday Morning, Make It Real, Coming Home, Coast To Coast, Always Somewhere, Holiday, Can't Live Without You, Another Piece Of Meat, Dynamite, The Zoo, Can't Get Enough (it 's also a very rare audio bootleg).
These were the type setlist for European Tour leg I: Blackout, Don't Make No Promises, Loving You Sunday Morning, Make It Real, We'll Burn The Sky, Can't Live Without You, Coast To Coast, Always Somewhere, Holiday, Lovedrive, He's A Woman - She's A Man, Another Piece Of Meat, Dynamite, The Zoo, Steamrock Fever, Can't Get Enough. North America Tour leg I: Blackout, Don't Make No Promises, Loving You Sunday Morning, Make It Real, Lovedrive, Coast To Coast, Animal Magnetism, Aways Somewhere, No One Like You, Can't Live Without You, Another Piece Of Meat, Dynamite, The Zoo, Can't Get Enough. Japan Tour: Blackout , Don't Make No Promises, Loving You Sunday Morning, Make It Real, We'll Burn The Sky, Lovedrive, Coast To Coast, Animal Magnetism, Always Somewhere, Kojo No Tsuki, Holiday, No One Like You, Can't Live Without You, He's A Woman - She's A Man , Dynamite, The Zoo, Another Piece Of Meat, Sha Vu Sha Vu, Can't Get Enough. European Tour leg II:  Blackout, Don't Make No Promises, Loving You Sunday Morning, Make It Real, We'll Burn The Sky, I'm Leaving You (Lovedrive), Coast To Coast, Holiday, Always Somewhere, No One Like You, Can't Live Without You, Coming Home, Dynamite, The Zoo, Another Piece Of Meat, Can't Get Enough. 
The rarest audio bootlegs exist are: Barcelona - Spain - Palau Desports ('82), New York, NY - USA - Madison Square Garden ('82), Harrisburg, PA - USA - City Island ('82), Winnipeg - Canada - Winnipeg Arena ('82), Tokyo - Japan - Koseinenkin Hall (1.&2.night, '82), Dubuque, IA - USA - Five Flags Stadium ('83) and full show Dortmund - Germany - Westfalenhalle ('83). Now the Scorpions was always more having his strong image on stage: the legendary tight trousers and forearms yellow&blacks of Jabs and leather jacket always yellow&black of Meine. The drum set of Rarebell was raised by a platform that rose up like an elevator. Once stopped, the band came out with the first deadly guitar notes... and from this curtain rising, made out Schenker & co., once down it included the classic logo of the Scorpions (the metallic scorpion of the alternative cover Lovedrive album made in USA). Behind Herman often stood on top a large artwork of the Blackout LP. Klaus in some show wore dressed as a galactic warrior with a helmet featuring a scorpions painted over and a flame thrower. And you could see already the legendary human pyramid...

US Summer Tour '82!!!:

1982/02/11 - Playhouse Theater; Edinburg, Scoctland
1982/02/12 - City Hall; Newcastle, England
1982/02/17 - Apollo Theater; Manchester, England
1982/02/19 - Victoria Hall; Hanley, England
1982/03/01 - Kaunitz, Germany 
1982/03/04 - Palais des Sports; Lille, France  
1982/03/05 - Palais des Sports, Dijon, France  
1982/03/06 - Hippodrome Pantin; Paris, France 
1982/03/08 - Palais des Sports; Reims, France 
1982/03/09 - Halle Rhenus; Strasbourg, France 
1982/03/11 - Palais des Sports; St Etienne, France
1982/03/12 - Palais des Sports; Montpellier, France 
1982/03/14 - Polideportvido De Anoets; San Sebastian, Spain 
1982/03/15 - Pabellon Deportivo; Madrid, Spain 
1982/03/16 - Palau Desports; Barcelona, Spain 
1982/03/17 - Hall Comminges; Toluouse, France
1982/03/19 - Maison des Sports; Clermont-Ferrand, France
1982/03/20 - La Beaujoire; Nantes, France 
1982/03/22 - Parc Penfeld; Brest, France 
1982/03/23 - Salle Omnisport; Rennes, France 
1982/03/25 - Parc Des Expositions; Caen, France 
1982/03/26 - Salle Des Fêtes; Mulhouse, France  
1982/03/28 - Palazzo del Ghiaccio; Bolzano, Italy  
1982/03/29 - Palasport; Reggio Emilia, Italy  
1982/03/30 - Rolling Stone Theatre; Milan, Italy 
1982/04/01 - Théatre De Verdure; Nice, France 
1982/04/02 - Alp Expo; Grenoble, France 
1982/04/04 - Apollo Theater; Manchester, England 
1982/04/05 - Apollo Theater; Manchester, England 
1982/04/07 - Victoria Hall; Hanley, England  
1982/04/08 - Odeon; Birmingham, England 
1982/04/10 - Assembly Rooms; Derby, England 
1982/04/11 - Civic Hall; Wolverhampton, England 
1982/04/12 - Gaumont Theater; Ipswich, England 
1982/04/14 - Playhouse Theatre; Edinburgh, Scotland 
1982/04/15 - City Hall; Newcastle, England 
1982/04/16 - City Hall; Newcastle, England  
1982/04/18 - St Geaorge's Hall; Bradford, England  
1982/04/19 - City Hall; Sheffield, England 
1982/04/20 - Empire Theatre; Liverpool, England 
1982/04/22 - De Montford Hall; Leicestershire, England 
1982/04/23 - Hammersmith Odeon; London, England  
1982/04/24 - Hammersmith Odeon; London, England  
1982/04/26 - Gaumont Theater; Southampton, England 
1982/04/27 - Colson Hall; Bristol, England  
1982/04/28 - Cornwall Coliseum; St. Austell, England 
1982/05/01 - Jaap Edenhall; Amsterdam, Holland 
1982/05/06 - Stadthalle; Offenbach, Germany 
1982/05/07 - Schwarzwaldhalle; Karlshrue; Germany 
1982/05/08 - Saarlandhalle; Saarbrücken, Germany  
1982/05/10 - Eberthalle; Ludvigshafen, Germany 
1982/05/11 - Erbst Merck Halle; Hamburg, Germany 
1982/05/12 - Nollendorfplatz; Berlin, Germany  
1982/05/14 - Eilenderhalle; Hannover, Germany 
1982/05/15 - Sporthalle;Koln, Germany 
1982/05/16 - Bochum, Germany  
1982/05/18 - Messehalle; Stuttgart, Germany  
1982/05/21 - Hemmerlenhalle; Nurnberg, Germany 
1982/05/22 - Munchen, Germany 
1982/05/23 - Carl-Diem-Halle; Würzburg, Germany 
1982/06/06 - Broome County Arena; Binghampton, NY, USA
1982/06/08 - Kerr Progress; Cambridge, USA 
1982/06/10 - Verdun Amphitheatre; Montreal, Canada
1982/06/15 - Fairgrounds; Allentown, Pennsylvania  
1982/06/19 - Madison Square Garden; New York, NY, USA
1982/06/21 - City Island; Harrisburg, PN, USA
1982/06/22 - Memorial Auditorium; Buffalo, NY, USA  
1982/06/27 - The Spectrum; USA 
1982/06/30 - Wings Stadium; Kalamazoo, MI, USA
 1982/07/02 - UICC Pavaillon, Chicago, IL, USA 
1982/07/04 - Alpine Valley Music Center; East Troy, WI, USA
1982/07/06 - Civic Center; Danville, USA 
1982/07/10 - 5 Seasons Center; Cedar Rapids, IO, USA
1982/07/16 -  Edmondson Pavillon; Seattle, USA  
1982/07/17 - Anaheim Stadium; Anaheim, CA, USA
1982/07/18 - Stadium; Oakland, USA 
1982/07/20 - Memorial Arena; Victoria, Canada 
1982/07/21 - Pacific Coliseum; Vancouver, Canada 
1982/07/23 - Fieldhouse; Edmonton, Canada 
1982/07/23 - Wings Stadium; Kalamazoo, MI, USA 
1982/07/25 - Maxbell Arena; Calgary, Canada 
1982/07/31 - Prairie Convention Center; Springfield, Illinois 
1982/08/01 - Convention Center; Indianapolis, IN, USA  
1982/08/03 - Cleveland; OH, USA
1982/08/04 - Ohio Center; Columbus, OH, USA
1982/08/07 - Sports Arena ;Toledo, OH, USA  
1982/08/08 - Auditorium North Hall; Menphis, TN, USA
1982/08/13 - The Summit; Houston, TX, USA  
1982/08/14 - Reunion Arena, Dallas, TX, USA  
1982/08/16 - Convention Center, San Antonio, TX, USA  
1982/08/19 - Tucson Convention Center; Tucson, AZ, USA
1982/08/20 - Albuquerque, New Mexico 
1982/08/25 - Orange Pavillon; San Bernardino, CA, USA
1982/08/27 - Sport Arena, San Diego, CA, USA  
1982/08/28 - Veteran Memorial, Phoenix, AR, USA  
1982/08/31 - Convention Center, Fresno, CA, USA 
1982/09/01 - Long Beach Arena; Long Beach, California, USA
1982/09/03 - Sacramento Memorial Auditorium; Sacramento, California,  USA 
1982/09/04 - Oakland, California, USA
1982/09/11 - Portland, USA  
1982/09/23 - Shibuya Public Hall; Tokyo, Japan  
1982/09/24 - Kaikan, Kyoto, Japan 
1982/09/27 - Fukuoka, Japan  
1982/09/28 - Festival Hall; Osaka, Japan 
1982/09/30 - Nagoya, Japan 
1982/10/02 - Shinjyuku Koseikin Hall; Tokyo, Japan 
1982/10/03 - Shinjyuku Koseikin Hall; Tokyo, Japan  
1982/10/04 - Shinjyuku Koseikin Hall; Tokyo, Japan 
1982/10/16 - Coliseum De Quebec; Quebec, Canada 
1982/11/04 - Arena, Winnipeg, MAN Canada  
1983/05/18 - Mayo Civic Center, Rochester, MN, U.S.A.
1983/05/20 - Five Flags Stadium Dubuque, IA, U.S.A.
1983/05/27 - Greyhound Arena, Portales, NM, U.S.A.
1983/05/17 - Duluth Arena, Duluth, Minnesota, U.S.A.
1983/05/29 - Glen Helen Park; San Bernardino, California  
1983/12/08 - Olympen; Lund, Sweden  
1983/12/09 - Saga; Copenhagen, Denmark  
1983/12/10 - Zeiglei; Gross Weiden, Germany  
1983/12/17 - Westfallenhalle; Dortmund, Germany 

Bootleg Audio: 42
Bootleg Video: 8

- LOVE AT FIRST STING (1984-1986) -
Number of shows: 176
Start tour: 1984/01/23 (Odeon; Birmingham, England) 
End tour: 1986/09/05 (Estadio Del Rayo; Madrid, Spain)
Countries: England, Scotland, France, Belgium, Germany, Italy, Sweden, Denmark, Hungary, Switzerland, Japan, USA, Canada, Brazil
Groups Headliner: AC/DC, Deep Purple, Ozzy Osbourne,
Support Groups: Mama Boys, Jon Butcher, Bon Jovi, Whitesnake, MSG, Anvil, Fastway, Kick Axe, Helix, Quiet Riot, Joan Jett, Mountain, UFO, Meat Loaf, Alaska, Blackfoot, Aerosmith, Ted Nugent, Night Ranger, Grim Reaper, Victory, Yngwie Malmsteen, Metallica, Y&T, Ratt, Ozzy Osbourne, Motorhead, Warlock, Def Leppard, Zero 9, Bad News, Barão Vermelho, Eduardo Dusek, Kid Abelha e os Abóboras Selvagens, Baby Consuelo e Pepeu Gomes.

The SCORPIONS (Line up: Klaus Meine - vocals, Rudolf Schenker - rhythm guitars, Matthias Jabs - lead guitars, Francis Buchholz - bass & Herman Rarebell - drums) had finally scaled the Mount Olympus of rock. With three albums featuring simultaneously in the US charts: Animal Magnetism (1980), Blackout (1982) and Love at First Sting (1984), the SCORPIONS spent two years on the road playing as headliner or co-headliner at all the big rock festivals that sprang up around the world after Woodstock. The SCORPIONS toured the globe, with a fleet of articulated lorries, Nightliner buses, helicopters, private jets and the inevitable limos. Hanover’s heavy metal band played all the main rock venues in North, Central and South America and Europe. In Asia, they played in Malaysia, Thailand, the Philippines and Japan.
This was the golden age of heavy rock. With gigantic stage and light shows and dramatic firework effects, the SCORPIONS unleashed a pyrotechnic display of sound and light. Their relentless energy sent the fans wild. To US audiences, the SCORPIONS, with their polished, hard-edged "melodic rock" and Klaus Meine’s dramatic power singing with its dizzying top notes, came to epitomise the best in heavy rock. Groups like Bon Jovi, Metallica, Iron Maiden and Def Leppard, later to become mega bands, were support acts on the SCORPIONS’ worldwide tours, learning what it meant for a band to hold its own in the rock arena in front of an audience of millions. Love at First Sting became one of the most successful albums in rock history. It includes the SCORPIONS’ most electrifying numbers "Rock You Like a Hurricane", "Bad Boys Running Wild", and the masterpiece Still Loving You. The critics struggled for superlatives. Rolling Stone called the SCOPRIONS "the heroes of heavy metal". The SCORPIONS were admitted to the exclusive club of the world’s 30 greatest rock groups. Their ballad "Still Loving You" became an international rock anthem. In France alone, the single sold 1.7 million copies. The song unleashed a wave of hysteria among French fans not seen since the Beatles and became the SCORPIONS’ musical trademark around the globe. At the first Rock in Rio in 1985 where they were cheered by 350,000 enthusisatic South American SCORPIONS fans.
The 1985 double album World Wide Live, a counterpart to the 1978 Tokyo Tapes, impressively documented the band’s more recent international triumphs. In 1986, the SCORPIONS topped the bill at the legendary Monsters of Rock Festival and played in the Hungarian capital Budapest, their first-ever appearance in an Eastern Block country. Scorpions on the road, that meant mainly one thing during the Love At First Sting world tour that lasted from January 23, 1984, until September 5, 1986: gigantomania in every respect. During these months of the tour, the group performed over 170 shows in front of over 2,2 million fans, crowning their celebrated crusade with an appearance at the Rock In Rio festival at Barra da Tijua in Rio de Janeiro in 1985. The band covered almost 80,000 kilometres, transporting their light and sound equipment, weighing an impressive 48 tons, on five articulated lorries. The Scorpions crew consisted of a total of 64 men and women, among them rodies, stagehands, technicians, bus drivers, cooks etc. Over 500,000 posters were put up during the tour, and the musicians patiently endured over 1000 press, radio and TV interviews. By the time the troupe returned home al last in earky 1985, drummer Herman Rarebell had used up around 1000 drum sticks, while Rudolf Schenker, Matthias Jabs and Francis Buchholz had gone through around 10,000 guitar and bass strings. All this togheter was the basis for WORLD WIDE LIVE...
"We always give everything in every single show, we always work at full steam", explained vocalist Klaus Meine his band's philosophy. "After all we're first and foremost purely a live band that happens to be making records on the side. We live on the stage and for the stage" This attitude can be felt in every show of tour '84-'86. Jabs adds: "In 1984, we made a full house at Madison Square Garden for three nights in a row. I had brought my parents to New York for him to see the show. It was the first time my mother flew - my father, for war , was already been on a plane. it was then that I realized I had made the right decision about my life. But, of course, my mother said,' So, when you are looking for a job?'. Moms are made so"
Beginning in Birmingham, January 23rd, 1984, Scorpions would promote the album Love At First Sting through England and then mainland Europe until February 29th, Irish meat-and-potatoes rockers Mama's Boys as support. The last date of this leg, in the band's Paris stronghold, would represent the earliest material on the upcoming record, to be called World Wide Live (June 20th, 1985).
March 17th, the band begun a massive North American swing, with Jon Butcher Axis supporting - Meine remarked at the time how much Butcher reminded him of Uli - through the 22nd of April and bon Jovi taking over up until July 18th. A cluster of California dates at the end of April would cough up the lion's share of the material for the record. 
May of '84 found the band in Chicago, set to play what is now called Allstate Arena - for three nights runnin'. "You know, it's funny because this really is the city where everything started for Scorpions in America", said Klaus, doing press in the Windy City, incidentally a stronghold for UFO as well. "When our Lonesome Crow album came out in Germany way back in 1971, it was picked up over here by a small Chicago-Based label called Billingsgate. That led to a kind of underground cult following for the band. Then when we came here in 1979, on tour first visit to the states, we played at teh Chicago Fest, which was like a huge city party on lake Michigan. there were loads of different bands and we performed on a platform stretching out on the water. there must've been about 10,000 people watching and there was so much pushing, a lot of fans ended up falling in teh water. It was very crazy". "A few weeks later we were back, playing a club called B'Ginnings in the suburbs", continues Meine, this Schamburg, Illinois show also including Sammy Hagar and Pat Travers. "People were camping outside the place at seven in the morning. On the next trip, we did two nights at the Aragon Ballroom, where Al Capone used to go dancing, and sold them out. With the success of Blackout, we returned to Chicago in 1982 and packed out a 10,000 seat hall. This year, we decided to play the Rosemont Horizon and after the first night sold out in just 25 minutes, we were forced to add two extra nights". 
A short Japanese tour in early August would see the band playing with Whitesnake, Michael Schenker Group and Bon Jovi. At one point, it looked like MSG might have been support for much more of the Love At First Sting campaign. "Perhaps it worked out for the best", said Klaus, when this fell through. "It would have been fun to tour with Michael. Of course, our roots go way back - he was, as I hope everyone knows, the original lead guitarist in Scorpions. But he has his career now and we have ours. We're still very close, and in fact, Rudolfamd I showed up and jammed at one of his British gigs late last year. But perhaps Rudolf would have had his attention taken away from our tour. He may have felt the need to watch out Michael every now and then. Right now, we don't want any distractions". "I realized having Michael along would be a big distraction for me", agrees Rudolf. "When we are togheter, I fell very protective of him. I have one eye out to him all the time. Michael is a brilliant musician, and he will be a big star in America some day, but he's going to have to do it on his own". 
Upon return , there'd be a second North American leg, mostly supported by Fastway. Then into late October, it was back to Eutope, where support would come from Joan Jett. the Sporthalle, Cologne, germany show on November 17th of '84 would provide some source material for the World Wide Live album. But bonafide live milestone would take place in January of 1985, with the band's first Rock In Rio. "Rock in Rio was a fantastic thing", recalls Rarebell. "If you go to Youtube, put on Herman rarebell, there is a drum solo there from Rock In Rio. With all the 400,000 people clapping along. It's my best drum solo. And I mean, don't forget one thing, when we arrived in Rio, it was fifth of January and the concert was on the 19th, OK? So we had two weeks off, and I think all we did there was really just fuck and sleep and party. There was nothing else to do there. I was in a separate... I was in the same hotel on Copacabana Beach with Roger Taylor from Queen, and Chris Squire from Yes was there. And the others, all teh family people, they had a different hotel on another beach, you know? But Brazil is just crazy. I mean, in those days, party, don't forget, Ozzy was on the bill, Queen, AC/DC, Scorpions and Yes and Rod Stewart - do I have to say more? It was a great festival". 
Rock in Rio is a kind of overview of those who were the most successful bands of '84. The event, in addition to being a monumental expense, cost a fortune to the promoter, was an unprecedented success with the public. It was billed as the rock festival more big in the world and, although several bands were barely cataloged in the sphere rock, the definition was accepted because musical event ever (except for Montreux) is lasted 10 days. Brazil is a country full of natural resources and full of ability accommodation in the sphere of rock music. Maybe it's also a matter here of hunger for Western music, but it's a fact that the Brazilian style Yankees always make it big. At Maracana there are 200,000 people for a football match, at the Festival of Rock in Rio came 150,000 people a night.
Apart Raffaella Carra', only the Queen had come to play for 100 thousand people a night in the land of coffee'. The organization of the festival (Roberto Medina, president of the agency called Artplan) was able to build the stage and the infrastructure for the concert in record time (when he came to London in late November '84 everything was still far from be ready) exploiting the workforce at low cost which abounds Brazil. Despite this, it was necessary the intervention of several sponsors to cover 11,500,000 dollars. Tickets cost ranged from $5 to $7 depending on the night and was kept low in an attempt to attract a large audience, which would give prestige to the event, as well as meet the capacity spending Brazilians kids that is not' very high. To speak of profit should have come 280,000 people a day. Robero Medina has lost $ 5 million, its sponsors because the beer is running rivers and have eaten a wild media of 65,000 burgers a day (99 Malt and Mc Donalds have long scrubbed hands, Roberto Medina cried misery). Only consolation the fact that the plant, located close to the Formula 1 circuit, it was only to be amortized over the four years granted by the government for rent. Four torrential rains of the following spring (the Brazilain autumn) but have almost totally destroyed the structure where he played the festival. medina, almost bankrupt, threw in the towel and do not intend to lose any more money. Subsequently, the Rock in Rio reborn still seven years after with the fourth incarnations in 1991 and after still in, 2001, 2011 and 2013, six in Lisbon, in 2004, 2006, 2008, 2010, 2012 and 2014, and three in Madrid in 2008, 2010 and 2012. Brazilian entrepreneur and advertiser Roberto Medina was responsible for the inception and organization of the festival, as well as moving the 2004 edition to Lisbon, while controversially keeping the brand "Rock in Rio". In 2011, Rock in Rio returned to its original location, Rio de Janeiro, with a new line-up of singers and groups.
Two new editions are to be held in 2015, one in Las Vegas, the first to be held in the United States, and another being the sixth Brazilian edition. The first edition of the festival was held from January 11–20, 1985. Queen, George Benson, Rod Stewart, AC/DC and Yes were the headliners, each occupying top spot for two nights (Benson, however, ceded it to James Taylor for their second night in the same bill, due to the huge delay Taylor's extended performance had caused to his concert two days before). About 1.4 million people attended the 10-day-long festival. Both concerts were filmed by Queen (on 12 and 19 January) and transmitted across South America by Rede Globo. Each concert was seen by nearly 200 million people in more than 60 nations. Queen were the highest paid artists, with $600,000, for their two performances.
Rock in Rio in numbers: The City of Rock, which was built for the festival, covered an area of 250,000 m² (around 2.7 million square feet); 1,600,000 liters of beverages were served, using 4 million plastic cups; 900,000 hamburgers; 500,000 pizza slices; McDonald's sold 58,000 hamburgers in a single day, which was a Guinness World Record until the fourth edition in 2011, where 79,000 hamburgers were sold by Bob's.

Then it was straight to japan yet again, followed by triumphant festival dates through the summer, including Knebworth and Donington. Knebworth would reunite Klaus with his old friend Ritchie Blackmore, who was headlining teh show as part of a reformed Deep Purple. "Come on, the guy's really great, but not such a good soccer player", said Meine weeks before teh show. "He takes his soccer seriously though. We always play Ritchie whenever we can. When we played with Rainbow last, we hammered them 5-1. i do not think Ritchie was so impressed. But we always said we'd give him his cance to extract revenge and Knebworth offered the opportunities. I really hope Ritchie's prepared. We're really in the mood to stuff him and Purple". Backing off, meine offered an live branch. "It's not a competition. We're all just there to play good rock 'n' roll for everybody. It's pure press nonsense to suggest that we are in any way annoyed. Look at it this way, Purple are a legend to us". 
The second Knebworth rock festival of the decade (we won't count the Jazz fests or the Christian Green Field festivals held in 82/83 ), funds were provided by a consortium which included Paul Loasby, who was the promoter of the Monsters of Rock festival held at Castle Donington . The object was to provide a major concert venue for the sole 1985 UK concert of the reformed Mark 2 Deep Purple. Although there was a licence for 100,000,( which caused all sorts of problems, mainly due to police costs, which were excessive ) around 80,000 punters showed on the day . The weather was appalling, it rained and rained , so much that this show is now referred to as "Mudworth " by those who were in attendance. During the 70s Knebworth had been very lucky with its weather, the weather gods of of the 80s were not so kind ! The problems with the policing costs led to a court hearing , which went in favour of the plod, so the festival was essentially without a license only eight days before it was due to proceed !. Further meetings were held and , since numbers were likely to be less than 100,000 the police dropped their fees down to 30 grand, ( they were hardly needed , as Knebworth was nearly always trouble free and the promoters were providing 450 stewards anyway ). After all this hassle, the police presence did little to prevent the huge traffic jams that occurred after the event.
In common with his Donington festival policy , Loasby discouraged camping (as well as almost everything else) but this did not prevent many people turning up early. The first campers arrived on the Monday BEFORE the festival, but fortunately the Cobbolds ( who own Knebworth House) were far more understanding and had provided a campsite within the park. We will never understand why promoters discourage camping as it allows a gradual buildup of people at these giant events and also allows a much longer time period for the crowds to disperse. Those under the influence have longer to get fit enough to drive safely and the traffic problems are far less than when you have 80,000 people all trying to leave the site at once. There was no liquor licence which meant that fans arriving would scull everything down at once , thus getting completely pissed very quickly, or they would smuggle in spirits disguised as water or juice, once again getting drunk more swiftly than if they had to drink beer and line up at a bar to get served.
Whatever, the absence of the license and the bans on cans and bottles did not prevent an almost constant hail of bottles and cans ( many urine filled ) descending on the heads of luckless attendees throughout much of the day. This was par for the course at most outdoor heavy rock concerts of the day, but it was a new phenomenon at Knebworth, which had always been a pretty safe environment for the audience on previous occasions.
The acrimony in the main arena was mirrored backstage, with several members of Purple (we can guess who) having an altercation before the show which lead to their separate portacabins ( no pre concert socialising or bonding taking place for these guys ! ) having to be turned round so neither had to look at each other when they left or entered their palatial mobile homes.... However, even the privileged have to rough it sometimes and Richie Blackmore had to make his way to the stage clutching a brolly in one hand , protecting his guitar with this uncool device. He also wore gumboots to keep out the mud! Much of the event was recorded by the good old BBC and 3 and a half hours were broadcast on FM. However, no video exists of the show apart from a three minute BBC tv feature , which we would LOVE to get hold of for review purposes. Like Donington , there was the mother of all fireworks displays at the end of the show -which was overall a relatively quiet one, as a limit of 90DB had been imposed by the authorities, which would have not been too impressive for fans at the rear of the arena. As the PA was gargantuan , capable of an output of 250,000 watts , this was rather disappointing for both fans and organisers alike. As for the music ,opinions are polarized to a degree that we have rarely experienced when researching concerts. It appears that some people don't really rate most of the support bands and others love their sets. However almost all agree that the Scorpions played an absolute blinder of a set. Their success was down to being extremely energetic, having a good sound mix and being on top of their game, which , in many cases regarding the supports, was arguably not the case.Some attendees argue that Mountain, UFO and most particularly Meatloaf, were well past their prime. Blackfoot have been either slated, or praised and no one seems to have a good word to say about Alaska . The only way to really work it out is to collect the FM recordings (which we don't have ) and listen. The weather also did not help, if one is standing for hours in the pissing rain getting colder and colder , one needs to be INSPIRED by the bands, if this doesn't happen, apathy sets in and the bored and pissed audience members tend to do silly things such as throwing urine filled bottles at the object of their annoyance onstage (yes YOU Meatloaf ), at people standing blocking their view, or just aimlessly in the air.
Deep Purple either played a great set, with the gum booted Blackmore on fire due to the fact that he was annoyed as buggery at life in general, the rest of the band working well together and the erratic Gillan singing well - OR they were apathetic and uninspired and were better in the old days. I expect the two hour wait between the end of The Scorpions set and the commencement of Purple's either honed the anticipation or dulled the expectations for the various reviewers.The portaloos were burned to provide warmth, the sides of the stage leaked and had to be swathed in polythene to save the equipment from shorting out , there were horrendous queues to get hot drinks and food, the loos overflowed and to cap it all, there were no video screens so that many of the 80,000 wet punters could not adequately see the object of their desire - (this was a disgrace given that there had been screens way back in 1976 for the Stones, it would have been better to have spent the £15,000 splashed out on fireworks on a video rig) .Most of the night was spent extricating vehicles from the mud , which had by now assumed quagmire proportions . Dozens were treated for hypothermia. What fun.....
Scorpions came on at 6.30 finishing at 7.45 the true stars of the day playing the classic World Wide Live set and encoring with a great version of "Still Loving You", I bought the live album as soon as I got home. Without doubt the finest set in Scorpion history they made me forget the endless rain and the incredibly long day. "Blackout", "Make It Real", "Another Piece Of Meat", "The Zoo", "Rock You Like A Hurricane", fresh vibrant and played with passion and precision. Shame they were still playing exactly the same set at Donnigton 86 supporting Ozzy!
Rarebell says: "One show in' 85 the Aerosmith opened up for us in Phoenix. By that time they were split, the band was terrible, they played terrible, and the band was finished. As you know, Bruce Fairbairn brought them back to life. But I've known them for a long time and they know us. At one time, when Joey went away, they wanted to use Michael Schenker as a guitar player. And they auditioned him. But Michael and Aerosmith are like sun and moon., OK? It would've gotten killed. Really, for sure. You put one crzy guy in, then, OK. But five, that is very, very bad. Anyway, I've known them all for a long time, and because of them, we were introduced to Def Leppard, who managed by Peter Mensch. Peter Mensch actually found the band in Germany, turned David Krebs and Steve Leber on, and then in '79, they got us into Cleveland Jam to open up 10 o' clock in the morning, I remember. That festival was with Thin Lizzy, AC/DC, Journey, Ted Nugent and Aerosmith. It was amazing, really amazing". 
In 1985 it was the infamous show where Aerosmith opened for the Scorpions before the Done With Mirrors album was out. Sounded like a crazy day... Matthias Jabs of the Scorps: "We've had some amazing shows in Phoenix. I remember the show at Compton Terrace in 1985. That was the only time Aerosmith opened for us. We'd opened for them in 1979 on one of our first visits to America. There were about 40,000 people there and the crowd got out of control - something happened - some people got hurt. They changed the capacity of the venue after our show. I know the next time we played at Compton Terrace, the crowd was much smaller. (News reports at the time said there were numerous fist fights and three people suffered superficial stab wounds but no arrests were made." 
Some fans told (1): "This was the first time I saw and met Aerosmith. I was living in Phoenix and The Scorpions announced they’d be playing Compton Terrace with Aerosmith, Autograph and Victory in support. I managed to bluff myself backstage claiming to be from the Melody Maker and the first thing I saw was Joe Perry being helped to his trailer by two girls. I got to briefly meet the whole band, who were on hard times and just about to release the less than fabulous Done With Mirrors. That said, I was ecstatic and let the music do the talking." 
Fans (2): "My worst was an outdoor show in Phoenix at Compton Terrace in 1985 when I was going to ASU. Victory, Autograph, Aerosmith, and the Scorpions. The first two bands were horrible. Aerosmith was on their comeback tour (Done with Mirrors) but I don't remember them being very on that night. The Scorps were outstanding, but the songs and talking between them was identical to "World Wide Live". The worst part was that it was all general admission and people were crammed together on the grass in 100 degree plus weather. You couldn't see, you couldn't breathe...horrible. The guy I went with and I moved to a spot on a grass terrace above the masses and watched the rest of the show from a distance. We found out later two people had been stabbed to death during the concert."
Fan (3): "Went to many shows Compton Terrace next to Legend City. Personally I think that the Aerosmith,Scorpions, Autograph,Victory show was the one that shut it down. Wasn't that place owned by the Father of Stevie Nicks?" 
Fan (4): "The original Compton Terrace was inside Legend City, before they moved it to Firebird Raceway. I saw AC/DC, Def Leppard as well as the Beach Boys at the Legend City location. Then they moved out to Firebird where the Labor Day Blowout was held featuring The Scorpions and Aerosmith. That was a hell of a show i think it was in 1985."

In the words by famous UK journalist Malcom Dome an example of how the Scorpions could do everything and everywhere in those two years. It's August 31, 1985 at Oakland Coliseum Stadium in California, where the 13th annual Day On The Green festival is approaching in climax. We've already seen Victory, Yngwie Malmsteen, Metallica, Y&T and Ratt. Now everyone is waiting for headliners the Scorpions. Backstage, Metallica are stretched out at a table. Their bassist Cliff Burton is chatting amiably about Lynyrd Skynyrd, when... "Come and look at this!" Metallica drummer Lars Ulrich is standing up, his mouth wide open. And no wonder. The Scorpions have just come out of their dressing room, and got into two limousines drawn up right outside to chauffeur them to the stage - a distance of... ooh, let's say about 50 yards. All of us seated at that table with Metallica get up and join Lars peering at the faintly ridiculous sight. "Hey, man!" shouts frontman James Hetfield in the direction of the German rockers. "Lost the use of you legs? Crazy fuckers!" "Is that how rock stars are supposed to act?" asks an incredulous Ulrich. He turns to me and says: "If we ever act like that, kick my fucking ass, okay?" It's a preposterous situation. The limos are probably longer that the distance to the stage.
The drive takes all of... maybe 15 seconds. The next day I meet up with Rudy Schenker, Klaus Meine and Herman Rarebell from the Scorpions for an interview. I can't help but ask what the hell the infamous limo jaunt was all about."We are headliners, right?" begins guitarist Schenker in a serious tone. "We have to act like headliners. What do you expect us to do, walk?!That's for support bands. This is what we did when we were supporting. But we are the last band of the day. the fans expect us to arrive in style". "But the fans didn't see you". I protest. "Only people backstage. And they were all laughing". "Really? Laughing at us?" says singer Meine, alsmost shocked. "But why did they laugh? We weren't being nasty to anyone. We treated all the bands on the bill with respect, and they laugh...""They have a point", admits drummer Rarebell, struggling not to smile at the incredulity of his bandmates. "Come on, guys, I'd have been laughing if I'd seen even Led Zeppelin doing what we did". So, whose idea was it? "Dunno", shrugs Rarebell, almost enjoying the situation, as Schenker and Meine are still reeling from the revelation than their band - at the time one of the biggest rock names touring America - may have actually become an object of ridicule. "Ask our tour manager. He's English, so perhaps he decided to take the piss out of us germans. You English are always doing it, ha!" So that's it. The Scorpions' spectacular performance that day overshadowed by a 50-yard limo ride from their dressing room to the stage. Except for one final comment, muttered by Cliff Burton after the headliners had finished the show: "Tell you what. Leave it to Lars and he'll have us doing the same thing in a couple of years. I'm serious. He was probably jealous".

Scorpions would play a handful of European festival dates in 1986. the highlight from 1986 would undoubtedly have to be the annual Monsters Of rock at Donington, August 16th, where the band billed above Warlock, Bad News and Def Leppard, second on the ticket to Ozzy Osbourne. 
Sounds' Steve Double, however, didn't quite see it as any sort of a highlight, writing that,"As Ozzy Osbourne will be supportng the Scorpions later this month in Europe, they were one band who could be sure of a good sound throughout. The Scorpions are biggest rock band ever to emerge from West Germany. It's not hard to see why. They're reliable workmanlike rock commotion reflects the very essence of latterday heavy metal without ever approaching the shining beauty at its core. Uniformly relentless and one dimensionally brutal, the Scorpions are both depressing and rather pathetic. Their ham-fisted sexism - tatooed across their foreheads by album titles such as Virgin Killer and Taken By Force, and by artwork like the chewing gum molestation on the Lovedrive cover - fits clenched fist in iron gauntlet within the base framework of the form. Despite their obvious power, the Scorpions could only plow  dour and unforgiving furrow through a set not soo dissimilar in blueprint to the one which preceded it. But where Def Leppard's precisely structured rock soars with an effortless beauty borne out natural talent the Scorps have built their success upon science, upon Heavy Metal By Numbers". 
Summer 1986 saw erstwhile bat biter Ozzy Osbourne headlining the festival (Ozzy thought the bat he bit the head off onstage in the early 80s was rubber, once he realised it was real, he was rushed off to hospital where he received remedial anti rabies shots onto his bum for a week) with able support from festival vets the Scorpions and Motorhead. Other notable events at the 86 show was the return of Def Leppard drummer Rick Allen to live performance after the 1984 car accident that severed his left arm and the silly set by comic spoof Strip band "Bad News" who recieved a right bottling. The Bad News set was filmed for the "More Bad News" episode of The Comic Strip Presents, which means that there are a lot of stills online that we can present , both from the Bad News set, but also from backstage , as the members of most of the bands were quizzed about their reaction ot Bad News being part of the show.
They all rated them as lower than pond scum. Lemmy of Motorhead threatened to fight the idiot who threw a lighted flare at him during the Motorhead set , he was so furious he stopped the band and had a go at the dork there and then. Apparently DJ Tommy Vance ( who had hosted the festival since its inceptrion in 1980 ) was dropped from the post after 1986 , as he wrote a critical article in Metal Hammer magazine detailing the fest that his DJ equipment was faulty. This is supposed to have pissed of the organisers, anyway for whatever the reason , he did not appear at the festival after 1986.... Rain made an unwelcome return to the festival, which had been pretty lucky the previous two years or so . First on the bill was Warlock, obviously at that age we all loved Dorothy Pesch! Their set was good and like all early bands they did suffer a bit from crappy sound, but they tried hard. Next up was Bad News, a creation of the comedy outfit 'The comic strip'. It was pretty naff, but at one point they had the whole crowd shouting 'F*ck off Bad News' which was quite amusing. This was later featured in the TV spoof 'rockumentary' "More Bad News".
Next on the bill was Motorhead. Of course we couldn't wait because Lemmy was a legend to us. Anyway the set was what you would expect with all the classics. At one point some nutter threw a lighted flare at the stage which just missed Mr Kilminster. He instantly stopped the music and went apeshit. He offered this 'f*ckin dickhead' to come up on stage and throw a punch instead!
Next up was Def Leppard. We were of course looking forward to this as it was Rick Allen's return gig after his car accident. By now it was raining quite hard and there was a lot of mud around. But it didn't stop the feeling of anticipation. Leps came on there was a long and emotional ovation for Rick, made the hairs on the back of my neck prickle! So the set was great and they played some new songs from the forthcoming Hysteria album. Particularly remember 'Animal' as being very special.
Once Leps had finished the rain stopped and you could see the sun heading towards the horizon behind the stage. A buzz of excitement went round the crowd (as well as millions of bottles, cartons, meat pies, lumps of mud and grass whizzing past your ears every other second), because next was Scorpions! This was just off the back of their World Tour in '85 and was definitely Scorpions at the absolute pinnacle of their career. They absolutely nailed it. All the brilliant songs, twin leads and Mathias Jabs fantastic solos. The finale of the set was of course the famous human pyramid. This was one of the best moments of the festival so far -honest!
So Scorpions finished and everyone loved them, but now it was time for Ozzy. I remember the DJ Tommy Vance was playing some cracking stuff over the PA between acts and just as it was starting to really get toward late dusk he put on AC/DC/s Back in Black at what must have been virtually full concert volume.
Once the AC/DC song was finished, the lights went up and Ozzy came down from above the stage on some kind of throne contraption! 'Let's go f*ckin Crazy! he shouted and the crowd responded by going berzerk. I remember just how loud the PA was for Ozzy and within a few songs my ears were shot. Didn't spoil it though in fact it added to the immense sense of the occasion. Ozzy played all the Sabbath and solo stuff and Jake E Lee was brilliant with use of effects and volume in his solos.
Ozzy was great as usual too. 86 belonged to the Scorpions for me, they really were just the business that day. Scorpions- a second appearance at Donington, and a year after blowing Deep Purple into the mud at Knebworth. Did they do the business again? Absolutely! They had a reputation for being a formidable live band, and they were/are ideal for festivals like this. Loads of hook filled melodic metal and even a couple of minor hits, a very professional band who know what an audience wants, supern stuff and yet again a festival stealing performance.

There is a soundboard recording (Tracklisting: "Big City Nights", "Coming Home", "Crossfire", "I'm Leaving You", "Pretty At Nite", "Rock You Like A Hurricane", "Heartbreaker", "The Same Thrill" and "Still Loving You" / 40 min.) what made in a studio, a little bit rough but very fantastic, from the  Love At First Sting DEMO. LOVE AT FIRST STING pre-production studio rehearsals with the rhythm section of Jimmy Bain and Bobby Rondinelli from 1983! After the BLACKOUT album and tour of 82/83, Klaus, Rudolf and Matthias decided Francis Buchholz and Herman Rarebell weren't playing up to the level that was expected of them and they were 'released' from the band.
Whether this was intended to be temporary or permanent at the time only the 5 of them know, but after being treated for substance abuse and proving that he was mentally/physically capable of the rigors of rockstardom, Herman was welcomed back with open arms. Francis apparently followed just after Rarebell's return as the triumverate realized they just weren't the same with somebody else on bass. Besides Jimmy Bain, Neil Murray allegedly also tracked some demos for the album before the classic band reunited. What we have here is a 40 minute session of the band whipping through the album live in the studio, most-likely all in the same room. The vocals could stand to be a tad louder and it is evident here and there that this definately came from a cassette tape source, but this is an amazing find. There are pleasantly noticeable differences in playing style here and there -- not in song arrangement, but in feel and fills. There are obvious Jimmy Bain Dio-era runs ("Big City Nights" 3:30 on till the end of the song) and some interesting drum patterns that don't sound Herman-like at all (the entire song "Coming Home"). The only song that appeared on the finished album that is not present here is "As Soon As The Good Times Roll", though this session features a song that did not appear on the final sequence -- an (unfinished?) instrumental called "Pretty At Nite". Besides "Heartbreaker" is the same song as the later "Bad Boys Running Wild" but here is still a different lyrics of that what Klaus changed later to the final version what released on the LAFS album.
Now a small curiosity of those years that concerns the singer of Europe, Joey Tempest: the Scorpions in 1985 asked him to write a song for them and here is the comment of Tempest...
"How do you know? It's called One Of A Kind, eventually register Tone Norum (Norum sister of Joey produced the debut). It all started because Wings For Tomorrow, our album of 1984, had aroused the interest of Dieter Dierks, the producer of the Scorpions, that at some point we held in consideration for The Final Countdown. I wrote the song for them (!), but I do not know if the band 's ever heard, perhaps has heard only their producer. My manager did have it to him, but nothing happened and then used it to Tone"...

Setlist first European leg: Coming Home, Blackout, Bad Boys Running Wild, Loving You Sunday Morning, Make It Real, (I'm Leaving You), Big City Nights (Lovedrive), Coast To Coast, Always Somewhere (Holiday), Still Loving You, Rock You Like A Hurricane, Can't Live Without You, (The Same Thrill), Drums Solo, Don't Make No Promises (No One like You), Dynamite, The Zoo, Another Piece Of Meat, Can't Get Enough.
The band began their tournament in the United Kingdom (Birmingham, England, Odeon) and they hadn't stopped till about 180 stations!!! The Scorpions was in top in that period. Maybe the most popular hard/heary band in the world. They were the headliner in festivals and toured all around the world. The played near full-houses. This opening station of the brittish tour has a great performance. New songs cause some interest in the crowd, especially the faster and heavier tunes. The Scorps played so rare songs what they deleted from thier setlist after that few stations...like "I'm Leaving You" and "The Same Thrill". The latter song is very unique to hear in live version because they played it only in two UK and just some french stations. Not a real popular and live song. They didn't play their bic slow-classic "Holiday".
The band prefered "Always Somewhere" instead of "Holiday" in the UK places and they put it in the french stations into the tracklists. An other curiosity is the final song of the show. They didn't play "Can't Get Enough" as a last one. They thought the "Dynamite" is a better termination of a concert. The second station (Sheffield, City Hall) of the brittish tour. The band change to the order of the setlist. Besides they got off the song "I'm Leaving You" and as I know they haven't put back till the Pure Instict tour in 1997. The spectacular end of "Coast To Coast" (when the four band members are standing side by side) evolved at the beginning of 80's. Then Klaus played in his own guitar in the whole song and not just in the second half like from the 90's years. Matthias made a bungle a short part (just few seconds) at the end of the song. In that time the final song was the "Dynamite" and they brought back "Can't Get Enough" in the french tournament again. Once again Scorpions came back to Belgium during their new album tour in 1984 and rare complete master vesrion of this show. There were Mama's Boys in the opening act. Vorst Nationaal was the largest indoor concert hall in Belgium at that time with a capacity of 7.500. However, the hall was probably only 2/3 full. In this first part of the tour, songs like "Don't Make No Promises", "Always Somewhere" and "Lovedrive" were later dropped off the list for good on this tour and only when the album boosted like a rocket they added "Big City Night". During February the french trucks stopped traffic on the road and I remember Journalist saying "In France only the Scorpions trucks are travelling from town to town", nothing could stop'em. Scorpions was the very first band to play in the Palais Omnisport Bercy, inaugurated on 1984/02/20. Concert was sold out ( I can't remember how many people were there but I think about 10.000). Mama's boys opened the show and then Scorpions came, the crowd went crazy. Great setlist and great moments. There is a little bit different starting in "Coming Home". A the begining of "Make It Real", Klaus asked the audience to keep cool cause the stage was shivering because of the pressure of people on it. During "Always Somewhere" Klaus lost his voice (a night without you...) but all the audience kept on singing until the end the song, awesome and very emotional feeling. Few minutes later Klaus came back on stage and says "Voulez-vous chanter avec moi??" and then here is "Holiday", and "Rock You Like a Hurricane", Klaus has very strong voice. Klaus' microphone should had been a problem in the beginning of "Don't Make No Promises" because we can hear his sing from the second verse only.
Setlist first US leg tour & second European leg: Countdown, Coming Home, Blackout, Bad Boys Running Wild, Loving You Sunday Morning, Make It Real, Big City Nights, Coast To Coast, Holiday, Still Loving You, Rock You Like A Hurricane, Can't Live Without You, Drum Solo, Another Piece Of Meat, Dynamite, (Arizona), The Zoo, No One Like You, Can't Get Enough (I part), Six String Sting, Can't Get Enough (II part).
In the American-leg of LAFS-tour, the Scorpions have got the setlist almost the one that it would remain for teh rest of the tour. The rare live song"Arizona" appears when they've playing in the state of Arizona (Phoenix...). "6 String Sting" appears first time on the tour. This same thing was played during Lovedrive-tour also, bith with M.Schenker and M.Jabs. In the full show of the historical Costa Mesa concert the Scorpions released a famous and very 'classic' live album World Wide Live where they used many songs from this concert. In fact this "Six String Sting" was an Matthias' painful, screeching, full-on metal guitar solo. "I get embarrassed when people call me a great guitarist", noted Matthias back '85. "I'm glad they appreciate my talent, but I don't consider myself great. The most important thing for any musician is to fit into the framework of a band. I can't go off soloing and leave the band wondering when I'm going to stop. That wouldn't be fair. There are many guitarists who do just that. But the Scorpions are a band, and our egos are satisfied by the cheering crowds when we finish a song, not by playing a long solo".
In the summer '84 the Scorpions played a huge festival in Tokyo, in August. Other acts included among others MSG, Bon Jovi (who were at that time the warm-up act for the Scorpions) and Whitesnake. It was also professionally filmed from Superrock Jpan 1984. The show broadcasted in a local TV chanel but that recording doesn't include the japanese filksong "Kojo No Tsuki". This is the full show. There is the complete version of the concert: Blackout, Coming Home, Bad Boys Running Wild, Make It Real, Big City Nights, Coast To Coast (Still Loving You) , Rock You Like A Hurricane, Kojo No Tsuki, Can't Live Without You, Dynamite, The Zoo, Can't Get Enough. No ballad in two shows of Tokyo while in that of Osaka (August 8 & 9), "Still Loving You" takes the place of the instrumental "Coast To Coast".
In the LAFS-european late '84 the band played with very great participation from the crowd in Germany, Italy, Denmark, Spain and Sweden. Not much more to say, since you've all heard World Wide Live double album and by this time the show has evolved to be pretty much the same on every gig.
Now the legendary Rock in Rio gig in '85 (15-19 January) It's extremely sweaty nights for the band, but they're doing great job with the songs. I red so many reviews and reports about this festival what was the biggest one in the middle of 80's. There was a huge honour to the band that they could be the headliner in the famous Rock In Rio Festival and could play near 350.000 people. The audience was together by the band under the whole show! It's fantastic when more hundred thousands fanatics sing the "Big City Nights" with Klaus, and when rampage all at once in "Coast To Coast". My skin had been like a chicken when the crowd sings the end of 'Holiday'. Huh! Simple perfect! But my most favourite is "Can't Get Enough". What an energy! The end of the show is fantastic. Everbody takes everything on the stage! And of course the pyramid...a typical Scorps style what had been their own symbol. Besides I heard anything intersting story about the end of the show. During the last song "Can't Get Enough" Rudolf Schenker got hurt from his guitar when he tried to spin above his head. But the show went on and he spent the last minutes on the stage with bloody head. In second date, Klaus sings "Cidade Maravilhosa" (folksong) for the Brazilain kids.
The concerts in the summer of 1984 had been very success so the Scorpions had travelled a longer second japanese tour in the February of 1985. The set is longer than it was one year ago. Not just that 60 minutes. They played full tour-set and this night includes the "Kojo No Tsuki" also what Klaus was singing acapella at the end of the show.
Very good shows from the Monster Of Rock-tour '86. "Rock My Car" (realized in the study, only 29 years later !!!) the rare one is also played. Snippets of "In Trance", "We'll Burn The Sky", "He's A Woman - She's A Man" and "Steamrock Fever"  are played (Stockholm station). In Nurnberg, Mannheim, Barcelona & Madrid shows was dropped "Steamrock Fever". Guess this is the first time since the Blackout-tour since "We'll Burn The Sky" is played. It shows how much the band relied on the material made after Uli left. The show at the Rasunda-Stadium in Sweden ends with 'The Zoo' and not with 'Can't Get Enough' unlike all other dates of teh MOR '86 where the Scorpions was the headliner. Rarest show available from the Monsters Of Rock-tour '86 is the UK-part, Castle Donington and the Scorpions wasn't headliner (Ozzy Osbourne was the headliner on this one show). That explains the short list nd lack of the '70's-medley'. Some other songs are also missing ("No One Like You", "Holiday") from the regular set of that era. Still the band is in the top form and the audience are giving them great response. Especially Klaus shines!
The rarest audio bootleg are: 1984-04-28 Costa Mesa, CA - USA - Pacific Amphitheatre, 1984-05-20 Rosemont, IL - USA - Rosemont Horizon, 1984-05-24 Kalamazoo, MI - USA - Wings Stadium, 1984-05-28 Clarkston, MI - USA - Pine Knob, 1984-06-03, Binghampton, NY - USA - Broome County Arena, 1984-06-10 New Haven, CT - USA - The Coliseum, 1984-07-10 St. Petersbourg, FL - USA - Bayfront Center, 1984-11-03 Ludwigshaven - Germany - Eberthalle, 1984-11-08 Milano - Italy - Teatro Tenda, 1984-11-26 Copenhagen - Denmark - Saga Cinema, 1984-12-03 Hamburg - Germany - Hamburg Congress Center, 1985-02-07 Tokyo - Japan - Budokan Hall and 1985-08-31 Oakland, CA - USA - Oakland-Alameda County Coliseum.
There are more playback performance what promoted the band's new album Love At First Sting: in Spain, there was  in the TVE spanish TV chanel in the "Tocata TV" programme ("Big City Nights", "Bad Boys Running Wild", "Rock You Like A Hurricane"), Countdown programme ("Rock You Like A Hurricane"), the famous promo playback performance at the Eldorado, in Paris, France from the french TV programme French Café in 1984. After the songs ("Coming Home", "Big City Nights", "Blackout") they got the double(!) gold award of the Blackout album! At the end of the programme there is a very short commercial for the Scorpions concert in the US at summer. In '85 there is a rare playback performance of "No One Like You" in the Goldene Europa Awards on the 3SAT german TV chanel. At the end of the programme the band gets the award as the most success german band abroad. For those who watched the show in the second half of the eighties, the submission is not necessary. And so it is understandable that since the best musical show was not, MTV has a rest. For those who came later - at Peter's Pop Show, then was the only opportunity to see and hear what was relevant in pop music in Europe (the Scorpions played "Still Loving You" & "Rock You like A Hurricane"). Why, just this was the only window into the world of contemporary pop music, it opened only once a year, New Year's Eve. Organizer and host of the show, Peter Ilmann, all this took place in Düsseldorf, Germany...Thanks to television ZDF.
There is also a intervew with Klaus Meine, Rudolf Schenker and Herman Rarebell in a video clips about the Scorpions' new official video casette tape World Wide Live from a french TV programme (Les Enfants Du Rock) in 1986. All  TV PROSHOT recording. 
These are two clips of this excellent song "Doctor Doctor" performed live in "SUPER ROCK IN JAPAN" in 1984, the first time by MSG and the second time by MSG with special guests Klaus Meine and Rudolf Schenker from the SCORPIONS!!! While the concert (amazing PROSHOT quality and findable everywhere on the web) of the August 11th was on the TV in Japan. A local company (Toho Video) recorded and mixed the material. There is one of the greatest video about the band what I have ever seen. The band was in the best form under the whole show. And they played just heavy and hard songs...nothing slow ballads! My favourite part is when Klaus was running into the audience at the last song "Can't Get Enough". The band played with full of energy and this stuff is the perfect mirror of the 80's years of the Scorpions.
Interesting is the bootleg video at Forum in Montreal (21th August '84): the Scorpions played a fantastic show to the more then 13.000 people! The material is full. The setlist is about them same as what released in the World Wide Live double live album in 1985. Except Herman's drum solo with the band jamming.
Really very rare material is the show of Stuttgart, Germany, Schleyerhalle (November 23, '84): this concert is perfect as always in the middle of 80's. The band is on the top and they run and jumped the whole concert under the full house (12.000 people)! Fantastic performance. Rare is also the material video about the famous Rock In Rio Festival by a german TV chanel. The Scorpions had been the headliners at both two nights in the January of 1985. This recording is a summary about those days what the band had spent in Rio. There are some reports with Klaus Meini and Matthias Jabs and moments about the promo pictures making then. There are two live stuff also about the two last songs of the show ("Rock You Like A Hurricane" and "Can't Get Enough" what made with a camera on the stage (while the complete concert and findable in all ways on youtube...). 
An other rare video from the middle of 80's is the material made in the famous Monsters Of Rock Festival, Nürnberg, Germany, Zeppelinfield where the Scorpions had been the headliner band in 1986. There were two german stations. First was in Nürnberg and one day later they played in Mannheim. Unfortunatelly this video is incomplete. Just the first half of the show had been recorded...
Finally point out the recent very cool video: it is 71min. super camera multi angle professional shot live at Oakland-Alameda County Coliseum, Oakland, CA. USA 31st August 1985 from Day On The Green Festival. This is surely best item for Scorpions in this year. This is limited press DVD release off course. It is presented in this manner: "Scorpions got popularity hit on 1982 BLACKOUT and 1984 LOVE AT THE FIRST STING. And they did big American Tour with supporting act Bon Jovie in spring 1984. and Super Rock ’84 in Japan and big Europe Tour, and Japan tour. They are called LOVE AT THE FIRST STING tour.
Scorpions did play at the festivals over the world. The main festivals are Brazil Rock In Rio Jan 1985 and Knebworth Festival June, and American fesitvals in August. Day On The Green is from one of American festival. This festival features Yngwie Malmsteen after his great solo album, Metallica which releases RIDE THE LIGHTNING, Ratt which is their peak era, Y&T for IN ROCK WE TRUST. And headliner is Scorpions from Germany".
Now the Scorpions are really a unique thing with the stage: energy, power, athleticism and also in aesthetics now have their own brand (historical clothing colored of the guitarist Jabs in various Knebworth festival, Rock in Rio, Day On The Green or in the Europen station!)... How became a classical their entry (Klaus Meine, Rudolf Schenker & Matthias Jabs, while the bassist Francis Buchholz made his entrance from the left side of the stage) from under the drum set of Rarebell which is elevated in the sound of the 'Countdown' to then start the show with notes distorted of "Coming Home" and then the metal shot "Blackout" and so on... The stage was obviously increased in its size and all surrounded by a wall of small poles laid horizontally on top of each other where Meine and Jabs were performing together by climbing on top of another. In some festivals of the tour (Monsters Of Rock in Germany, Day On The Green in California...) the stage was decorated with 4 large tarps side featuring both half giant scorpion with its paws and claws and another center high above the roof the stage with the tail and its sting. Always Meine during the finale of the show ("Can't Get Enough" song) was charged from the rest of the band with all the 2 guitars and bass, strumming them with his microphone... After Schenker masturbated, spun to madness his Gibson Flying V for the grand finale: this were the Scorpions of that mythical tour!

Hammersmith Odeon, London '84, 2nd night:

Scorpions headliner in the Monsters of Rock Tour '86:


1984/01/23 - Odeon; Birmingham, England 
1984/01/24 - Odeon; Birmingham, England
1984/01/25 - City Hall; Sheffield, England
1984/01/27 - Apollo Theater; Glasgow, Scotland 
1984/01/28 - City Hall; Newcastle, England 
1984/01/29 - City Hall; Newcastle, England 
1984/01/31 - Royal Centre; Nottingham, England 
 1984/02/01 - Hammersmith Odeon; London, England 
1984/02/02 - Hammersmith Odeon; London, England  
1984/02/04 - Colston Hall; Bristol, England 
1984/02/05 - Apollo Theatre; Manchester, England
 1984/02/06 - Apollo Theatre; Manchester, England 
1984/02/10 - Vorts Nationalle; Brussels, Belgium 
1984/02/11 - Parc Expo; Metz, France 
1984/02/12 - La Rotonde; Le Mans, France 
1984/02/14 - La Beaujoire; Nantes, France 
1984/02/15 - Patinoire Bordeaux, France 
1984/02/16 - Palais des Sports; Toulouse, France  
1984/02/18 - Parc Expo; Nice, France  
1984/02/20 - AlpExpo; Grenoble, France    
1984/02/22 - Palais De Sports; Clermont-Ferrand, France 
1984/02/23 - Stade Gerland; Lyon, France 
1984/02/24 - Palais des Expos; Dijon, France  
1984/02/25 - Chapiteau; Marseille, France  
1984/02/27 - Halle Rhenus; Strasbourg, France 
1984/02/28 - Foire Internationale; Lille, France 
1984/02/29 - Omnisports De Bercy; Paris, France  
1984/03/17 - Rapid City, SD, USA
1984/03/20 - Center Coliseum; Seattle, USA
1984/03/21 - Center Coliseum; Seattle, USA 
1984/03/22 - Eugene, USA
1984/03/24 - Spokane, WA, USA
1984/03/25 - Coiliseum; Portland, USA 
1984/03/27 - Boise, USA
1984/03/28 - Arena; Salt Lake City, USA 
1984/03/29 - Aladin Theater; Las Vegas, NV, USA 
1984/03/31 - El Paso, TX, USA
1984/04/01 - Albuquerque, USA
1984/04/02 - Denver, USA 
1984/04/04 - Tucson, AZ, USA
1984/04/05 - Veterans Memorial Coliseum; Phoenix, AZ, USA  
1984/04/08 - Convention Center Arena; San Antonio, USA
 1984/04/09 - Frank Erwin Center; Austin, USA 
1984/04/10 - Houston, USA
1984/04/12 - Reunion Arena; Dallas, TX, USA 
1984/04/13 - Convention Center; Tulsa, USA 
1984/04/15 - Norman
1984/04/16 - Amarillo, TX, USA
1984/04/17 - Odessa, USA
1984/04/20 - Lawlor Events Centre; Reno, NV, USA
1984/04/21 - Expo Amphitheatre; Sacramento, USA 
1984/04/22 - Fresno, CA, USA
1984/04/24 - Los Angeles, CA, USA
1984/04/25 - Los Angeles, CA, USA 
1984/04/26 - San Diego, USA
1984/04/28 - Costa Mesa, CA, USA
1984/04/29 - Cow Palace; San Francisco, CA, USA
1984/04/30 - Cow Palace; San Francisco, CA, USA  
1984/05/02 - Coliseum Concert; Vancouver, CAN 
1984/05/04 - Edmonton
1984/05/05 - Calgary
1984/05/07 - Winnipeg Arena; Manitoga, Canada 
 1984/05/09 - Civic Arena; St Paul, USA 
1984/05/10 - Sioux Falls
1984/05/12 - Britt Brown Arena; Wichita, KS, USA 
1984/05/13 - Kansas City, USA
1984/05/15 - Civic Arena; Omaha, NB, USA 
1984/05/16 - Cedar Rapids, USA
1984/05/17 - Kiel Auditorium; St Louis, MO, USA 
1984/05/19 - Convention Center; Springfield, USA 
1984/05/20 - Rosemont Horizon; Rosemont, IL, USA 
1984/05/21 - Rosemont Horizon; Rosemont, IL, USA
1984/05/23 - Rosemont Horizon; Rosemont, IL, USA 
1984/05/24 - Wings Stadium; Kalamazoo, MI, USA  
1984/05/26 - East Troy, USA
1984/05/27 - Charlevoix, USA
1984/05/28 - Clarkston, USA
1984/05/30 - Richfield, USA
1984/06/01 - Philadelphia, USA
1984/06/02 - Buffalo Memorial; Buffalo, NY, USA 
1984/06/03 - Binghampton, USA
1984/06/05 - Rochester, USA
1984/06/07 - Madison Square Garden; New York, NY, USA 
1984/06/09 - Providence, USA 
1984/06/10 - New Haven, USA
1984/06/12 - Centrum; Worchester, MA, USA 
1984/06/13 - Cumberland County Civic Center; Portland, USA 
1984/06/15 - Civic Center; Glenn Falls, USA 
1984/06/16 - Allentown, USA
1984/06/17 - Hampton, USA
1984/06/19 - Civic Center Coliseum; Charleston, WV, USA
1984/06/20 - Pittsburgh, USA
1984/06/22 - Indianapolis, USA
1984/06/23 - Fort Wayne, USA
1984/06/24 - Cincinatti, USA
1984/06/26 - Columbus, USA
1984/06/27 - Toledo, USA
1984/06/28 - Nashville, TN, USA
1984/06/30 - Knoxville, USA
1984/07/01 - Civic Arena; Huntsville, AL, USA 
1984/07/03 - Menphis, TN, USA
1984/07/04 - Louisville, USA
1984/07/07 - Atlanta, USA
1984/07/08 - Grennboro, USA
1984/07/10 - St Petersburg, USA
1984/07/11 - Lee Civic Center; Ft Myers, FL, USA 
1984/07/13 - San Juan, USA
1984/07/14 - Miami, FL, USA
1984/07/15 - Jacksonville, USA
1984/07/17 - Savannah, USA
1984/07/18 - Charlotte, NC, USA
1984/08/04 - Aichi; Nagoya, Japan
 1984/08/06 - Fukuoka, Japan
1984/08/08 - Nanko Grounds; Osaka, Japan  
1984/08/09 - Nanko Grounds; Osaka, Japan 
 1984/08/11 - Seibu Stadium; Tokyo, Japan
  1984/08/12 - Seibu Stadium; Tokyo, Japan 
1984/08/14 - Anchorage, Canada
1984/08/17 - CNE Grandstand; Toronto, Canada  
1984/08/20 - Quebec, Canada
1984/08/21 - The Forum; Montreal, Canada  
1984/08/22 - War Memorial; Syracuse, USA 
1984/08/24 - Springfield, USA
1984/08/25 - Harrisburg, USA
1984/08/26 - Uniondale, USA
1984/08/28 - Meadowlands Arena; East Rutherford, NJ, USA  
1984/08/29 - Richmond, USA
1984/08/31 - Capital Centre; Largo, USA 
1984/09/01 - Capital Center; Largo, USA
1984/09/02 - Columbus, USA
1984/10/26 - Carl Diem Halle; Wurzburg, Germany 
1984/10/27 - Olympiahalle; München, Germany  
1984/10/28 - Nurnberg, Germany
1984/10/30 - Siegerlandhalle; Siegen, Germany 
1984/11/01 - Grugahalle; Essen, Germany
1984/11/02 - Stadionsporthalle; Hannover, Germany 
 1984/11/03 - Friedrich Ebert halle; Ludwigshafen, Germany  
1984/11/05 - Saarlanhalle; Saarbrucken, Germany
1984/11/07 - Firenze, Italy
1984/11/08 - Teatro Tenda; Milano, Italy 
1984/11/10 - Velodromo de Anoeta; San Sebastian, Spain 
1984/11/12 - Pabellon Des Desportes; Madrid, Spain
1984/11/13 - Pabellon Des Deportes; Madrid, Spain
1984/11/14 - Barcelona, Spain
1984/11/16 - Lausanne, Zwitzerland
1984/11/17 - Sporthalle; Koln, Germany 
1984/11/18 - Zwolle, Germany
1984/11/20 - Festhalle; Frankfurt, Germany 
1984/11/22 - Donauhalle, Ulm, Germany 
1984/11/23 - Sporthalle; Bloblingen, Germany   
1984/11/25 - Scandinavian; Gotenburg, Sweden  
1984/11/26 - Saga Cinema; Copenhagen, Denmark 
1984/11/28 - Hamar
1984/11/30 - Johansson Isstadion; Stockholm, Sweden  
1984/12/01 - Karlskoga
1984/12/03 - Hamburg Congress Center; Hamburg, Germany 
1985/01/15 - Rock In Rio; Rio De Janeiro, Brasil
  1985/01/19 - Rock In Rio; Rio De Janeiro, Brasil  
1985/01/28 - Fukuoka, Japan
1985/01/29 - Hiroshima, Japan
1985/01/30 - Festival Hall; Osaka, Japan 
1985/02/01 - Aichi; Nagoya, Japan
1985/02/02 - Aichi; Nagoya, Japan 
1985/02/04 - Sapporo, Japan
1985/02/06 - Shizuoka, Japan
1985/02/07 - Budokan; Tokyo, Japan 
1985/06/22 - Stevenage, Hertfordshire; Knebworth, England
1985/08/24 - Cotton Bowl; Dallas, USA 
 1985/08/31 - Stadium; Oakland, USA 
1985/09/02 - Compton Terrace; Phoenix, AR- USA 
1986/08/16 - Castle Donington; Leicester, England 
1986/08/23 - Rasunda Footballstadium; Stockholm, Sweden
1986/08/27 -MTK Stadium; Budapest, Hungary
 1986/08/30 - Zeppelinfield; Nürnberg, Germany
 1986/08/31 - Maimarktgelande; Mannheim, Germany 
1986/09/03 - Estadio San Andres; Barcelona, Spain
1986/09/05 - Estadio Del Rayo; Madrid, Spain   

Bootleg Audio: 69
Bootleg Video: 17

- SAVAGE AMUSEMENT TOUR (1988-1989) - 
Number of shows: 119
Start: 1988/04/17 - Lenin Sports and Concert Complex; Leningrad, Russia
End: 1989/08/13 - Lenin Stadium (Music Peace Festival); Moscow, Russia
Country: Russia, USA, Canada, Germany, Holland, France, England, Denmark, Finland, Sweden, Norway, Italy, Spain, Switzerland, Belgium
Groups Headliner: Van Halen, Bon Jovi
Support Groups: Nuance, Brigada S, Gorky Park, Skid Row, Cinderella, Motley Crue, Ozzy Osbourne, Kingdome Come, Metallica, Dokken, Winger, Cinderella, Vixen, House Of Lords
In 1988 the Scorpions (line up: Klaus Meine, Rudolf Schenker, Matthias Jabs, Francis Buchholz & Herman Rarebell) released Savage Amusement. Even though Savage Amusement's riff content was high and the group clocked up yet more radio hits with "Rhythm Of Love" and "Passion Rules The Game", many fans voiced concern over the albums slick production values. 1988 would give a historic first not just to the Scorpions but also to Rock n' Roll as the band was invited to perform in Russia. 
The tour itinerary opened the day after the record hit the shops, with a ten-day (sell-out) stand at the Sport-And Concert Complex in Leningrad, Russia, support coming from local heroes Gorky Park. "Maybe a 4000-seater", says manager Krebs, "so they did 40,000 people or something like that". From there it
was over to the US in late May with Scorpions playing (in broad dayligh) on a mammoth package with Kingdome Come, Metallica and Dokken, with Van Halen as headliners, though to late July, pitching the band in front of audiences ranging from 50,000 a night to 90,000. "This is where they paid the price not coming back in '86", continues Krebs. "By the time were ready to come back in '88, what seemed to make sense, which I felt was not the case, was for them to support Van Halen on that Monsters Of Rock tour. And it got down to a very interesting thing with the manager of Van Halen, that, I said, you're making a mistake. the Scorpions are a giant act; you're paying them a lot of money. You should let them perform from dusk into darkness, with lights. he said, 'Take it or leave it'. I said, if the Scorpions play during the day, it will enhance how old they are. Because they were not... just lighting is magical; I know you know what I mean. And without lighting, I think that it hurt them. I don't know if you saw that tour, but I saw one show and I Knew we had made a mistake". After the end of Monsters tour the live work in the USA, given impetus by sustained radio success, saw the group employing a gargantuan Flying V light rig in the North American tour continued on through 1988 with label mates Kingdome Come supporting for the first swing, Winger to close things out into October. Curios detail about this tour is that during this tour Scorps guys made friends with James Kottak who was playing in Kingdome Come. Says
Kottak, regarding his introduction into the Scorpions' ranks, "I was in Kingdome Come from 1987 through 1991. We had opened for the Scorpions in 1988 on the Monsters Of rock tour. It was Kingdome Come, Metallica, Dokken, Scorpions and then Van Halen. We did 32 stadiums and it was amazing. Then we did an indoor arena tour with the Scorpions for about another 20 dates. So, of course, you get to know the guys. Keith Olsen produced the second Kingdome Come album, In Your Face, and thereafter, in 1990, he produced the Scorpions album, Crazy World. I'de see the guy hanging out at the studios down here in LA and I played on Michael Schenker's album. The rock 'n' roll community is pretty small. then the '90s came along and I joined The Cult, played with Warrant and played on 30 different albums over the years. In 1995 I got a call from the Scorpions' manager and he said, 'The band would like to know if you'd like to come and play with them?' I said, 'What make them think of me?' And they said, 'They remembered that you were a nice guy. Plus, you're a great drummer'. That said it all right there. The Scorpions are class. They've never been dirtbags. That touched me in a heavy duty way. Rudolf and Klaus came to Loas Angeles and we met. We were like friends. It just clicked. I have a very powerful bond with Rudolf and, of course, Klaus. I've been so honoured and fortunate to be part of this organization".
Label mates again, Cinderella, supported the band for much of the continental European tour, November of '88 through February of '89, with the band closing out the campaign in the UK, February and March, supported by Vixen & House Of Lords. On the 12th and 13th of August, 1989 the German outfit participated in the 'Make A Difference' Peace Festival in Moscow, appearing alongside the likes of Ozzy Osbourne, Motley Crue, Skid Row, Cinderella and Bon Jovi. the Scorpions would also contributed to the album Stairway To Heaven-Higway To Hell' with a cover of THE WHO's "I Can't Explain".
"We have some contacts with people over there, and you know, Russia is not on a different planet", says Matthias Jabs in '88, just prior to embarking on the Scorpions Russian tour. "We are much closer to Russia than America. About two years ago we read in a few magazines about young Russian bands, and we saw one of them wearing a Blackout t-shirt - they had our shirts! So , of course, there's a heavy metal scene there, but no one was talking about it. But when you think about it, why not? There's a big black market over there. they don't officially release the albums, but they get them, some how. So, those guys got in touch with us about a year ago, they sent a television crew to our recording studio, we did interviews, and then we were invited to play to play in Russia. It's just great! It's really unusual. Little by little, we kept finding out more and more, that we are probably the most popular rock bands over there. So, we're gonna go there and play ten big shows. Five in Leningrad abd five in Moscow in these huge venues. Everything's already sold out. It's gonna be great! Also, it's always great to do something first, to be the innovators. There aren't too many chances left to do something first in this world, because everything has been done. Al least, that's what you think. But then, there's always something new coming up, and we have a chance to do this, as the first rock band, so we greatly appreciate this opportunity".
"The interesting thing was", interrupts Rudolph Schenker who is also sitting next, "when they asked us to play in Russia we said, 'o.k., one date in Moscow and one date in Leningrad', and they said 'no'. They insisted if we wanted to play there, then we had to play five shows in Moscow and five in Leningrad, because it world cause to much trouble if we only played two dates. So many people would want to go, and they couldn't handle it. Also, the capacity of the halls are 38,000, but they cut it down to 18,000 because they really don't know how handle 38,000 people at a rock concert. That's why we'll play in a big hall, but they'll cut it down to hall". "It's not that small", Matthias assures, "It's still the same capacity of the Garden in New York, or the Forum in Los Angeles. You know, we're so excited. It feels a bit like... we don't know what to expect, basically. What's good about it is , it's kind adventurous, in a way. We've played before in a few places that not too many bands have been to. Like in '86, o the Monsters of Rock tour in Europe, we played Budapest (Hungary), in a huge stadium. That was fantastic! We didn't know what to anticipate. It was the frst time for us behind the (so called) Iron Curtain and it turned our great. We played some other strange places like Bangkok, Thailand, on the blackout tour, and the Phillippines. Tou know, once you're realize, 'well, it's not as organized and professional as... let's say, The Garden'. But then, they do a show there practically every day. Here, they' re trying so hard and they are usually very nice people, and so. in the end, it works out fine. We've played with some pretty strange rented  equipment, a few times, but, so what? We get it to work, and we play, and the people love it". 
"To play in this kind of situation, like Russia, It brings us away a bit from the normal situation",
continues Rudolph. "When you always work in a functional way, sometimes it gets boring. And then, when you go somewhere and you don't know what to expect, it's great! It makes life so much more interesting. That's what we're looking for. That's the general idea of Rock & Roll anyway. Also, what I like is, when we talk about world tours, no, it's not really that, but now we have a real world tour because we're including Russia. China? That's next time, for sure". In Russia this past April, one headline read, "Times Used To Be Hard, Now They're Heavy", while another proclaimed, "Chewie Metal Rules O.K.". I guess the Scorpions did well on Virgin terrain, after all. From an airport telephone booth in Frankfurt. Germany, on his way back to Hannover, Matthias Jabs happily relieved my anxiety by relealing the true nature of the Russian Uprising, Scorpions-Style. "Russia was something special", he said, and I could just picture his eyes twinkling with sincerity. "It was just great. It was a very different experience for us. You know, we've certainly been to a lot of places already, but this was our first time to Russia, and so we went there without expectations. We were very open-minded to the experience. It was positively surprising, and it just blew us away. It was so fabulous! Not only the shows, cause they were like most in every other country in the Western World. We were very well prepared, as far as the music goes, and we were surprised how well they knew the songs.  'Still Loving you' - the ballad from our last album, for example, is the most requested song in Russia! The feeling, and the way they treated and dealt with us was fantastic. the first day we felt a mixture of scepticism and insecutity,
but very soon after that, teh ice started to melt and everybody was so warm". Matthias', first impressions of Russia, were not what he expected; as he went on to tell me. "As soon as we, landed at the airport", he reveals, "I expected to be in a long queue, like when I come to the United States, for example. To check into New York, bags get checked and everything. and you've got a wait on a line, but I was completely wrong. The customs guys, and the immigration people were smiling and waving. They wanted some autographs, and didn't check us at all. So, it started out very easy". But, there were a few... ahem, snags, along the way. Apparently. all the Moscow dates were canceled! Was politics, or perhaps anti-rock propaganda-the cause for this turn of events? "They cancelled the Moscow shows like three days before we went there", Matthias explains. "The reason was, it was very close to teh first of May, and the May Parade. It's like the biggest day in Russia. So, people were setting up for the May Parade. We even went to Moscow to check it out, and even in Leningrad it was a major thing. So, it was basically  for security reasons; they were afraid of thousands of wild and drunken kids running in the streets, and teh atmosphere would be taking away from the attention of their major day. that was one of the reasons. Secondly, the Minister of Culture, who is like one step below the guy who is opposite Gorbachev, cancelled those shows and other shows as well.I think, everything cultural, to somehow show them up, in terms of, who's got the power. So, we were victims of their politics, in a way. We were very disappointed that we couldn't play Moscow, and that we found it a very beautiful city. We still went to see it. When this happened, we had to decide whether we would end up doing ten shows in Leningrad or  not do it at all (cancel the tour), so we decided, we wanted to play Russia anyway, and we took the ten dates in Leningrad". "On the weekends, thousands and thousands of people were coming from Moscow-they even coming in form Siberia, which is like 2,000 miles away, and all parts of Russia, like Riga, and Ukraine, you name it, they came from everywhere. So , it was really fantastic. They people were very, very nice". But, what about the shows? "We played longer than a usual set", Matthias says, "like about two hours. We were checking out new songs, and we played some older stuff as well. We did some live recordings there (we had a mobile unit), and we also had a video crew. So maybe we'll do a documentary. We played more songs than we usually do. We played a very new song, no one has ever heard-it was like a world premiere in Russia, and we might release it as a single later. Also, we had a Russian support band, from Moscow, called Gorky Park. they weren't bad, but people didn't really like them. It was the old thing about people from Leningrad, they don't liek bands from Moscow, expecially when they sing in English.
It reminded us of ourselves, coming out of Germany and singing in English. The Germans didn't like us in the first place, because of that reason". "Speaking of Gorky Park, that's also this famous park in Moscow. We went there, and it's like the musical center of Moscow. In this park there's a place called Hard Rock Cafe (not like the one in the States), and there's  an amphitheater which holds 12,000 people, and there's a studio complex, and rehearsal studios for bands-it's actually a great place". "So we met a lot of musicians, and we did a jam session in a club-which holds like only 60 people. On our day off we wanted to see local bands, so we went to this Leningrad Rock Club (that was actually the name of it) and we saw a couple of bands, all kinds of musical styles, and all of a sudden we decided spontaneously, to go on stage, grab there weird instruments, and play a couple of songs. And it worked. the strings broke, and everything happened , but we had a great time. It was fantastic.people loved it". Matthias recalls some of the group's personal highlights of the tour. "As far as the songs go", he remembers, "we had various highlights. Klaus was learning Russian and improving everyday. He did announcements in Russian, and we were singing a Russian song. People loved it. They were singing along with us. They loved this song that we played for the very first time, it's called, 'Living For Tomorrow', they really loved it, and no one has ever heard it before. To them it was brand new. We played teh music, and Klaus was translating the main essence of the lyrics to them, in Russian. It was really cool. We saw military people in the front row throwing their hats and uniforms onstage and dancing like crazy. When we played 'Holiday' and 'Still Loving You' there were people in tears. It was very touching. There was like a sense of virginity, in this place. It was new to them, new to us, and it was really exciting. It was very different from, lets say, shows in New York City, where people see a show every night. so, it was a great experience. Somethings we'll never forget". Except for the misfortune, of heaving teh Moscow dates cancelled, it was virtually smooth sailing, for the Scorpions, throughout their 2 weeks stay in Russia. "It was so unbelieveble, how thet treated us", remarks Matthias. "They band was treated probably like no one else apart from the guys in politics. We were treated like someone special and important. We got the best food, even if it was teh same everyday. It was obvious that they were making every attempt to please us, and to nake it as comfortable as possible for us. So, nothing really negative happened. I know that our organization worked extremely hard to get things done, because, you know, they are inexperienced, and a bit slow over there. But when we were there it didn't seem that way at all. It turned our much, much better than we ever expected".
What the Scorpions did expect though, were the hoards of fans that they encountered. And they tried to accommodate them as much as possible with an autograph, a handshake, or just a few words. If you ever had the opportunity to meet these five guys, you'd know what a unique and sincere feeling they have towards each and every member of their massive loyal following. "Our hotel entrance was crowded all day and all night", laughs Matthias, affectionately. "They couldn't get in, though, and it was freezing cold. They waited in front of the hall, as well, and every afternoon we went there to do soundchecks, and we greeted the fans. They were just all over the place, and we were prepared for them. We had thousands of t-shirts and tapes and autographed cards and posters-everything, just as giveaways. You're not allowed to sell anything there, but we didn't want to, anyway. We just wanted to give away the stuff. At times it got quite dangerous, cause they were really fighting for the stuff, between then selves. So, we had to organize it properly, that everyone would get something and be satisfied. But, we got it under control, and it went smoothly as well". "We spoke to some of them, as much as we could. some of them speak very little English, some of them even spoke a little German. I mean, you don't have like long conversations, you know what I mean? You acn't, because they just don't speak the same language, but what came across was definitely the emotions and the feeling. They were so excited.

It was funny to see, that even in the hotel we were staying at for two weeks. Even the old guys, and the porters, and the cleaning maids, and everybody at the reception... The first two days, they were a bit sceptical, but after a while they were so cordial. Really great-very open". "But what could we expect? They have no idea what it means; an intenational Rock&Roll band, everybody dressed in leather and sunglasses, with a fifty person crew, storming into this hote, speaking a different language; how would you feel? If you had never seen this before... They were looking at us like aliens, from a different planet. But, after a while they found out that we are nice, and as normal as they are". "We really didn't have time to see much of the country", he adds, "cause they kept us so busy. We had the video crew there, and there were a lot of journalists and photographers there form Europe. Our sightseeing was more like, look at the places while people were taking pictures. But, we saw great stuff like all these old buildings, from a couple of centuries ago, museums, and some other wonderful places. Leningrad and Moscow both are very, very nice, exciting cities, and very beautiful as well". The last time the Scorpions toured wasin 1985 in support of their World Wide Live Lp. So, were thay a bit out of practice? Could they possibly chance letting their most eager Russain audience down? No way! "Actually, it didn't feel like we hadn't played a while", retorts Matthias. "It felt so natural. i mean, every one of us was like on the road for... we've been togheter for ten years, you know, so it didn't feel different or difficult at all. We know each other so well, and we know our music so well. We didn't rehearse musch, actually, because we didn't have the time. But we were relaxed, because if you start out in a place like Russia-there are no high expectations, if you know what I mean. So, you feel relaxed. And actually, the first show was brilliant. It was great! We were surprised ourselves. It just went so smoothly-it came automatically. We didn't even have to concentrate. If we would have started off, after 1 and half yaers of not playing, doing Madison Square Garden, I guess we'd be under pressure, ha, ha, starting off there, made it easier- and so it felt so natural. it was no problem". Schenker concludes in 2015: "When in 1982 I said that we had to go to Russia gave me crazy: there were not promoters, record companies, there was not nothing. I have set... We spent hundreds of thousands of marks for do it and they gave all against. Now we are the greatest rock band in that country...".

Indeed the Russian dates were a good warm up for the Scorpions to play the Monsters Of Rock gigs, but that's just the beginning for them. The Scorpions would never use those ten weeks as a "U.S. Tour", and feel like they satisfied their rabid fans Stateside. They plan on giving us an additional lethal 12 week dose of intensity, before they more on to overseas prey. "For us, the Monsters Of Rock tour is just like a warm up", Matthias jokes, and he is serious! "When the Monsters tour ends, our headline tour will probably start only a few days later. the production, rehearsals, and other technical stuff will
already start while we are on teh Monsters tour. So, we'll be ready for a headline tour. We plan to play three months in the States, then we go back for Europe...". "We know, that it's great to play in these big stadium, it's great to play outdoor shows with other bands-we like Van Halen, we know Dokken well, and we'll get to know Metallica and Kingdom Come, very soon. But for us, it's different, because we want to go out on our own tour, and have our won show with the full production. We want to show people what we really can do, cause we know that we will be somehwat limited at the Monsters gig. If you're not the headliner, you don't get everything you ask for, but for us, the music is the most important thing anyway, and we'll make the best of the situation, I'm sure". "Actually, for us it's great, not to be the headliner-cause it puts so much weight on your shoulders. Coming out of the studio, and playing only a couple of dates before we go on the Monsters, so for us, it's a much better start. Plus, we'll reach many people in these two months, and hopefully, many of them will come to seeus when we headline. This number two spot is really great. We played it before with Van Halen at the US Festival-people are still talking about it to this day". Another thing that makes the Monsters Of rock tour quite exciting for the Scorpions, is that citing for the Scorpions, is that "friendly competition" of playing with other acts. But, we all know indeed, that they will surely be a hard act to follow. "Yeah, we're gonna have some real fun trying to blow each other offstage", Matthias jests, "but, we talk to Van Halen. We have a good relationship with them, so, we take it in an easy way. You know-fun. they go down better, well, fine. It's competition, but it's in a nice way. It's like cheating a bit, you're teasing each other. Of course, every band tries to blow away the other, it's natural. But, we don't take it too seriously". Thirty giant football stadiums right across the USA, on a wildly diverse heavy rock bill with in the complete bill Van Halen, Metallica,
Dokken and Kingdom Come, that was the monsters roadshow. "We were second on the bill", continues Rudolf, "which we've done a couple of times and which actually the perfect spot, because for one thing you don't have to worry about all the production pressures, and for another thing it's extremely hard to follow us! So it was a great way just to get back into it, basically, after being away for three years, and to play to a lot of people and tell them we were still there". "There was a very positive vibe through all the bands", says Klaus, "and a very relaxed atmosphere. And it was the best way to get a suntan! We were following the heatwave all through the country, playing these open-air shows in 110°,115°, the hottest summer of the century". Except for the one show in Portland, Maine, where the temperature was Siberian and the band almost got electrocuted playing through one of the worst storms in history! "That was maybe one of the longest sets the Scorpions have ever played", says Herman. "It wasn't meant to be, but we had to keep stopping, leaving the stage and coming back on again. I think it was three hours before we were , finished, but we insisted on finishing what we came to do. They had to really kick us offstage, because we didn't want to stop playing". But the stage was ankle-deep in water, lightning was zapping the monitors, even hitting one of the crew, "and they signalled us to get off, theu said 'Do you want to kill yourselves?" But we said 'Okay, we survived Knebworth a few years ago, no problem!' Remember?" Yes, the festival where headliners Deep Purple were diluted the pale mauve by the downpour! "we told the promoter",

says Klaus, "that we would go on and do our whole set even if it takes us until tomorrow morning". After that, the six months they spent headlining the States was "a piece of cake". "The Monsters Of Rock tour was like a big summer party" says Matthias. "That was the kind of feeling it had". "But it feel good to be on your own and throw your own party", says Klaus, "a Scorpions party, and have only Scorpions fans down there". Rarebell adds: "For majority of the next two months, June and July, we played with this line-up and finally at the end of July, started our own tour with Kingdom Come tagging along. All in al we crisscrossed the country playing not only stadiums like Candlestick park in San Francisco with the Monsters but also 'smaller' venues like teh 16,000 seat Cow Palace (by that time we were so popular in California that the demand brought us back for an 'encore' in San Francisco), and the similarly sized Summit in Houston among others, before heading back across the Atlantic and home to Germany to start the European wing of our tour in December".

Not That there was any surprise about the headliner, of course, since Van Halen were flying high at the time, near the peak of their career’s second act with front man Sammy Hagar following the release of the hit-filled ‘OU812‘ album. Germany’s Scorpions, too, had enjoyed a steady, decade-long climb up the American arena rock hierarchy, and despite being absent for the better part of a year while recording the recently unveiled ‘Savage Amusement’ LP, they could draw thousands of fans of their own accord. The oftentimes quarreling members of Dokken, meanwhile, were living on borrowed time from the most successful album of their career in 1987′s ‘Back for the Attack’ – thanks in no small part to one of its songs (‘Dream Warriors’) being included in the wildly popular ‘Nightmare on Elm Street’ horror film franchise. Then there was the lineup’s sleeping giant, Metallica, whose manifest destiny to become the world’s biggest heavy metal band had yet to be revealed, as they readied the fall release of their fourth album, ‘…And Justice for All,’ by touring America for the first time with bassist Jason Newsted in place of the tragically departed Cliff Burton. Finally, rounding out the bill came Led Zeppelin clones Kingdom Come, then enjoying a bright, but all-too-brief, flash in the pan success that nevertheless saw them shifting a million units of their eponymous debut in very short order. Metallica played a couple of shows at L.A.’s Troubadour club on May 23-24 in anticipation of the tour, which kicked off for real in East Troy, Wis., on May 27 and took in 28 dates over the ensuing weeks before concluding on July 30 in Denver, Colo. Over that span, the super-sized Monsters of Rock operation crisscrossed the US like a well-oiled machine, suffering remarkably rare travails along the way (a bit of fan violence here, a muffed performance there, an epic audience food fight somewhere else), all things considered. And while the subsequent career trajectories of four out of the five bands involved would tend to point downhill in years to come – Metallica being the lone, obvious exception – each one left an indelible mark upon hundreds of thousands of hard rock and heavy metal fans who retain fond memories of attending the Monsters of Rock tour during that hot summer of 1988.
Some reviews: Akron, Ohio’s Rubber Bowl is a bad place to be even on a good day. The stadium is a rusty, crumbling symbol of the city’s once great industrial empire, brought to its knees by economic cancer eating its backbone, which is, or was, the U.S. tire industry. And on this particular day, June 22, 1988, it’s hotter than Friday night sin and stinking of sweat, hot dogs, and spilled beer?a bouquet tempered by the occasional cloud of weed. The sun beats down on the mountains of trash building in the corners of the football stadium’s pitted field, but the rats scrupulously avoid the heat by staying deep within the catacombs. There’s no such sanctuary for humans?at least not for the ticket holders.
 The sun lasers down and the heat rises back up from the baked concrete. It would take something extreme to compel 20,000 or so people to brave the 110-degree heat to assemble here. And, indeed, something extreme is on. The inaugural traveling rock and roll circus of America’s post-hippie era, the very first “Monsters of Rock” tour, has come to Akron for a two-day-and-night stand. Being here on assignment at the edge of a center ring that features Metallica, Van Halen, Scorpions, Dokken, and, okay, Kingdom Come, I feel like the 10-year-old kid who gets to wash the elephants or put the rubber noses on the clowns just before they pile into the little car. At the same time, there’s no escaping the sensation of being charbroiled. Rudolph SchenkerEven through it’s 112-degrees on-stage, Scorpions’ Rudolf Schenker tells me it was worse in Buffalo three days earlier, when the sweat streaming down his arms caused him to lose his grip on the Flying V he was twirling over his head. It flew across the stage before hitting the steel framework and splitting in two. This tour is how great hard rock is supposed to be, circa 1988. Over the course of a month the five bands will play for 1.7 million fans and drag their 250,000-watt speaker system to 30 American cities. And?since summer sheds are just beginning to spring up across the country?they’ll bond in hell holes like the Rubber Bowl, on the sidelines of each others’ sets, and in the bars of the hotels along the way. They’ll also get off on the competition of sharing a bill with other musicians who are at the top of their game“I really thrive on this", says Dokken’s guitar pyrotechnician George Lynch a few weeks into the trek. “When we were coming up in L.A. there were all these great bands and great players. That gives you a kick in the butt to practice harder and play better. I like that competitive thing, and we’ve got that on this tour. Of course, if I was dying out there I wouldn’t think it was so great", Lynch continues. “For the first few shows I was playing fine, but doing really stupid things: tripping over my cords and pulling them out. I went to change guitars and forgot to plug in?in front of 40,000 people. And when we went on in Miami it rained only on us. It’s like 90 degrees, and a big black cloud rolls over the stage and raindrops the size of watermelons start falling. There I am trailing 300 feet of cable standing in water. So the stagehands put me in fishing waders. I’m on-stage with no shirt, my guitar, and a pair of waders up to my chest”.
So much for the glory of Big League rock. Danny Stag, guitarist for opener Kingdom Come, has his own
litany of complaints. His chops are on the line every day, playing before Lynch, Kirk Hammett and James Hetfield of Metallica, the Scorpions’ Schenker and Matthias Jabs, and the Van Hager line-up of Eddie and Sammy. And he has no practice amp. “The guy from Marshall said he was going to bring me one a week ago,” he gripes to Jabs over cocktails at the Akron Hilton, where the bands are staying. The bar, with its graceful wall-high waterfall, is the centerpiece of the hotel’s grand polished marble and glass lobby. The roadies and?in the high-fear atmosphere of the AIDs epidemic’s early years? The groupies are at the Holiday Inn, which is less than an oasis. Also, Stag’s wireless system has been picking up chatter from nearby airport control towers. As luck would have it, there’s one conveniently located next to the Rubber Bowl, close to the former hangar of the Goodyear blimp and the Derby Downs, home of the world-famous Soapbox Derby. Oddly, the Pittsburgh-born guitarist does not complain about being in one of the most derivative bands to ever taint the charts. Kingdom Come That subject hits the fan the next morning when I encounter Kingdom Come’s leader Lenny Wolf deep in the belly of the Rubber Bowl. There, locker rooms that look like sets from Terry Gilliam’s Brazil have had their walls covered in white sheets to create a different but equally uninspiring environment for the artists. Van Halen’s and the Scorpions’ digs have been gussied up a bit to look like the interiors of the tents of traveling sheiks. But for the other bands, the decor has the charm of an emergency room stall. “You know what really bothers me about this?” Wolf shouts, clutching the July issue of Musician magazine. “That we have to keep justifying our album”. In that issue, Jimmy Page has slagged Wolf’s group’s eponymous debut, calling the band “Kingdom Clone” and disputing Stag’s reported claim he’s never heard of Led Zeppelin,
which would, of course, be ludicrous even if Stag’s repertoire on the album wasn’t almost entirely based on Page’s signature riffs. As for Stag, he blames Page’s remark on the metal mag Kerrang! “I told them he’s not one of my bigger influences, and they quoted me as saying he’s not even an influence. I was way more into Hendrix", he says. Wolf also complains about Kingdom Come’s usual 1:30 p.m. starting time on the Monsters tour. That’s typically when he’s waking up, not stretching his pipes. Showtime’s coming soon, so while I talk to Wolf and Stag?a hilariously improbable combination of surnames?Stag is picking his unamplified guitar to warm up, still jonesing for that practice amp. Suddenly, Wolf’s hand shoots out to grab and silence the strings of Stag’s Les Paul. At first Stag looks angry, then hurt. Nonetheless, I feel for both of these guys. Stag is a talented guitarist in a lackey’s gig. Wolf is a 26-year-old under a lot of pressure. His first band Stone Fury was dropped from the majors like a live hand grenade, and Kingdom Come played their first club gig just three months earlier and are now playing to 70,000 on a good day with the Monsters. “I wish I had more time on-stage", Stag says when we speak again later. “Because we play such a short opening set, my solos are the same length live as on the album. Eddie really plays for two hours, and by the end of those two hours he’s put the most difficult things in there and he’s warmed up and burnin’. I’d like to have the time to settle in and show what I can do”. But that day in Akron, Stag makes his mark as a skillful player. He jams a satisfying style of heavy blues into Kingdom Come’s dismissable tunes, tossing colorful, brittle arpeggios and terse phrases that merit the Page comparisons into numbers like “17,” but with an overriding inclination toward Hendrix, even tossing in a quote from “Red House.” Wolf, on the other hand, comes off like a fist-pumping bonehead. Stag would end his membership in the band two years later. Improbably, Wolf and Kingdom Come still solider on. So, of course, do Metallica, whose hair-raising performances in Akron are second only to Van Halen’s despite their slot right after Kingdom Come. They are still months from releasing their brilliant, pivotal mid-career manifesto …And Justice for All, but play as an impossibly well-oiled machine full of sonic spikes. Lars Ulrich As Hetfield sings about chaos, destruction, and the consequences of inhuman behavior, drummer Lars Ulrich and bassist Jason Newsted drive Metallica like a steam locomotive with mismatched gears?jerking, stopping, lurching ahead at frenetic speeds. And Hammett simply burns non-stop over it all, whacking out chords that challenge the rhythmic bedrock and spewing leads that are fleet sketches of melody, never quite allowed to fully form thanks to the band’s breakneck aesthetic. “For some reason we tend to inspire real fanaticism", Hammett says backstage after the set, surrounded by his fleet of Flying Vs. “They really take us seriously. With our stuff, you either like it or hate it, but you’ll always react. What we try to do is form one solid voice locking into a groove and pushing it over the edge into everyone’s faces. Usually I try to fit in harmonically and melodically”. Hammett explains. “I’m not the kind of guitar player that wants to show how many notes he can cram into 12 bars. I might play something really fast, but it still has to be melodic. I mean, I can play the sweep arpeggios and hammer-ons until I turn blue, but that doesn’t fit in with what we’re about”. During the
“Monsters of Rock” tour Hetfield and Ulrich were flying out to put the finishing touches on …And Justice for All, giving Hammett time to hang with the other guitarists on the gig. “I really dig a lot of the other players here, although maybe to most of our fans it wouldn’t seem that I would”, Hammett says. That’s very true, considering Metallica’s punk-noise-new-Brit-metal cocktail of choice at the time. But this is a guy who studies with Joe Satriani and who can’t resist running through good lessons in guitar mags. Metallica “I prefer to use certain guitar techniques as effects rather than as important facets of my playing”, Hammett explains that day in Akron. “I use the whammy bar mostly as an effect. Many guitar players use it regularly as a passing thing, for no reason. Hammering, too. When I’m going for the wah pedal I’ll typically use a little hammering for the transition. I learned to approach things that way from listening to Ozzy’s Diary of a Madman”. Hammett says transitioning to Metallica’s rhythmically offbeat style was a challenge when he first joined, five years earlier. “There are so many dynamics, a lot of stops and starts in the rhythm. On this new album […And Justice for All] I had some of my biggest challenges with that?things like key changes that come at the same time you move into 5/8, or something like that”. Hammett and Lynch became buddies early in the tour. Coincidentally Dokken and Metallica shared the same management company at the time, and in the Rubber Bowl they also shared a dressing room. What’s amazing about Dokken is that during their history they never once wrote or recorded a memorable song, and yet sold millions of albums, largely due to their tireless work ethic. In the mid-’80s it seemed like they were on every metal double- or triple-bill in America. Dokken Nonetheless, Lynch’s spotlight solo number, “Mr. Scary,” is
one of the “Monsters of Rock” tour’s most arresting passages. On both nights in Akron, it is a bonfire display of guitar prowess that even drops jaws back in the cheap seats?or, more accurately, in the dirt at the rear of the area, where the fans who are already semi-comatose from sun and substances are lying by the time Dokken take the late afternoon stage. Playing “Mr. Scary,” Lynch rips through a textbook of speed runs, tonal gymnastics, singing sustain, whammy wiggling, and general caterwaul, all hinged on a sinister riff that evolved out of jamming. “On the album [’87’s Back for the Attack] it’s heavily layered,” Lynch says. “I just sat down and recorded guitars on top of the riff. But live, I just rely on how it feels on-stage. My fingers just go for it”. Off-stage in Dokken’s locker room, however, I immediately manage to piss Lynch off by asking if his band is breaking up?a rumor that’s been circulating through all the other bands on the tour. “It’s an old story, man,” he replies. “There’s no problem. We all get along as well as any other band”. Indeed, Lynch would solider on for nearly another decade with Dokken, establishing a reputation as one of heavy rock’s most technically adept players before striking out for his own territory. But their in-fighting was notorious. Seeming like a good time to travel on, I wander down the steel and concrete hallway to visit the Scorpions’ digs, where the largess of rocking the world like a hurricane paid off with a much more spacious suite. There, drummer Herman Rarebell tunes up for the show with a few minutes on the Brain Machine, a little black box connected to glasses and headphones that simulates a r-e-l-a-x-i-n-g hallucinogenic experience. No devil bats with Mick Jagger’s lips, just warm colors and soothing sounds. This is the ’80s, and Nancy Reagan’s “Just Say No to Drugs” campaign is in full swing.
The Machine’s inventor, a portly, bearded gent named D.E. Gorges, has shown up to pimp it to the rock stars whose previously savage tastes have been arguably reined in by the times. “Sammy already has one", Gorges boasts. “It’s completely safe and non-addictive”. he explains after my “trip". It’s also not much fun. The Scorpions During their high-energy performances in Akron, the Scorpions fly their old-school metal flag as proudly as Metallica wave the banner of the new. And they put on a great show, with Jabs and Schenker on dueling Vs and singer Klaus Meine working the stage like a mash-up of Robert Plant and Klaus Kinski in Nosferatu. Despite the Scorpions’ place in protean metal history and the mega-hits they’d won before the Monsters tour, 1988 finds the group in an awkward place. In 1984 Love at First Sting had been yanked from Wal-Mart for its Helmut Newton cover of a greasy biker tattooing a woman’s thigh, and lyrics like “The bitch is hungry/She needs to tell/So give her inches/And feed her well” were giving fits to the PMRC?the decade’s Tipper Gore-led attempt at rock and roll content policing. Plus, more than 10 years after the birth of punk rock, critics, and hordes of cynical fans detested the un-coolness of the Scorpions concerts: the polished delivery of note-perfect hits, flamboyant costumes and lighting, aerobic stage moves often culminating in a guitar-playing human pyramid. Detractors saw it as Vegas, baby, but to the West German band it was only rock and roll, the way they liked it?and, in 2015, still do. “When I go to concerts, I like it when my button is pushed", Schenker says in Akron. “When I saw Bob Dylan in Hanover it was like a graveyard. He didn’t even switch on the footlights because he didn’t want to get too much light in his face. After 20 minutes I said, ‘Okay, let’s go eat’”. Meine chimes in: “We have the big lights and obviously when you have the five of us doing a pyramid onstage, you have to plan for this stuff. But we’re entertainers. We want to give people a good time”. And as far as the PMRC and their lot go, it’s fair to say the Scorpions simply don’t give a crap.
“There’s lot of sexual energy involved in this music", Schenker says. “This music is not played from the head. It’s played from here [he touches his chest] and here [he touches his groin]". “A lot of this has to do with our lifestyle on the road", he continues. “Some of this stuff is pure fantasy. Some people write about fighting the dragons, and the moon and the castle. We’re from Europe and Europeans handle sexuality much more openly than here”. The Scorpions’ best songs usually start with Rudolf Schenker and one of his vast collection of Flying Vs. When inspiration hits on the road, he’ll open his Maxwell Smart guitar case, which in ’88 contained a six-string, a Fostex four-track cassette recorder, and a headphone amp. Then he flushes out the tunes deemed studio worthy until every inflection of every solo, every rhythmic turn, every dynamic shift, is written out and ready for the big time. “Our arrangements are well-structured, so there is not a lot of room to improvise", he says. “I could change the leads a bit, but why should I change the melody in a song like ‘No One like You.’ Everyone wants to hear the song they way they hear it on the record”. After the Scorpions’ set, Schenker sits back in the band’s underground cabana, chugging Gatorade, muttering, “Hot, so hot"Van Halen Just then Eddie Van Halen
and Sammy Hagar walk in to congratulate the Scorps on their survival under brutal temperatures. Sammy’s a blur of pastels and California blond; Eddie is wearing the same pair of beach jams he’ll sport on-stage, and his beaten Kramer is dangling around his neck. Even as he speaks he is whittling away at its strings. After a few minutes Eddie and Sammy leave and I follow the sound of Eddie’s unamplified strings trailing off down the hall. As I approach Van Halen’s dressing room, the tinkling of strings is replaced by the moans of a wounded sasquatch. Strolling in I discovered it was just Eddie … and Sammy and Michael Anthony, plugged into three small practice amps mounted in a single road cabinet. Sammy and Eddie decide to go for it, harmonizing into feedback as their fingers skitter up their guitars’ necks, bending and pulling the same notes like Siamese twins. For “just foolin’ around,” as Eddie puts it, their level of communication is pretty astounding. Van Halen’s concert that night is brilliant entertainment. There’s comic relief, as Anthony slips?perhaps in a pool of his own sweat?drops to his butt, and rolls to his feet without missing a bass note.
There’s action, thanks to Hagar’s relentless sprinting. Also Spinal Tap excess, as Alex Van Halen’s drum kit lifts, spins, and shoots fireworks during his thunderous solo. And drama, when two pyrotechnicians rush off stage to grab a clueless security guard who’s about to walk over an explosive charge due to blow. All three narrowly escape the giant Roman candle’s fire burst and spark shower. The musical highlight, besides great tunes like “Running with the Devil,” “Ain’t Talkin’ ‘Bout Love,” and a finale of Stevie Wonder’s “Superstition” and Zep’s “Rock and Roll,” is Eddie’s solo turn. It begins with a flair of hammering, flows into delicate baroque counterpoint, becomes “Eruption,” and subsides as a fantasy for organ and harpsichord, somehow all conjured from Eddie’s fretboard. When it’s all over, Van Halen head back to their dressing room for, well, bottled water. Eddie’s on the wagon at this point, so everybody is, in solidarity. “It’s quite a responsibility to close the show,” Hagar says, “because of the heat factor.” “And the nine hours,” Eddie adds. “It’s tough because the kids are so damn burnt. I always enjoy playing, but the kids are half-burnt by the time we get up there. If we get boring and start screwing around they are gonna split”. Since Van Halen had just released OU812 before the tour, early departures are not a problem. It’s a great disc for Eddie to stretch out on. “There are lots of songs with no overdubs, and that gives you a live-er feel. Live guitar solos, so I can improvise", Eddie says. Live and on the album, Eddie is using mostly his fave Kramer, but his Steinberger’s also by his side. “That’s because it’s got that TransTrem thing
on it, and I wrote a couple of tunes on it, so it’s the only guitar I can play ’em on,” he says. “It’s kind of funny. A few shows ago Sammy bumped it and I ended up playing a little part of ‘Summer Nights’ in the wrong key. It was kind of interesting?a little extra modulation.” He mock glares at Sammy. “The way you use the TransTrem blows my mind", Hagar tells Eddie. “The first time I came to your house I was so spaced out, because we were tryin’ to talk and you’re goin’, ‘Hey, hey, look at this thing.’ Trying to show me it modulated with the wiggle bar. And I’m goin’, ‘yeah, yeah, I know what a wiggle bar is,’ thinking, ‘this guy must think I’m dumb.’ But he was showing me how it changed keys, although it wasn’t plugged in so all I could hear was ‘ching, ching, ching.’ “Then Eddie plugged in and started messing around with the song ‘Get Up,’ and I’m thinking, ‘What the hell, man! That sounds like a lap steel!’”. Ultimately, it’s always Eddie’s guitar that does his band’s most eloquent talking. “That’s why I can go out there on-stage in Bozo-looking shorts,” Eddie says, gesturing at his, well, Bozo-looking shorts. “I don’t need anything else to be me”. .... "Monsters of Rock tours were very popular in the USA and worldwide back in the 1980s. Some of the best rock and metal bands played together on tour. In the summer of 1988, you could see 20,000 fans in Akron, Ohio withstanding the 100 degree plus heat just to see Van Halen headline the Monsters Tour at the "Rubber Bowl". Check out the cities and tour dates listed below. Van Halen had just released their "OUO812" album, which is a good album in the post David Lee Roth - Van Halen era. The Monsters Tour was a great warm up to Van Halen's "OU812" tour that followed. There were also other great bands like Dokken, The Scorpions, and Metallica on the Monsters Tour '88. Dokken was hitting the road even before Monsters of Rock that same year like with concerts in Buffalo, New York playing their newest and biggest hit "Dream Warriors". I was at the Orange Bowl with friends in Miami, Florida that summer in June, 1988 going to the Monsters Tour where I saw Van Halen for the second time. It was loud, packed, and one giant party while the bands jammed and got the crowd off their seats screaming! It was difficult to find any professional videos of the 1988 Monsters of Rock Tour. I did find on YouTube a couple of cool commercials, and one amateur poor quality audio/video of Van Halen in San Francisco performing "Summer Nights" as their first song opening the Monsters of Rock concert. Please share your memories of Monster Tours you have attended. When I went tt wasn't a big expensive event like you may see today, however it was a memorable experience listening to big named bands with great raw metal music and lots of fun sharing with friends". - Kenny Leibow.
Van Halen's 1988 U.S. Monsters Of Rock Tour: From 5/27/88 to 7/30/88 Van Halen toured the country with four other acts in  a massive outdoor-only, stadium tour. Announced at Universal Studios in  Universal City, CA, the Monsters of Rock tour (based on an idea by  copromoter Sharon Osbourne) was to be the first traveling festival of  its kind in the United States. As part of the promotion, the band was  joined by Frankenstein, Dracula, the Mummy, King Kong, and the Phantom  of the Opera at the press conference. An additional promotion consisted  of 100 autographed guitars, specially designed for the tour, which were  given away in various markets throughout the United States. Each guitar,  signed by all four members of the band, was painted with a  Godzilla-like creature in sunglasses destroying a stadium. With  250,000-watts of power, supplied by two sound systems weighing 440,000  pounds, suspended over a huge 168-by-60-foot stage, weighing 971 tons  and transported by 51 48-foot trucks and two 50-person crews in six  busses, this nearly 10-hour Monsters of Rock extravaganza was no small  affair. Two jumbo lighting systems weighing 100,000 pounds and  generating 850,000-watts were augmented by 20 automated lights  supplying one million candle-power units per bulb. All of this was held  in place by 15 automated truss structures weighing 24 tons and powered  by two generators weighing 52,000 pounds. Each show kicked off with  Kingdom Come, followed by Metallica, Dokken, the Scorpions (who also  played with Van Halen during the 2nd Annual Us Festival on 5/29/83), and  Van Halen. Reportedly, Van Halen added a contract rider calling for a  fluffer to be present backstage for each gig on this tour. A fluffer is a  woman found on adult film sets and her job is to ensure the male actors  remain "at attention." Metallica's James Hetfield and Kirk Hammett flew  back and forth between gigs and the studio as they put the finishing  touches on their new album, And Justice for All. Michael's live  solo added a new touch to showmanship. Prior to the tour starting, he  had a bass made that was outfitted with the mechanism from a shotgun  that opens the barrels (allowing the loading of the shells). During the  solo, he would run around and flick the switch, "breaking" the bass over  his head while the soundman blasted samples of cracking trees through  the PA. Another nifty bass was painted up to look just like a bottle of  Tabasco sauce. The paint job was done by Jim O'Connor, who also painted  Michael's backup Jack Daniel's bass and Edward's Steinberger faceplates.  Edward's live rig had his signal going from his guitar to a Sony  wireless, then into a 100-watt Marshall amplifier fed through a Rane  mixer.
From there it went through two Roland SDE 3000s, a Lexicon  PCM-70, a pair of Eventide Harmonizers, and a Rocktron Exciter/Imager  and compressor. Next, the guitar signal went to an H&H V800 power  amp and out to a bank of Marshall cabinets, outfitted with 30-watt  Celestion speakers wired at 16 ohms. Alex's drum kit was designed to his  specifications by Ludwig. It included two bass drums: one  24-inch-by-32-inch and a second at 26-inch-by-32-inch. A single felt  strip was stretched across each of the heads as padding (or muffling).  His pedals of choice were the now obsolete Ghost bass drum pedals  outfitted with wood beaters, which required him to glue leather pads at  the point of impact on the bass heads. This technique was required  because Alex had a tendency to split the beaters almost immediately  without the pads. His snare measured 14-inch-by-6½-inch and he used five  power tom-toms measuring 13, 14, 15, 18, and 20-inches respectively.  Ludwig Rockers heads were used on all of his drums. His cymbal setup  consisted of one 24-inch Paiste crash cymbal, seven 20-inch cymbals, and  a 15-inch hi-hat. All of the kit's hardware was Ludwig and the joints  and tension mountings were welded, due to the fact that the other band  members had a tendency to jump on his kit during the show. During his  solo, the kit was raised into the air above the stage, spinning and  shooting off fireworks. Although the Monsters of Rock tour lost  money, the tour was the second highest grossing event of 1988, earning  $26.7 million. The top-grossing act of the year was Pink Floyd with  $27.6 million. Other big money makers included Aerosmith with $21.2  million, AC/DC with $20.1 million, and George Michael with $17.7  million.
Monsters of Rock Cities and Dates in the USA 1988, the complete itinerary (5 dates cancelled):
Pre-tour warmup gigs // • 23 May 1988: Los Angeles, California - The Troubadour (Metallica only) • 24 May 1988: Los Angeles, California - The Troubadour (Metallica only)
Tour // • 27 May 1988: East Troy, WI - Alpine Valley Music Theater • 28 May 1988: East Troy, WI - Alpine Valley Music Theater • 29 May 1988: East Troy, WI - Alpine Valley Music Theater • 4 June 1988: Miami, FL - Orange Bowl • 5 June 1988: Tampa, FL - Tampa Stadium • 10 June 1988: Washington DC - RFK Stadium • 11 June 1988: Philadelphia, PA - JFK Stadium • 12 June 1988: Foxboro, MA - Sullivan Stadium • 15 June 1988: Pittsburgh, PA - Three Rivers Stadium • 17 June 1988: Pontiac, MI - Pontiac Silverdome • 18 June 1988: Pontiac, MI - Pontiac Silverdome • 19 June 1988: Orchard Park, NY - Rich Stadium • 22 June 1988: Akron, OH - Rubber Bowl • 23 June 1988: Akron, OH - Rubber Bowl • 24 June 1988: Oxford, ME - Oxford Plains Speedway CANCELLED • 25 June 1988: Oxford, ME - Oxford Plains Speedway • 26 June 1988: East Rutherford, NJ - Giants Stadium • 27 June 1988: East Rutherford, NJ - Giants Stadium CANCELLED • 2 July 1988: Houston, TX - Rice Stadium • 3 July 1988: Dallas, TX - Cotton Bowl • 6 July 1988: Indianapolis, IN - Hoosier Dome • 8 July 1988: Memphis, TN - Liberty Bowl CANCELLED • 9 July 1988: Memphis, TN - Liberty Bowl • 10 July 1988: Kansas City, MO - Arrowhead Stadium • 13 July 1988: Minneapolis, MN - The Metrodome • 16 July 1988: San Francisco, CA - Candlestick Park • 17 July 1988: San Francisco, CA - Candlestick Park CANCELLED • 20 July 1988: Spokane, WA - Joe Albi Stadium • 23 July 1988: Los Angeles, CA - Los Angeles Memorial Coliseum CANCELLED • 24 July 1988: Los Angeles, CA - Los Angeles Memorial Coliseum • 27 July 1988: Seattle, WA - Seattle Kingdome • 30 July 1988: Denver, CO - Mile High Stadium.
But in the end the issue of the Monsters of Rock in America It has been very exciting, and Rudolph explains so: "First you have to consider that it was the first time that the US organized a demonstration of the genre, with five teams that were performing a after another for a total of nine hours of music. This means that the American public is found in front of a facing a whole new thing that has suffered the effects of a press campaign denigrating unprecedented. So is true that all Monsters is gone bad; some dates did not work out, especially those working and saw the huge cost of the entire apparatus that has meant the loss of many millions of dollars. In any case, the groups are not to blame, rather would be to blame the organizers for how they planned the operation. I also believe that some parents have played an important role in the whole thing; they did not like to send their children to an event called 'The Monsters Of The Rock'; if the organizers had called in a different way, 'Summer Rock Festival' for example, then it would be much changed. In any case half debacle of American Monsters not touched us more from time (the major economic damage was to the headliner, Van Halen...) cause we were not in the second bill and also because 'we have redone with a headlining tour and that went well".

The European setlist consists of about 20 tracks, with whom the Scorpions managed to wipe out, to overshadow many performances of this kind passed by the old continent in the season 88-89. Klaus and friends rise to the throne and impart to all a severe lesson on how to hold a live-show and especially on how we can bring to Europe a non-mass production 'B'. Outset from the intro we could account for the perfection
of the machine Teutonic that has spared no expense to make turn a show that had beautiful lights, almost all computerized, a platform designed to enhance the visual impact of the group and a sound system piloted in wonder. Moreover, if we exclude the introduction of all sampled sound and performed at the empty stage and the opening track "We Let It Rock ...", the kids become inflamed immediately with a "Blackout" breathtaking, made more 'faster than the vinyl version and with such effect spaccavetri final championship. The dance was performed on high speed at for the duration of the concert and the setlist of the same unfolded in all its enormous potential melodic as it was full of hit singles from world value. So "Big City Nights", "Rhythm Of Love" and more seasoned "Make It Real" & "Coast To Coast", are nothing more than a pulsating soundtrack shows accents mythical, lived among the continuous roar of public and boutades scenic Scorpions on stage: the posture of studied Klaus and nothing stereotyped, the acrobatics of Rudolph, who carried out his task with great rhythmic precision, up to the classic poses three from 'safe effect. As expected, in the middle show were lit lighters for historians slow "Holiday" and "Still Loving You", in semi-acoustic versions and always fascinating, a couple of songs more later ("Don't Stop At The Top" & "Can't Live Without You") was the turn of the spaces soloists, including
that of Jabs showed much of his great guitar technique. The show ended with another pair of classic," Coming Home "and" The Zoo ", while the encores were revealed a veritable mine of success; the first exit began with" Rock You Like A Hurricane ", followed by "No One Like You ", both much more heavy disk and the final" Dynamite ", played by a pause and a final reprise fulminating during which the Teutonic took advantage to experience their now famous scenic stunts, including the historical human pyramid! Schenker says: "It's easy for a group to carry around for States a type of show and then reduce it drastically as soon as it comes to a European tour. This happens because the groups wish most of the collection of sarate and not the pleasure of public. although the latter and then to declare your luck so as your order. we thought that we had to bring in Europe instead a show to height of our name even at the cost of bled us and I must say that the response of the public that we are getting there from absolutely right. The only thing that we thought was to prepare two structures, a bigger and one smaller depending on the places where we are going to play. But the elements remain all".
These the words of the famous American magazine Billboard: "On April 16th last year, the Scorpions kicked-off Savage Amusement Tour World tour with a pioneering series of concerts playing to 150,000 in teh Soviet Union. 78 shows and 1/2 million U.S. fans later: the tour resumed on Novemver 29th in West Germany rockin' like a hurricane through 15 countries, playing 54 shows to a record 540,000 people. This made Savage Amusement the most successful European rock arena tour ever...!!!".
Super rare is the setlist in USSR, 25th April '88 (exclusively made for these dates in Leningrad):
Blackout, Big City Nights, Bad Boys Running Wild, Rhythm Of Love, Don't Stop At The Top, Coast To Coast, Lovedrive, Holiday, Always Somewhere, Living For Tomorrow, Still Loving You, Every Minute Every Day, We Let It Rock... You Let It Roll, Rock You Like A Hurricane, Coming Home... Encore: The Zoo, No One Like You, Rock&Roll Medley, Dymanite... In the Monster Of Rock USA Tour, the Scorpions had played before the headliner band Van Halen in the whole tournament. They played a shorter set than their own full concerts but still included 3 new songs from the released newest album Savage Amusement. This is the setlist standard of the US MOR: Blackout, Big City Nights, Every Minute, Every Day, Rhythm Of Love, Bad Boys Running Wild, Make It Real, Coast To Coast, Still Loving You, Don't Stop At The Top, Can't Live Without You, Coming Home, The Zoo, No One Like You, Rock You Like A Hurricane, Dynamite. After the 1988 Monsters of Rock festivals the Scorpions went to their own tournament in the US
and Canada. They played longer (about 90-100 minutes) concert what were the "official" SA Tour there. Tha band played more songs about the new album and the light and sound design was much better and spectacular than in the MOR performances where they weren't the only one band and the headliners. The setlist has become what it would stay for the rest of the tour. Setlist: We Let It Rock...You Let It Roll, Blackout, Big City Nights, Rhythm Of Love, Every Minute, Every Day, Bad Boyd Running Wild, Media Overkill, Make It Real, Coast To Coast, Holiday, Still Loving You, Don't Stop At The Top, Can't Live Without You, Drum Solo & Jam, Coming Home, The Zoo, No One Like You, Rock You Like A Hurricane, Dynamite. In the shows from the European leg of the SA-tour the audiences were all over the band and the noise is prove of that! Even if the Scorps obviously thought then that the America were their main market and still think that on European halls they saw the real enthusiasm! Setlist: We Let It Rock...You Let It Roll, Blackout, Big City Nights, Rhythm Of Love, Every Minute, Every Day, Bad Boys Running Wild, Media Overkill, Make It Real, Coast To Coast, Holiday, Still Loving You, Don't Stop At The Top, Can't Live Without You, Drum Solo & Jam, Coming Home, The Zoo, Rock You Like A Hurricane, No One Like You, Dynamite. In the first European station (November 29, Stuttgart, Germany, Hans Martin Schleyerhalle), the song Lovedrive was in the setlist after the Jam when Herman played in the electric drums and Matt played his forceful guitar-solo. In Munich, Germany, Olympiahalle (19th December '88), the Scorpions was the special guest on the concert of John Bon Jovi with Cinderella. They jammed at the last three songs together (Johhny Be Good, Hound Dog, We Are An American Band).
Scorpions - Hammersmith Oden review from UK magazine Kerrang!:
It's been five long, hungry years since the Scorpions toured the UK. And you'll not be surprised to
learn, little has changed in that time. Sure, they're almost as big as God now, and they've dropped "Another Peice Of Meat" too, but the fabric of the Scorpions rmains untouched. Consistency is the watchword here. I've never seen a Scorpions show that wasn't the slickest beast on ten legs and this, the first of four Hammersmith sell-outs, was no exception. Watching the Scorpions in clockwork action you can really appreciate just now much sweat goes into preparing a show. Goddamit, they even punch the air in unison! All this means that , for tìyour tenner, you get a flawlessly efficient show. Front the songs, to the outstanding lighting effects, to probably the bewteen song raps  too it's eactly the same show they've been touting through Europe for the past few months. It's quite exceptional to witness the power that a band of Metal's elder Statesmen had over such a young audience. During teh traditional acoustic section, teh crowd drowned the band out completely, with Meine milking the moment for all it was worth. The pacing was faultless. They opened in grand style; the huge triangular middle section of the lighting rig of brilliant white light and the Scorpions are suddenly there, grinning like expectant fathers and winding up the opening riff of "We Let It Rock... You Let It Roll". "Blackout", the title cut of their ninth album, followed before Klaus Meine uttered the first, 'Hello London!' of the evening and introduced
us to "Big City Nights". Rudy Schenker straps on a hitech looking double-neck and the band launch into "Rhythm Of Love", one of the best singles they've produced. Cold, mechanical rhythms clash with a typically impassioned Meine vocal-how could Radio One (who, incidentally, were recording the show) have ignored this monsters? "Every Minutes Every Day", also from Savage Amusement, was next up (but there was no room in the precision schedule for new single "Passion Rules The Game") followed closely by "Bad Boys Running Wild" and "Media Overkill"- the latter proof of Scorpions' love affair with technology and effects. "Make It Real" was pushed out far too fast, though; the superbly gritty Schenker riff spoilt by the pace. Klaus Miene apperas guitar-handed and Rudy cranks out the massive riff of "Coast To Coast". now the grandfather of the set. Of course, with all four frontmen wielding guitars, it was a great excuse for some serious Scorpions-style synchronised posing at the front. Next we were treated to a full "Holiday", joined at the waist to an equally beautiful "Still Loving You", and I don't think I've ever heasrd the Hammersmith choir in such fine voice. "Don't Stop At The Top" was the last of the five from the new album, "Can't Live Without You" was more welcome than the commercial break during 'Blind Date' and the drum solo
was... ahem... actually pretty decent. Herman Rarebell chose to conduct his solo on an electronic kit at the front of the stage and Matthias Jabs joined him for a moment before embarking on a solo of his own, I've always felt that because he's one of two guitarists in a band who believe strongly in the work of the unit, Matthias has yet to get the credit he so richly deserves. Tonight, he produced a stainless, exacting spot that, justice willing, may just change that some. Suitably refreshed for the final mad dash down the home straight the Scorpions piled in with "Coming Home" and "The Zoo", the latter's steely, grinding riff clamping its jaws resolutely around the whole hall and refusing to budge until long after the stage was empty. Encores? You gottem. "Rock You Like A Hurricane", "No One Like You" and "Dynamite". The Scorpions: growing old professionally. An extra date in London (4th March '89... other three dates at the Hammermisth Odeon in February were all sold out!) had been added at the request of the public. Hammersmith-Odeon, London, UK, February 18 is a radioshow with a soundboard-recording of the
SA tour. the audience participation is amazing. Up to this tour and the next Crazy World tour. UK was a regular touring place for teh Scorpions, but after that they skipped the islands for nearly a decade. The reason for this was, according to an interview of Meine, the absolute lack of radio play and poor record sales (unthinkable in 1989 with all of these sold out)... The shows of Stockholm, Sweden, Icehall (1989-01-13) & Birmingham, England, National Exhibition Center (8th March 89...the long Savage Amusement Tournament what was beginning in the 27th of May in 1988!) include cover of "Hound Dog" + "Long Tall Sally" (no in Sweden) in the encore between the songs "No One Like You" and "Dynamite". "Long Tall Sally" was performe in most of the shows back in mid 70's... In Cologne, Germany, Uniwiese, the Scorpions was a special guest in a famous german band's 10th years anniversary concert! This band is the BAP and they are very popular in Germany and also in Russia. They played 39(!) tracks and more than 208(!) minutes concert in their jubilee show. There were some special guests like Udo Lindenberg (from Accept), some german artists like Thomas Engel, and of course Klaus Meine and Rudolf Schenker from the Scorps. They played these two all time Scorpions classics together with BAP and Klaus was singing the historical Beatles song "Imagine" with Thomas Engel in german and english mixed language. Setlist: Still Loving You, Rock You Like A Hurricane & Imagine (Stellt üch vüür).

The versions of the famous Moscow Peace Festival (1989-08-12) include also some commercials and an acoustic part what they played on the Red Suqare in the concert day's afternoon but the setlist are all incomplete: Blackout, Big City Nights, Bad Boys Running Wild, Rhythm Of Love, The Zoo, No One Like You, Holiday, Still Loving You. While the complete show at the Lenin Stadium is: Blackout, Big City Nights, Bad Boys Running Wild, Rhythm Of Love, The Zoo, No One Like You, Holiday, Rock You like A Hurricane, Dynamite, Still Loving You. The Moscow Music Peace Festival was a one-time gathering of
high-profile hard rock acts for a performance in Moscow, Soviet Union on 12 and 13 August 1989 to promote world peace and establish international cooperation in fighting the drug war in Russia. It was part of an era of momentous change in the Soviet Union. The concert was put together by the Make a Difference Foundation, its founder, rock producer and manager Doc McGhee, Stas Namin and other major players in the Soviet Union and the United States. It is often stated that McGhee agreed to bring his artists to Moscow after becoming involved in a drug scandal himself and wishing to avoid a jail sentence, but he explicitly denied that in 2011. "We always wanted to go over to Moscow and do the first rock show in the Soviet Union. I wanted to do their Woodstock." Since it had also been part of that plan that the proceeds would go to Make a Difference and doctors would be brought to the USSR to teach methods of treating addiction (Soviet doctors at the time primarily used electroshock therapy for that purpose), he did not expect the sentencing judge would have denied him the opportunity. Mötley Crüe have been on record stating they were upset with McGhee at this point in time. They felt McGhee was favoring Bon Jovi, whom he also managed, and whom Crüe disdained. When Bon Jovi closed the show, they used pyrotechnics,
which Mötley Crüe had been told they could not do (McGhee claims it was a malfunction on one side of the stadium that he didn't hear because he was backstage). Sebastian Bach of Skid Row, whom McGhee also managed, says Tommy Lee went over to him and said "Your manager's a fucking asshole" and chugged most of a bottle of vodka Bach had been drinking (up to this point, Lee has said, it was the first time the band had done a show sober). Then he ran up to McGhee, punched him in the face and told him he could go manage The Chipmunks because he was no longer Mötley Crüe's manager. Bon Jovi fired him as well shortly afterwards. Lee and his bandmates were still so angry they refused to fly home on the same plane as McGhee. The event was held over two days in Moscow's largest stadium, Luzhniki Stadium (Central Lenin Stadium at the time), which has a seating capacity of about 100,000. However, as the concert also included spectators on the field, the number of attendees was much greater. The event was the first rock concert to be held at the stadium, which had previously been used primarily for sporting events. This was the first time that an audience had been allowed to stand up and dance at a stadium rock concert in the Soviet Union. Previous to this, all concerts had to be seated. The bands were all featured on the 1989 compilation album Stairway to Heaven/Highway to Hell, put out the Make a Difference Foundation. Each band recorded a song originally by some famous rock artist who had suffered a drug- or
alcohol-related death. These included songs from The Who, the Sex Pistols, Jimi Hendrix, Tommy Bolin, Thin Lizzy, and Janis Joplin, along with a collaboration for Led Zeppelin's "Moby Dick" (for John Bonham), and a live collaboration where the bands perform a medley of Elvis Presley and Led Zeppelin songs. Despite the intended anti-drug message of the album, some bands later admitted in interviews that the Moscow Music Peace Festival period ironically included much drug use. One notable event in that matter was Ozzy Osbourne who strongly expressed his views against drug abuse during the press conference straight after his performance. After having completed the press conference it was that same Ozzy Osbourne who had to be helped through the narrow corridor leading back to the dressing rooms after continuously stumbling into both facing walls, not being able to walk straight. Noted in books such as Bang Your Head: The Rise and Fall of
Heavy Metal, the concert also showcased the ego clashes which eventually helped lead to the collapse of glam metal shortly thereafter. Many of the bands argued over who went on before whom, and many were envious of Bon Jovi, who not only headlined the event and was far more considered to be pop music among the hard rock and heavy metal community, but also had a much more theatrical stage spectacle and longer set times; each band was supposed to do a stripped-down show with just music and no spectacular theatrics. Jon Bon Jovi supposedly offered his headlining spot to Ozzy Osbourne after Ozzy threatened to not go through with his set (a move many felt was calculated to further JBJ's 'boy next door' persona). Ozzy's set was initially scheduled before Mötley Crüe's set. Apparently, Ozzy felt his band was bigger and he should go on after Mötley Crüe. To solve the problem, Mötley Crüe went on before Ozzy but the tape was edited so it appeared Ozzy went on before Mötley Crüe to the viewers back in the U.S. Those involved in the show's production felt this was an egotistical bush move on Ozzy's behalf since this was supposed to be for charity, and left many in the rock 'n roll community confused since Ozzy and Mötley Crüe toured together for Ozzy's Bark at the Moon and Mötley Crüe's Shout at the Devil albums, respectively, and became fast friends during the tour. The members of Mötley Crüe were so incensed about preferences shown to Bon Jovi that Tommy Lee punched manager Doc McGhee (who was also the manager for Bon Jovi) backstage at the venue (McGhee was fired shortly thereafter), opting to fly back to the US on their own. The concert was also often chided by the bands themselves as being hypocritical, as many of the musicians were drinking or using drugs at the time despite the ties with the Make a Difference Foundation. The event became known for inspiring the song "Wind of Change" by the Scorpions, a ballad which became a soundtrack to the collapse of the Berlin Wall, the Soviet Union, and communism in general. Don't Blame Me: The Tales of Ozzy Osbourne states that after the event, Osbourne was given multiple bottles of Russian vodka. Ozzy drank all of them and became "beyond drunk". It was then that Osbourne attempted to kill his manager–wife Sharon Osbourne. The Make A Difference Foundation was created by "Doc" McGee after his arrest for drug smuggling. As a condition of his parole he was to use his influence in the music world to start an anti-drug foundation. Even though Ozzy Osbourne, Richie Sambora, and most of the members of Mötley Crüe (particularly Nikki Sixx) were known for drug/alcohol abuse.
The audio-bootleg rarest are: 1988-05-28, East Troy, WA - USA - Alpine Valley Music Center (2.night); 1988-07-16, San Francisco, CA - USA - Candlestic Park; 1988-07-27, Seattle, WA - USA - Kingdome; 1988-10-10, Portland, OR - USA - Memorial Coliseum; 1988-10-12, Tacoma, WA - USA - Tacoma Dome; 1988-10-15, San Francisco, CA - USA - Cow Palace & 1988-10-19, Los Angeles, CA - USA - Sport Arena.

In the bootleg video there is a very rare recording. The material made in a local alternative club in Leningrad when the Scorpions played 12 full house concerts in their very first Soviet Union tournament in the April of 1988. They had been the first western rock band who could play in this country. Well, the guys visited in this local club and played some songs there. "The Zoo" released in the To Russia With Love... official VHS tape. But the "Blackout" had never released.

There are only four videos what exist about the nrth-american concerts in 1988. (maybe I know just them) Three of them made on the Monsters Of Rock USA Tour where Van Halen had been the headliner and the Scorpions played about a 80 minutes set before him immediately. The Scorps compiled the tracklist very well. They played their "classics" and added some new songs about their new album Savage Amusement what released in 1988. This show was the fourth station (after the first three in East Troy, WI) and the Orange Bown Stadium was full! About 60.000 people were curious to the festival. The weather was very hot and the roads doused the crowd.
Note the wonderful Scorpions video bootleg (june 26, 1988) at the Giants Stadium, East Rutherford, NJ (by CBG Classic Master Video Series Vol.2) with 2CAM MIX. Transferred from the original master Sony Video 8 tape. Uncirculated 2nd source. Great recording from the side of the stage, nice and clear. Here the comment posted by CBG5150:
"As for the show, this is “CBG Classic Master Video Series Vol.2”. This show stands out for the massive food fight where the people on the 3rd level at Giants Stadium starting throwing all their food and drinks and trash over the wall onto us on the 1st level. The second level mezzenine folks
were spared as they were tucked in underneath the 3rd level. Me and the others on the 1st level, well, we were the trash bin. I had soda, ketchup, mustard tossed on me. Even a hotdog in a bun hit me. You can see everyone taking cover under plastic in the show around me. The song was Coast to Coast, an instrumental jam that fit the occasion so aptly. I was just in a zone, taking the the abuse and working hard for the show. If I was further into my filming career, I would have done a better job panning the crowd a little slower to gather it all in. But this was like show number 20 that I had filmed at this point, and I was a baby in this job. I did however get the trash coming down on me and you can see all the paper and wrappers coming down on the other side of the stadium as I panned by. Back then, I really stayed focused on the show and band, so I didn't get as much of the food fight as I should have. I also didn't get the trash tornado as wel as I should have. Part of the issue was having a 2x magnification lens on the camera that had me closer to the other side than the standard 6x zoom on the camera. The trash tornado inside the stadium due to the swirling winds was so cool as all the paper and wrappers were
circulating around the stadium in a sort of slow motion that made the scene surreal. The only other experience I had like that was before I filmed at the Defenders of the Faith Judas Priest show at Madison Square Garden where someone got the idea to cut the seat cussion out of a seat and flick it like a frisbee through the air from the 400 level. Next thing you know, for the rest of the show, it was like monkey see monkey do as there were like 100 seat cushions gliding through the air littering the stage and everywhere for the rest of the show, maybe 45 minutes to end the show. Ron Halford didn't miss a note as he was clocked in the head with a cushion and just kept on singing as it glanced off his head...needless to say, Judas Priest was banned from MSG for that show. That was the height of metal in the USA. There was a Joe Jackson show at MSG the next night and supposedly they had to borrow 5000 seats from Byrne Arena for the show. Priest played Byrne Arena twice the next tour in 86 in June and August because they were still banned from MSG. So those were the two shows where something like this trash tornado and the seat cushion fling that I experienced. This Scorpions show is lucky to even exist for me. As I was stupid and didn't cover my camera then, I kept filming the show trying to not let the food hitting me bother me. Next thing I didn't know, the whole section cleared out on the first
level 50 yard line where I was and I am filming standing on the chair with that monster camera up to my face with ketchup and mustard on it. Only me standing in daylight still 55 minutes into the show. I had no idea everyone left. I had my eye in the lens doing this by myself. Out of the corner of my eye, I see yellow and look left and it is three Giants Stadium security guards in yellow shirts with headsets on standing in the row behind me with their arms folded just observing me. Oh, I am so busted I thought. So I step down off the chair and the lead guy says 'put it away I don't want to see it again, if I see it again you are out of here'. I say thanks and put the camera in a bag under my seat. The other guy next to him says 'take the tape' and the lead guy (very cool who ever you are) says 'no, just put it away or you will be out of here'. I say thanks alot and just sit. I was wondering what would happen since at a Greatful Dead show at Giants a year earlier someone supposedly was beat to death by the security there and dumped on the side of the road...so I heard,,,so I was somewhat concerned...but that lead security guy was so cool. Thanks for being sane who ever you were. I missed 2 and a half songs at the end due to being caught. But I got 54 minutes of the show. You can read the Van Halen show notes for what happened afterwards. 24 years later the tape from Grey that he shot in the mezzenine level on the opposite side appears on eBAY (appears to be taken from him) and I purchase it for $100, the master tape for sure. With all his handwriting on it describing how he filmed it, and who else filmed it (me included). That was wierd. So now Silver Stallion did the best mix of the two angles he could and it is presented to you now to enjoy 25+ years later. Nothing was ever officially released from this tour, so it is cool to have a 2cam mix show from the only Monsters of Rock tour in the USA. Grey, if you are out there and want your master tapes back, as I said before, I will give them back to you for free even though I bought them for $100 a piece. I would want someone to do that for me if my masters were taken".

There is also a TV PROSHOT recordinginterview with Rudolf, Klaus and Francis what made in the Los Angeles station of the Monsters Of Rock Tour in the 24th of July in 1988. A japanese TV chanel played a summary from this concert as "Pure Rock". There is only song what they broadcasted into the programme. The beginner track "Blackout" what they recorded with the camera what was between the stage and the audience. The stage was something of incredible... What can I say...the most amazing concert of the Scorpions! This tournament is my favourite. The stage, the light and sound effects, the performance and the setlist is just simple PERFECT! The Scorpions went back to North-America after the summer Monsters Of Rock Tour where they played together by Van Halen, Metallica, Kingdom Come and Dokken. This MOR sequence had been very success. Besides the Scorps wanted to tour an own tournament alone because they want to show the last album Savage Amusement what released at the spring of 1988, four long years after their last studio album Love At First Sting. I have only this material in video what made in the full tournament of North-America. That's not rare but because it has circulated in the collectors and traders' world from so many years ago.
About the show. As I wrote before the greatest performance what the Scorpions could do on stage. They were beginning with a new song "We Let It Rock...You Let It Roll" what is a perfect start in my own opinion. The thunder effects are so cool under the song. That's great that the band played five new songs about their actual album. "Every Minute Every Day", "Media Overkill", "Rhythm Of Love", "Don't Stop At The Top" and the above-mentioned opening track. Good choises! The other diemaond is the full version of
"Holiday". I like the fast end part of the song. The next treasure is Hermn's drum solo. He began in his drums but later he continuedin an electric drum set in the right side of the stage. His best solo ever! One of my most favoutire part is when a big Flying V giutar grows up above the stage and Klaus crawles into the top. He just sings the song in it until the neck of the guitar is moving about the stage and the crowd. Amazing! And of course last but not least the pyramid what had been essential part of the Scorps concerts in this period. In fact the band played with full of energy and dashed the full concert all along. I have only few video recordings about the Savage Amusement european tour. This Stuttgart show is one of the full concerts. The Scorps played 5 songs about their new album. I have written about the stage design in other 88-89 shows' comments so now I just want to say...unbelievable. You can check it with your own eyes also in the officail video clip "Passion Rules The Game". At the last screenshot you can see when Klaus is in the tail of the scorpions and sing "The Zoo" above the audience. I have to say that the Savage Amusement tour is one of my biggest favourite. The stage design was fantastic. Thousend lights, effects and the giant stage what moved as a big scorpion. Simple amazing! Klaus stood into the tail of the scorpion what went above the audience ander the old classic "The Zoo". Rudy's guitar shot the thunders and the whole desing was unbelievable at the whole show. I hope that I can find a clear quality recording about this tour in the future. I have an audio recording about the station what is the complete show. The setlist was the same as in the other SA steps. There is a short documentary (Music Szene '89) and an interview by the band members. Besides there is a summary about the backstage in Los Angeles and Munich on the Savage Amusement Tour. There is a short live recording ("Dynamite") in Munich. Great stuff! The band had continued the success Savage Amusement Tour in the 1989 again. They had played more than 40(!) concerts under the first three months in the year. The setlist is almost the same but the stage design had been changed a little bit. There is not the big Flying V anymore so Klaus spent "The Zoo" with the members on the stage. There is a few different according to the Toronto show. That's the guitar solo of Matthias after Herman't "drum-performance". They jammed on the stage together and later Matthias played a great solo before the rest of the band came out again to the stage for the next song "Coming Home". Great moment when Rudy's guitar shoots the firework at the end of "Rock You Like A Hurricae" Looks cool!

There is the 45 minutes version what includes the big Jam at the end of the festival when all musicians were on the stage and played the old rock 'n' roll song "Long Tall Sally". This recording released on DVD as "Moscow Music Peace Festival - Vol.2.". There is the first version of the show. The Scorps played in the famous Moscow Peace Festival in August of 1989. Together by so great bands like Motley Crue, Bon Jovi, Ozzy Osbourne, Cinderella or the local Gorky Park. This DVD is the 41 minutes long what doesn't include "Dynamite", "Rock You Like A Hurricane" and the final "Jam" when all bands played together the old rocksong "Long Tall Sally" (It's a soundboard recording what had been recorded from a russian TV chanel). 

In short here are some interview and report (TV PROSHOT, 53 minutes) with the Scorpions members in Hannover, Germany. Klaus Meine, Rudolf Schenker, Matthias Jabs, Francis Buchholz and Herman Rarebell. Besides ther are video clips about the last few years and the promo pictures making. This programme made for the promotion for the new compilation album Best Of Rockers 'n' Ballads by the M6 french TV chanelincludes covers live with only two acoustic guitars and a rattle in one square of Hannover (Back in "Hannover"), live in a local instrument shop ("And I Love Her") & live on a yard ("His Latest Flame") and their hits ("Big City Night", "Still Loving You"...).

For the 10 shows of Leningrad in April '88, the stage of the band was very standard for the level achieved by the Scorpions in years and sported a background futuristic behind the drum set of battery Rarabell. The band performs with a look much less soberthan in the past: Klaus all skin and white T-shirt also Rudolf, Francis strictly leather, while Herman was wearing clothes a little more gymnastic but the more eclectic was undoubtedly Matthias: many jacket colored, leather pants used in various stage shows. In the concerts Rudolf Schenker starts to use his Gibson Flying V double handle (as for example in the song "Every Minute Every Day"...). For the stage I have already mentioned before its spectacular and magnificence, lighting equipment of the grip of the guitars that have enriched some of the concerts more important: complete plant for the venue bigger (Toronto '88 for example) and for partial for those smaller (Milan '89...). Rudolf Schenker says: "The effort for the scenery of this tour was impressive. It would be impossible to design a tour more extravagant". The effect of the guitar was surprising but it is also a very expensive "toy"... Rudolph smiling adds (from the tail of his guitar coming out strips of sparks): "We started talking of the handle that kind in 1980, but at that time the group could not afford such expensive trinkets. Then we waited. We have thought about just before the last tour, and was great!".

1988-89: Savage Amusement live - The Scorpions Wild Show !

1988/04/17 - Lenin Sports and Concert Complex; Leningrad, Russia
1988/04/18 - Lenin Sports and Concert Complex; Leningrad, Russia
1988/04/19 - Lenin Sports and Concert Complex; Leningrad, Russia
1988/04/20 - Lenin Sports and Concert Complex; Leningrad, Russia
1988/04/21 - Lenin Sports and Concert Complex; Leningrad, Russia
1988/04/22 - Lenin Sports and Concert Complex; Leningrad, Russia
1988/04/23 - Lenin Sports and Concert Complex; Leningrad, Russia
1988/04/24 - Lenin Sports and Concert Complex; Leningrad, Russia
1988/04/25 - Lenin Sports and Concert Complex; Leningrad, Russia
1988/04/26 - Lenin Sports and Concert Complex; Leningrad, Russia
1988/05/27 - Alpine Valley Music Center; East Troy, WI, USA
1988/05/28 - Alpine Valley Music Center; East Troy, WI, USA 
1988/05/29 - Alpine Valley Music Center; East Troy, WI, USA  
1988/06/04 - Orange Bowl; Miami, FL, USA
 1988/06/05 - Hall Of Fame Bowl; Tampa, FL, USA
  1988/06/10 - RFK Stadium; Washington, DC, USA
1988/06/11 - JFK Stadium; Philapelphia, PA, USA  
1988/06/12 - Sullivan Stadium; Foxboro, MA, USA 
1988/06/15 - Three Rivers Stadium; Pittsburgh, PA, USA 
1988/06/17 - Silverdome; Pontiac, MI, USA 
1988/06/18 - Silverdome; Pontiac, MI, USA  
1988/06/19 - Rich Stadium; Buffalo, NY, USA  
1988/06/22 - Rubber Bowl; Akron, OH, USA 
1988/06/23 - Rubber Bowl; Akron, OH, USA 
1988/06/25 - Oxford Plains Speedway; Oxford, Maine, USA
1988/06/26 - Giants Stadium; East Rutherford, NJ, USA
  1988/07/02 - Rice Bowl; Houston, Texas  
1988/07/03 - Cotton Bowl; Dallas, TX, USA 
1988/07/06 - Hoosier Dome; Indianapolis, Indiana, USA
1988/07/08 - Liberty Bowl; Memphis, Tennessee, USA
1988/07/09 - Liberty Bowl; Memphis, Tennessee, USA
1988/07/10 - Arrowhead Stadium; Kansas City, Missouri, USA
1988/07/13 - Metrodome; Minneapolis, MN, USA
 1988/07/16 - Cabdelstick Park;  San Franscisco, CA, USA
1988/07/17 - Cabdelstick Park;  San Franscisco, CA, USA
 1988/07/20 - Joseph Albi Stadium; Spokane, WA, USA  
1988/07/23 - Memorial Coliseum; Los Angeles, CA, USA 
1988/07/24 - Memorial Coliseum; Los Angeles, CA, USA
1988/07/27 - King Dome; Seattle, Washington, USA
1988/07/30 - Mile High Stadium ;Denver, Colorado, USA
1988/08/03 - Tucson, Arizona, USA
1988/08/11 - Thomas and Mack Center; Las Vegas, NV, USA
 1988/08/12 - Compton Terrace; Phoenix, AR, USA 
1988/08/27 - Alpine Valley Music Center; East Troy, Wisconsin, USA
 1988/08/28 - The Castle; Charlevoix, MI, USA 
1988/08/30 - Capitol Center; Largo, Maryland, USA 
1988/09/03 - Rochester War Memorial; Rochester, New York, USA
1988/09/04 - Civic Center; Glens Falls, NY, USA
 1988/09/09 - Madison Square Garden; New York, NY, USA   
1988/09/11 - Civic Center; Providence, RI, USA 
1988/09/15 - The Forum; Montreal, Canada
 1988/09/17 - Colissee; Quebec, Canada 
1988/09/18 - Quebec City, Quebec,  Canada
1988/09/19 - Maple Leaf Gardens; Toronto, Canada
1988/09/21 - Hara Arena; Dayton, Ohio, USA
1988/09/23 - The Palace; Auburn Hills, MI, USA  
1988/09/30 - Civic Center; Peoria, IL, USA 
1988/10/02 - Met Center (Bloomington); Minneapolis, MN, USA
 1988/10/14 - Cow Palace; San Francisco, CA, USA 
1988/10/15 - Cow Palace; San Francisco, CA, USA
1988/10/22 - Irvine Meadows Amphitheater; Laguna Hills, CA, USA
1988/10/25 - Franck Erwin Center; Austin, TX, USA 
1988/10/26 - The Summit; Houston, TX, USA
1988/11/29 - Hans Martin Schleyerhalle; Stuttgart, Germany 
1988/12/01 - Rijnhalle; Arhneim, Holland  
1988/12/03 - Sporthalle: Hamburg, Germany  
1988/12/05 - Stadionsporthalle; Hannover, Germany  
1988/12/07 - Hallenstadium; Zürich, Switzerland 
1988/12/08 - Rhein-Neckar-Halle; Heidelberg, Germany
 1988/12/09 - Carl Diem Hall; Wurzburg, Germany 
1988/12/11 - Sporthalle; Köln, Germany
1988/12/12 - Westfalenhalle; Dortmund, Germany 
1988/12/13 - Stadthalle 1; Bremen, Germany
 1988/12/15 - Saarlandhalle; Saarbrucken, Germany 
1988/12/17 - Hallenstadion: Zürich, Switzerland 
1988/12/18 - Olympiahalle; Munchen, Germany 
1988/12/19 - Frankenhalle: Nürnberg, Germany
1988/12/20 - Festhalle; Frankfurt, Germany
1988/12/22 - Salle Omnisport de Bercy; Paris, France  
1989/01/03 - Wembley Arena;London, England  
1989/01/06 - NEC; Birmingham, England 
1989/01/10 - KB Hallen; Copenhagen, Denmark  
1989/01/11 - K.B. Hallen; Copenhagen, Denmark
  1989/01/13 - Icestadium; Stockholm, Sweden 
1989/01/14 - Scandinavian (Rock Festival); Göteborg, Sweden
 1989/01/16 - Drammenshallen; Oslo, Norway 
1989/01/18 - Ishallen; Helsinki, Finland
1989/01/21 - Vorts nationalle Brussels, Belgium 
1989/01/22 - Eissporthalle; Kassel, Germany 
1989/01/23 - Saarlandhalle; Saarbrucken, Germany 
1989/01/25 - Barcelona, Spain  
1989/01/26 - Pabellon Del Real Madrid; Madrid, Spain
1989/01/27 - Pabellon Del Real Madrid; Madrid, Spain
 1989/01/29 - Velodromo Anoeta; San Sebastian, Spain 
1989/01/31 - Maison Des Sports; Clermont-Ferrand, France 
1989/02/01 - Parc des Expositions; Annecy, France
1989/02/02 - Palatrussardi; Milano, Italy
  1989/02/04 - Stadium; Vitrolles, France
 1989/02/05 - Palais des Sports; Toulouse, France 
1989/02/06 - Palais Des Sports; Lyon, France 
1989/02/08 - Ortenauhalle; Offenburg, Germany
1989/02/09 - Schwabenhalle; Augsburg, Germany
1989/02/11 - Messehalle; Friedrichshafen, Germany 
1989/02/12 - Festhalle; Lausanne, Switzerland  
1989/02/14 - Munsterlandhalle; Munster, Germany
 1989/02/16 - Ahoy Hall; Rotterdam, Holland
 1989/02/18 - Hammersmith Odeon; London, England
1989/02/19 - Hammersmith Odeon; London, England
 1989/02/20 - Hammersmith Odeon; London, England 
1989/02/22 - Donauhalle; Regensburg, Germany
1989/02/23 - Donauhalle; Regensburg, Germany
1989/03/02 - Deutschlandhalle; Berlin, Germany
1989/03/04 - Hammersmith Odeon; London, England 
1989/03/06 - Apollo Theatre; Manchester, England
1989/03/07 - Playhouse, Edinburg, England
1989/03/08 - National Exhibition Centre; Solihull, England
1989/04/14 - Scandinavium Gothenburg,Sweden
1989/08/12 - Lenin Stadium (Music Peace Festival); Moscow, Russia
1989/08/13 - Lenin Stadium (Music Peace Festival); Moscow, Russia

Bootleg Audio: 68
Bootleg Video: 16

- CRAZY WORLD TOUR (1990-1992) -
Number of shows: 171
Start: November, 23th 1990, Brussels, Belgium, Vorts Nationalle
End: August, 31st 1992, Sevilla, Spain, Pabellon Aleman Expo
Country: Germany. Italy. Greece, Yugoslavia, Hungary, France, Switzerland, UK, Holland, Denmark, Finland, Norway, Sweden, USA, Canada, Spain, Belgium, Japan 
Groups Headliner: -
Support Groups: Winger, Doro, Trixter, Great White, Mr.Big, Motorhead, Aldo Nova, Steelheart, Tesla

Wishing to distance themselves from the Savage Amusement style, the SCORPIONS
(line up: Klaus Meine, Rudolf Schenker, Matthias Jabs, Francis Buchholz & Herman Rarebell) separated from their long-time producer and "Sixth Scorpion", Dieter Dierks, replacing him with Keith Olsen when they returned to the studio in 1990. Crazy World was released that same year and displayed a less polished sound. The album was propelled in large part by the massive success of the ballad "Wind of Change". The song muses on the socio-political changes that were occurring in Eastern Europe and in other parts of the world at the end of the Cold War. On July 21, 1990 they joined many other guests for Roger Waters' massive performance of The Wall in Berlin. Scorpions performed both versions of "In the Flesh" from The Wall in Potsdamer Platz where a section of the Wall once stood, in Roger Waters’s spectacular production. In 1991, the members of the German band were invited to the Kremlin to meet Mikhail Gorbachev, the last Soviet head of state and party leader. It was a unique event in the history of the USSR and rock music. After the Crazy World tour Francis Buchholz, the band's long-serving bassist, left the group. Touring for Crazy World (First tour since 1971 where the Scorpions have always played from headliner) saw the band work solid for November of '90 starting in Europe, with seemingly renewed vigour,  through to December of '90 (excluding Expo 92 in Seville), supporting coming from Winger, then Trixter, with Great White and Mr.Big contributing as well. 
Herman Rarebell explains: "When we arrived in Russia in '88, we were virtually the first big western band to play there. Nobody ever played before the first of May parade, Day Of Work in Moscow, and they were afraid that revolution would happen in their country. Then I remember a year later, August '89, we did the Moscow Music Peace Festival, Motley Crue, Ozzy osbourne, Gorky Park and us and Bon Jovi. And then we got invited by Gorbachev on DEcember 4th, 1989, and Gorbachev said to me, 'The biggest mistake that America did was when they let the Beatles in in 1964, and the biggest mistake I did in my country was when I let you guys in in 1988'. I swear! I swear that's what he said. And then as you know, three days later he was out of power, the Berlin Walls around the same time, November 9th-all those things happened".
Rudolf  Schenker recognizes that the band's association with the fall of communism was an extension of the band's identification with Germany, as ambassadors for German rock. "Yes, with the history of the Scorpions and of Germany, we had always the feeling when we went to different countries that we want to show the people that there's a new generation comng from Germany. Not coming with tanks, coming with guitars and bringing love, you know? And that was also the reason we went to Russia. We wanted to show the Russia people... we noticed when we start to plan in 1986, Monsters Of Rock in Hungary, already with a promoter there that we have a big hit, 'Still Loving you', already in Russia. We told the pormoter, we said we want  to go i Russia. He said, 'No problem, there's a new man called mikhail Gorbachev there for us; he can make it possible'. So he made it possible, we played there, and for us this was a very important part to really show the Russian people that there is a new generation coming and they're making music. We were very happy that our music was received so very well in Russia that we, in the end, were also invited by Mikhail Gorbachev to the Kremlin, the only ever rock band ever even playing in his office and that's something very different".
Meine says: "We could not image and believe that it would come to this meeting. It was also unsure for a long time if the planned meeting would actually take a place. On the 14th of December 1991, we still could not believe it even on the way to the official office in Kremlin. But then it was a very charming meeeting with Gorbi and his wife Raissa. After the official part of the meeting, he sent the entire press out and then took almost an hour of his time for us, where he philosophized with us over Glasnost and Perestroika and we told him a bit about the world of rock music. We came to talk about the time that we could not forget, when the world in the 1960s looked with fear and dread because Nikita Khrushchev removed his shoes and used that to bang the podium at the United Nations. We sat, as Rudolf said, in the lion's den, and Gorbachev only said:'That was Rock 'n' Roll, or?' That was very cool and was a high point of rock history for us. We felt a little like the Beatles with the Queen. The reality that we recorded a Russian version of 'Wind Of Change' and the proceeds of which we donated to Russian charity prompted the Gorbachev family to invite us to Kremlin. It was a cordial meeting that followed many meetings, and Michael Gorbachev is almost like a friend to us. Not too long ago, he invited us to play in the Royal Albert Hall, togheter with many international artists, for his 80th birthday. We rocked Gorbi "Like a Hurricane". 
Jabs adds: 
"It was definitely impressive for all of us to be driven in black limousines through the Kremlin and through Gate 13 where even the police had to stay back. It is where only the top level statesmen - our Chancellor Kihl was also one of them - were permitted to go through. To be received that way was very special. there were around 80 television teams from all over the world in the conference hall where we were received. After a short welcoming ceremony and some photos, there was a hand movement and the people were very quickly outside. I ha dnever seen that before. Then Gorbachev had time for us, of course with a translator. His wife Raissa was also there then. It was more a relaxed conversation. He also would not have wanted to talk about deep political philosophies witha rock band, but instead try to adjust himself to us - and that was the way it went. And it was actually very pleasant despite the consciousness: 'That is the President of the Soviet Union', and after all, he did not get famous because he is children or people-friendly. But it was still a pleasant meeting on a personal level and an unforgettable experience".
"I think that's what I said before", continues Schenker, "that we became more and more a band to build bridges between generations, between religions and between continents and countries, and I think that's in part because we were coming from Germany outside the nromal scene. And as an example, we played the Music peace Festival in Moscow in '89 - we came back. And the song 'Wind Of Change' was done because we noticed away that there is something changing; there will be a big change happening. The other guys, Motley Crue, Bon Jovi, Cinderella and Ozzy Osbourne, they went back home and said, 'Oh, we kicked the Russian' asses'. But we ha dmuch more a feeling to feed what's happening there, what will be different or what makes the Scorpions different to maybe other bands for America and England. And also that we... until the late '70 we were managing ourselves because management was not allowed in Germany. In
 this case we had a very good feeling what's for us and what's not good for us. The manager never came to us and said to us you have to do this and this. We did everything until teh late '70 ourselves, until we met Peter Mensch and cliff Burnstain and then we became a part of the big organization, and then everything else is history". "We never dreamed of doing anything like this, ever", continues Matthias, "But we have always tried to know what's going on in the world instead of just hanging around watching things drift by. So if something happens, some great even, that's probably why we've been there first and have had a chance to play at these historic shows. Roger Waters called us up and asked if we would like to join him and his Bleeding Heart Band to perform The Wall - us and other musicians. And we said, yeah, and it's great idea - it was something we've never done before, to play someone else's music on stage. And it was the perfect place to play that show. Actually, being there was the geatest thrill, since we never had a chance in our whole lifetime to go to this part of East Berlin. It was right behind the wall, the bit they called the Death Zone, no man's land, and right on that no man's land, they set up the biggest stage in rock history". "Me and the generation I grew up in, we always accepted that there were two Germany. maybe my parents' generation remember how it had been one country once, but I never thought that way, because I grew up thinking Germany was two separate places. Especially since we couldn't go there and those people could come to our country, we somehow blocked it off. It seems to be farther away than the moon somehow. We feel like international people anyway. I was born in germany, I grew up in Germany, but since then, I've been travelling around the world and I probably have a different perspective on things than someone who just live in Germany all the time".
"We were happy to be part of the event", said Francis in 1990, the Scorpions being the only heavy metal band at the big concert at the wall, "especially since it was so significant an event. We had to play to this click track through headphones because the production was so huge and all had to be synced up. It wasn't easy for us to hear each other, but it was okay".
 Meine remembers: "All the upheavals and radical changes, the end of the Cold War, the fall of teh Berlin Wall- we were all a part of that as musicians, as artists, as Germans and as citizes, who grew up in the shadow of the wall, 100 km from the Helmstedt Custom Checkpoint. We often boarded our rattletrap bus and drove through the autobahn through East Germany for certain club gigs in West Berlin in the past". Matthias says: "I would say 'Wind Of Change' did not contribute to anything for the political change but that it had already started to change. But of course the inspiration came naturally from close observations that we could all make, because we were at one point in the Soviet Union while it was still the Soviet Union. The song was not written because the wall fell or so that the wall would fall; it was appropriated as such, it was adapted. It is more so that musicians go through their surroundings with open senses, and in this sense, Klaus picked it up well. He sensed it eralier than the newspapers could write about it. But the effect does not work the other was around; music does not break down a wall".
"Klaus and I", adds Rudolf, "were in Paris, and we had a lot of interviews ... then they took us to a club called Le Bains Douches. We were sitting at a round table. I remember that I gave my back to the bar, where there was a TV. Klaus was sitting in front of me and now and then looked at the screen. At one point he jumped in the air screaming and pointing at the TV. I turn and I see people dancing standing on the Berlin Wall! We immediately ordered champagne and we drank all night. We had many amci from other part of the wall, even some bands like Gorky Park, they had been given a great help when we went to play in the Soviet Union in 1988...".
 Jabs continues: "The appearance on Potsdamer Platz again took place after the fall of the wall. I can still remember that we joked around, 'before, you could only go through the Brandeburg gate with a passport, and now all you need is a backstage pass'. We were guests for Roger Waters' "The Wall Event" which was organized fantastically. The popularity was enormous. the organozers expected 100,000 spectators, in the end there were around 500,000. the PA System failed because of the masses of people, and it was recommended to them taht they turn on their Walkmen with their small earphones, which was beloved at that time, to listen to the sound on the simultaneous radio broadcast -  and the people really did that. It was also very impressive because we had the opening part. We sat in an American Strech Limousine, escorted by hells Angels bikers, get on the stage and drive down again. We heard the countdown for our performance throughour earplugs, but the car would not start. We sat in this tight vehicle, the guitars already buckled on, ready to get out and let loose, and then it became really tight; finally the car started and drove up the ramp. On the exact second we made it. It was an exciting beginning and a really terrific expeerience; it was a great experience to even work with Rogers Waters".
The concert was staged on vacant terrain between Potsdamer Platz and the Brandenburg Gate, a location that was part of the former "no man's land" of the Berlin Wall. The show had a sell-out crowd of over 350,000 people, and right before the performance started the gates were opened which enabled at least another 100,000 people to watch. While this broke records for a paid-entry concert, 7 days earlier Jean Michel Jarre had set a new world record for concert attendance, with his free Paris la Defense show attracting a live audience of two million. The event was produced and cast by British impresario and producer Tony Hollingsworth. It was staged partly at Waters' expense.
While he subsequently earned the money back from the sale of the CD and video releases of the album, the original plan was to donate all profits past his initial investment to the Memorial Fund for Disaster Relief, a UK charity founded by Leonard Cheshire. However, audio and video sales came in significantly under projections, and the trading arm of the charity (Operation Dinghy) incurred heavy losses. A few years later, the charity was wound up, and the audio and video sales rights from the concert performance returned to Waters. The production was designed by Mark Fisher and Jonathan Park. The stage design featured a 550-foot-long (170 m) and 82-foot-high (25 m) wall. Most of the wall was built before the show and the rest was built progressively through the first part of the show. The wall was then knocked down at the end of the show. Waters had stated on the first airing of the making of The Wall on In the Studio with Redbeard in July 1989 that the only way he was to resurrect a live performance of The Wall was "if the Berlin Wall came down". Four months later the wall came down. Initially, Waters tried to get guest musicians like Peter Gabriel, Bruce Springsteen and Eric Clapton but they were either unavailable or turned it down. Both Rod Stewart, who was to sing "Young Lust", and Joe Cocker were originally confirmed to appear but when the original planned concert date was put back both found themselves unavailable. Also, on the same 1989 interview with Redbeard, Waters stated that "I might even let Dave play guitar." On 30 June 1990 backstage at the Knebworth Pink Floyd performance at Knebworth '90, during a pre-show interview, David Gilmour responded to Roger's statement on an interview with Jim Ladd by saying that "he and the rest of Pink Floyd (Nick Mason and Rick Wright) had been given the legal go-ahead to perform with Roger but had not been contacted." Two days later, on 2 July 1990 Waters appeared on the American rock radio call-in show Rockline and contradicted his Gilmour invite by saying, "I don't know where Dave got that idea". In the end, Hollingsworth (with Waters assisting) brought in guest artists including Rick Danko, Levon Helm and Garth Hudson of The Band, The Hooters, Van Morrison, Sinéad O'Connor, Cyndi Lauper, Marianne Faithfull, Scorpions, Joni Mitchell, Paul Carrack, Thomas Dolby and Bryan Adams, along with actors Albert Finney, Jerry Hall, Tim Curry and Ute Lemper. Leonard Cheshire opened the concert by blowing a World War II whistle.
This performance had several differences from Pink Floyd's original production of The Wall show. Both "Mother" and "Another Brick in the Wall, Part II" (like in the 1980/81 concerts) were extended with solos by various instruments and the latter had a cold ending. "In The Flesh" (also like the 1980/81 concerts) has an extended intro, and "Comfortably Numb" featured dueling solos by the two guitarists as well as an additional chorus at the end of the song. "The Show Must Go On" is omitted completely, while both "The Last Few Bricks" and "What Shall We Do Now?" are included ("The Last Few Bricks" was shortened). Also, the performance of the song "The Trial" had live actors playing the parts, with Thomas Dolby playing the part of the teacher hanging from the wall, Tim Curry as the prosecutor, and Albert Finney as the Judge. The show officially ended with "The Tide Is Turning", a song from Waters' then-recent solo album Radio K.A.O.S. The Wall's classic closing number, "Outside the Wall," was affixed to the end of "The Tide is Turning." The Wall – Live in Berlin was released as a live recording of the concert, although a couple of tracks were excised from the CD version, and the Laserdisc video in NTSC can still be found through second sourcing. A DVD was released in 2003 in the USA by Island/Mercury Records and internationally by Universal Music (Region-free). Hollingsworth's company Tribute, a London-based "good causes" campaign company, sold worldwide television rights, with 52 countries showing the two-hour event. Twenty countries showed up to five repeats of the show and 65 countries broadcast a highlights show. There was also distribution of a double music CD and post-production VHS videotape by Polygram. Songs bt Scopions: "In the Flesh" version by Scorpions and version by  Roger Waters, Scorpions, the Rundfunk Orchestra & Choir; "Run Like Hell" by Roger Waters and Scorpions; "Waiting for the Worms" by Roger Waters, Scorpions and the Rundfunk Orchestra & Choir. Without getting ahed of ourselves, the above events would indeed become celebrated in a hit song from the forthcoming album, Crazy World, issued on November 6th, 1990, and Scorpions would forever be linked to the fall of the USSR, teh fall of the wall, and the rise of power ballads with whistling on them.

Audio-bootleg // Setlist first European leg: Tease Me Please Me, Lust Or Love, Bad Boys Running Wild, Make It Real, Hit Between The Eyes, The Zoo, (Always Somewhere), Wind Of Change, Can't Explain, Don't Believe Her, Rhythm Of Love, Concert in V, Crazy World, Bass Solo, Coast To Coast, Can't Live Without You, Guitar Solo, Blackout, Dynamite, Holiday, Big City Nights, No One Like You, Still Loving You, Rock You Like A Hurricane.

Brussel was the very first concert of the Crazy World Tour in 1990. The new album released just few months before. They played 7 new songs in this show as a promotion for it. The stage design, the background and the light effect are super but I still like the last SA tour better. There is a big keyhole behind the stage just like at the new album' front cover. Klaus is in perfect condition just like the other band members too. There's still not Rudy and Herman's "Concerto in V" in Brussels. They just added in next stations. Here was Francis' bass solo at first time between the titel track "Crazy World" and the big classic instrumental "Coast To Coast". It's very interesting that the four guitarist didn't team up at the end of the "Coast To Coast". I don't know anything other show where did the same. Intersting. Just like Matthias' guitar solo. Because he always continuedit with the first riffs of "Big City Nights"...but not here. They follow the solo with "Blackout". In Paris, France, one of the early shows from that tour there is a very rare appearance of "Always Somewhere". It wasn't played since the early shows of Love At First Sting-tour and haven't heard a show from Savage Amusement-tour that has this song in it. They played only the first few shows from the Crazy World-tour also that has this song. Klaus announces it 'especially for you Paris'. Other than that the setlist is pretty much what it was during the whole tour. 'Wind Of Change' hadn't become the anthem yet, but still the audience clearly appreciates hearing it. Even though the album hadn't been out very long. The shows include Concerto In V, which is a instrumental with Herman Rarebell on keyboards and Rudolf Schenker on solo guitar. Beautiful piece of music which got it's official release in 'Live Bites' in '95. On his last tour with the band Francis Buchholz also got his moment in the spotlight in shape of a solo. I've got audios from the Fly To The Rainbow-tour and only during Crazy World-tour he's playing a solo. And it's a great solo proving that this blonde could play some mean bass. Another great show from the first leg of the Crazy World Tour (the band went back home to Germany and played sold out concerts) is in Dortmund (1990-12-13, Westfalenhalle) show where the band recorded their two new official concert video clips "Don't Belive Her" and "Wind Of Change" after the end of the show. After the last song "Rock You Like A Hurricane" the band went back to the stage again. Klaus spoke to the audience. Unfortunatelly he told his sentences in german. :( I just could understand short parts and some words so I think he was talking about there new live video clips what they want to record now! And then they played "Wind Of Change" and "Don't Believe Her" once more. There is a compilation of the Berlin 1990 and Rotterdam 1991 concerts. These two shows were in live at two dirrefent radio stations as the Westwood One productions. There are some silver disc bootlegs (Captured Live, Berlin 1991, The Zoo, Frightening, Crazy World '91, Stung Twice Live, Still Loving You and so on) what made in Japan, Italy and some other countries. Another radioshow from the Crazy World-tour is the London, England, Wembley Stadium (January 12, '91). This one's recorded in Wembley-Arena on Scorpions' first visit to that magical place. Not whole show unfortunately. One of the rare soundboard-recordings, probably because it's from UK. In the concert of Amneville, France, Galaxie 3 days after, is dropped the "Dynamite" and "Can't Live Without You" from the standard set. In the last show (1991-01-26  Gotheborg, Sweden, Scnadinavium) of the Scorpions' Scandinavian tournament and besides the whole first part of european tour in 1991. The band played almost the same setlist as in the 1991 concerts just they one song "Can't Live Without You" had been dropped.
Setlist USA Tour: Tease Me Please Me, Lust Or Love, Bad Boys Running Wild, Make It Real, Hit Between The Eyes, The Zoo, Wind Of Change, Can't Explain, Don't Believe Her, Rhythm, Of Love, Concerto in V, Coast To Coast, Can't Live Without You, Blackout, Dynamite, Holiday, Big City Nights, No One Like You, Still Loving You,
Rock You Like A Hurricane.
It's very intersting that the band took down the 'Still Loving You' in a part of the USA Tour. They didn't play this forever classic in some concerts. Neither here! Maybe they thought that there are too much slow songs (ballads) and mid-tempo tracks in the repertoire..."Wind Of Change", "Holiday", or "Rhythm Of Love", "No One Like You". Who knows? (1991-05-03  Uniondale, NY, USA, Nassau Coliseum, 1991-07-25  Middletown, NY, USA, Orange Country Speedway). In this Crazy World american tournament, the setlist had been changed a little bit because they kicked out Francis' bass solo with the "Crazy World" and added "Can't Live Without You" again after they cut it from the tracklist on the Scandinavian Tour. The band took the "No One Like You" (what the Scorpions hadn't played on the european tournament) also because there is one of the most popular songs in America. The audience is fantastic also and they have pumped with the band together under the whole concerts. I like the style of the stage-design. The big scorpion and the keyhole looks very nice and the play of the light is also wonderful. This design is my big favourite besides the monumental Savage Amusement stage. The Scorpions were at the top of their game in 1990-1991. Some say that this was the beginning of the decline. One, because of their "Winds Of Change" song, and two, because of the rise of the Alternative and Grunge era of the 90s. Sadly, the Scorpions would not tour again until 1994, and it would be without founding member Francis Bucholz and it would be in much smaller venues and smaller album sales. In Miami Arena (May 26, '91) , after "No One Like You" Klaus invited Jon Bon Jovi & Ritchie Sambora to the stage. In this part of the Crazy World Tournament he was the supporting act of the Scorps. They played a great jam together: "Hound Dog"!
Setlist II European legs: Tease Me Please Me, Lust Or Love, Bad Boys Running Wild, Make It Real, Hit Between The Eyes, The Zoo, Still Loving You , Can't Explain, Don't Believe Her, Rhythm Of Love, Concerto in V., Coast To Coast, Can't Live Without You, Blackout, Dynamite, Holiday, Big City Nights, (No One Like You), Wind Of Change, Rock You Like A Hurricane.
 After the north-american tour the Scorps didn't want to spend thier tim with relaxation. "Wind of Chage" has been as a encore. Huge success of the song is keeping them on the top of the charts and the audiences are loving them everywhere they go. They continued their famous Crazy World Tour in Europe immediately. The setlist had been changed a little bit. The "Still Loving You" came into the first half of the show instead of the "Wind Of Change" what had been in the last three songs. The band dropped the "Crazy World" with Francis' Bass Solo and "Can't Live Without You" so the show had been a little bit shorter. After a date in Paris 1990/12/11, Scorpions are back in France for a longer tour during October and November. The big succes of "Wind Of Change" and "Send Me An Angel" will made all the dates sold out. In Rennes, France, Salle Omnisports (1991-10-19), the opening song is "Tease Me Please Me", the begin to play with a great energy. Next song is "Lust Or Love", same energy but after 37seconds, no more energy!!! The first time I've listened this concert I have asked myself  'what happened?' I get the answer few months ago, I've met a guy who was at the concert and he explained me there was electric problems in the Salle Omnisport, the lights stairs of the stage made an electric blackout and they had to light half of the lights to not get cut once again. When electricity was back the play "Lust Or Love" once again, and the classic setlist of this tour. But electicy made another surpirse, during "The Zoo" at 5,40mins. The intro of "Can't Explain" is different from the classical one, it seems Rudolf 's guitar wasn't tuned right so he made some improvisation for the intro. The others songs are classical setlists of this tour. The most waited song was of course "Wind Of Change". The audience was great during all the show. In Strasbourg station (October 25) the band with public sings "Happy Birthday Matthias!"
Japanese Leg Setlist: Tease Me Please Me, Lust Or Love, Bad Boys Running Wild, Make It Real, Hit Between The Eyes, The Zoo, Wind Of Change, Can't Explain, Don't Believe Her, Rhythm Of Love, Concerto V, Coast To Coast, Can't Live Without You, Blackout, Dynamite, Holiday, Guitar Solo, Big City Nights, Kojo No Tsuki, Still Loving You, Rock You Like A Hurricane.
The very last show of the Crazy World Tour, 1991-12-07  Osaka, Japan, Festival Hall (the band played four concerts in Japan). Amazing setlist! They played "Kojo No Tsuki" again after long time. There was no guitar on it just Klaus sang acapella. Before "Rock You Like A Hurricane" Klaus thanked the supporting of the fans in all around world what they got everywhere they were.There is a promotional acoustic concert in the expo at Sevilla, Spain (1992-08-31, Pabellon Aleman Expo). The band played a special acoustic show in the "german pavilion". As you can see in the line up they were there without bass guitar player. It happened that Francis left the band after the Crazy World tour because of any business problem what had been between him and the band. He was the "cashier" of the Scorpions and there was anything problem with the taxes in Germany. Well, they still hadn't found the new bass guitar player then and they had to go to the Sevilla show with these 4 musicians. The band played great popular acoustic songs from many different classic bands like Buddy Holly, the Beatles and so on. I have an other different and very rare recording about this same show what is complete!!! (Here are not "His Latest Flame" and "Hound Dog"); setlist: Have A Party, His Latest Flame, And I Love Her, The Zoo, Always Somewhere, Still Loving You, Big City Nights, Back In The USSR, Wind Of Change, Ave Maria No Morro, Holiday, Long Tall Sally, Hound Dog.
The Who's "I Can't Explain", which was recorded in studio on 1989 and released on Best Of Rockers 'n' Ballads compilation was played live only during this tour.

Video-bootleg. 1990-07-21 in Berlin, Germany, Potzdamer Platz, ive recording at the Roger Waters Show (The Wall) from the german TV programme (song "In The Flesh"). The Wall concert. Roger Waters did an amazing performance where some great guests played in different parts of the show. That was a big suprise when the concert was beginning and the Scorpions step out from the big limousine and stared the show with the first song if The Wall...In The Flesh! Well, more than 20 years later we know this concert is a big historical performance of the whole rock history. And I am so proud that the Scorpions could be a part of that as the only one german band!! The TV Broadcasting video in great quality.

The Scorpions played in the "New Year Celebration". The MTV music chanel played the whole night live from the Deutschlandhalle in Berlin. The guys played two songs in playback..."Don't Belive Her" and "The Zoo" (1990-12-31). The Scorpions played these two songs, "Wind Of Change" & besides "Send Me An Angel",  in the "Top Of The Pops" UK TV programme. They had been second position with their classic "Wind Of Change". Both track is playback performance. There is a rare 1991 promo playback performance from the ZDF german TV chanel. The Scorpions plays the big hit "Wind Of Change" but in russian version what released in a maxi single with the original and a spanish version together. 1991-06-12 in London, England, Dockland Arena (1991-06-12), the Scorpions played two songs in London at the 3rd International Rock Award. The first was their most porular and classic ballad 'Wind Of Change' what released just about one year before. The other song was a "The Who" cover 'My Generaion'. There was a jam together with Bo Didley and the Faith No More.
A great TV broadcasting what made in the Scorpions USA Tour in 1991. They had played two concerts in Laguna Hills, Californiain the 18th and 19th of June. This recording should made in the first day and broadcasted on the TV later as "In Concert". TV PROSHOT (27 minutes): The Zoo, Don't Believe Her, Hit Between The Eyes, Holiday, Rock You Like A Hurricane. At the summer of 1991 (June, 26) the Wetten Dass programme what had been recorded in a special place, Xanthy, Greece, Amphitheater. Promo playback recording, "Wind Of Change" in the "Wetten Dass - Best of 30 Years" programme from the ZDF german TV chanel. In London (April 20, 1992), England, Wembley Stadium - Live recording from the Freddy Mercury remember show with special guests (Rudolf Schenker & Klaus Meine sing "We Are The Chapions" /with Queen, Liza Minelli and many more...). The Scorpions was one of the guest band at the World Music Awards in Montecarlo in 1992 (May, 14). They played "Wind Of Change" in playback version! It's a TV broadcasting from the ZDF german TV chanel in great quality. Interesting promo playback performance in Goldene Europa from the ARD german TV chanel with the song "Living For Tomorrow" (1992-07-04).

The video in Sevilla, Spain, Pabellon Aleman Expo (August 31, 1992) is one of the most interesting material. The Scorpions were a guests in the Expo'92 in Sevilla. They had been invited for an acoustic concert to the German Pavilion. They played a perfect mix about their own and some very famous old rock 'n' roll songs. It's a classic acoustic show with two guitars and sometimes a little drum playing. A curiosity that they performed the show by only 4 members. Francis left the band after the Crazy World Tour because of some problems in the "business life" of the band. (I don't want to go in this theme much more) They still hadn't found the new bass player then. (Ralph Rieckermann connected to the band later). Well, this recording is VERY VERY rare. I say because this version includes the full set! I know that one other incomplete and horrible quality recording is circulating in the traders' world but this video is a very unique material. I got it directly from the taper who is not a big trader he just loves the Scorpions and collects their stuff.

After his own recording there is a short - 3 minutes - TV recording what shows a short part about the concert and had been in the TVE1 spanish TV chanel. Klaus Meine & Rudolf Schenker were in the recording made in the DoRo Party in Vienna (1992-11-19, Walfisch), Klaus and Rudolf played these three Rock & Roll classics together by Brian May and Roger Taylor (Queen), Campino (Toten Hosen) and Nina Hagen: Twist And Shout, Lucille and Let's Party Tonight. In Frankfurt, Germany (December 13, 1992) at last there was a special programme "Artists For Freedom, Equality and Humanity" with so many famous artists in the whole day. There Klaus and Matthias played "Wind Of Change" (TV PROSHOT recording, 7 min.), only with an acoustic guitar. Great performance!

Among the rarest audio bootleg we may consider: 1990-12-09 Hamburg - Germany - Sporthalle; 1990-12-17 Mannheim - Germany - Maimarkthalle; 1990-12-19 Munster - Germany - Munsterhalle; 1991-01-15 Amneville - France - Galaxie; 1991-03-26 Oklahoma City, OK - USA - The Myriad Arena; 1991-03-28 Kansas City, MO - USA - Kemper Arena; 1991-04-11 Auburn Hills (Detroit), MI - USA - The Palace; 1991-04-24 Philadelphia, MA - USA - The Spectrum; 1991-04-26 Montreal - Canada - The Forum; 1991-04-30 Toronto - Canada - Skydome; 1991-05-11 Hampton, VA - USA - The Scope; 1991-05-14 Greensboro, NC - USA - Coliseum; 1991-06-22 Mountain View, CA - USA - Shoreline Amphitheatre; 1991-07-16 Maple - Canada - Kingswood Music Theatre; 1991-07-24 Mansfield, MA - USA - Great Woods Arts Center; 1991-09-29 Cologne - Germany - Sporthalle; 1991-10-29 Gent - Belgium - Sportpaleis & 1992-08-31 Sevilla - Spain - Pabellon Aleman Expo. For the videos: 1990-11-23 Brussels, Belgium, Vorts Nationalle; 1990-12-13 Dortmund, Germany, Westfalenhalle; 1991-01-14 Rotterdam, Netherlands, Ahoy Stadium; 1991-03-19 Amarillo, TX, USA, Civic Center; 1991-04-18 East Rutherford, NJ, USA, Meadowlands Arena; 1991-05-03 Uniondale, NY, USA, Nassau Coliseum; 1991-05-26 Miami, FL, USA, Miami Arena; 1991-06-24 Reno, NV, USA, Reno Hilton Amphitheatre; 1991-12-07 Osaka, Japan, Festival Hall and 1992-08-31 Sevilla, Spain, Pabellon Aleman Expo + report and live parts from the concert in TVE1 spanish TV chanel (PRO TV).

As said previously, the stage seems a little a gap, but not for that of little effect (it was very scenic lighting up the stage in which it formed a giant scorpion in the European tour 91), of the last imposing Tour 88-89: the only news is the big lock door with the alternation of lights back on top the battery of Rarebell. Always in leather (which is still very rock!!) clothing the band but definitely more sober and less obvious than in the past. A small curiosity: Meine & Jabs from here on out will be performing all the time with a hat on his head (with the exception of a small brackets at the beginning of the Eye II Eye Tour '99 for Matthias Jabs): the causes can easily imagine...
Thanks to REPFOTO

November, 23th 1990 - Brussels, Belgium, Vorts Nationalle
November, 25th 1990 - Florence, Italy, Palasport
November, 26th 1990 - Rome, Italy, Palaeur                  
November, 29th 1990 - Athens, Greece, Palais Des Sports
December, 1st 1990 - Sarajevo, Yugoslavia, Zetra Hall
    December, 2nd 1990 - Zagreb, Yugoslavia, Dom Sportova                      
December, 3rd 1990 - Budapest, Hungary, Sportshall     
December, 5th 1990 - Berlin, Germany, Deutschlandhalle
           December, 6th 1990 - Berlin, Germany, Deutschlandhalle
December, 8th 1990 - Hamburg, Germany, Sporthalle
December, 11th 1990 - Paris, France, Omnisport de Bercy
December, 12th 1990 - Hamburg, Germany, Sporthalle
December, 13th 1990 - Dortmund, Germany, Westfalenhalle
December, 15th 1990 - Zurich, Switzerland, Hallen Stadion                    
December, 16th 1990 - Zurich, Switzerland, Hallen Stadion         
December, 17th 1990 - Mannheim, Germany, Maimarkthalle       
December, 19th 1990 - Munster , Germany, Halle Munsterland   
December, 20th 1990 - Nurnberg, Germany, Frankenhalle          
December, 21st 1990 - Kassel, Germany, Heissporthalle 
          December, 27th 1990 - Frankfurt, Germany, Festhalle
December, 28th 1990 - Munich, Germany, Olympiahalle
December, 29th 1990 - Munich, Germany, Olympiahalle
December, 31st 1990 - Stuttgart, Germany, Schleyerhalle
January, 2nd 1991 - Stuttgart, Germany, Schleyerhalle   
January, 3rd 1991 - Saarbrucken, Germany, Saarlandhalle         
January, 4th 1991 - Oldenburg, Germany, Weser Ems Halle
January, 06th 1991 - Mulhouse, France, Palais des Sports
       January, 9th 1991 - Glasgow, U.K., SE & CC
     January, 11th 1991 - Birmigham, U.K., National Exhibition Centre           
January, 12th 1991 - London, U.K., Wembley Stadium               
January, 13th 1991 - London, U.K., Wembley Stadium
January, 14th 1991 - Rotterdam, Holland, Ahoy Stadium
 January, 15th 1991 - Amneville, France, Le Galaxie  
January, 17th 1991 - Copenhagen, Denmark, Valbyhall   
January, 21st 1991 - Helsinki, Finland, Isehallen         
January, 23rd 1991 - Oslo, Norway, Byhallen
     January, 25th 1991 - Stockholm, Sweden, The Globe
January, 26th 1991 - Gothenburg, Sweden, Scandinavium
February, 20th 1991 - Albuquerque, NM, USA. Tingley Coliseum
 February, 22nd 1991 - Denver, CO, USA, McNichols Arena        
February, 24th 1991 - Salt Lake City, UT, USA, Salt Palace       
February, 26th 1991  - Sacramento, CA, USA, Arco Arena
         February, 27th 1991 - Oakland, CA, USA, Coliseum       
February, 28th 1991- Oakland, CA, USA, Coliseum
        March, 2nd 1991 - Vancouver, BC, Canada, Pacific National Exhibition Coliseum
 March, 3rd 1991 - Seattle, WA, USA, Coliseum 
March, 4th 1991 -  Portland, OR, USA, Coliseum           
March, 7th 1991 - Fresno, CA, USA, Selland Arena
       March, 8th 1991 - Irvine, CA, USA, Irvine Meadows
        March, 9th 1991 -  Irvine, CA, USA, Irvine Meadows       
March, 11th 1991- San Diego, CA, USA Sports Arena    
March, 13th 1991- Tucson, AZ, USA, Pima County Fairgrounds  
March, 15th 1991- Las Vegas, NV, USA, Thomas & Mack Arena
March, 16th 1991- Phoenix, AZ, USA    
March, 17th 1991- El Paso, TX, USA     
March, 19th 1991- Austin, TX, USA
March, 20th 1991- Lubbock, TX, USA    
March, 22nd 1991- San Antonio, TX, USA
March, 23rd 1991- Dallas, TX, USA
       March, 24th 1991- Houston, TX, USA, The Summit
March, 26th 1991- Oklahoma City, OK, USA, Myriad Arena
        March, 28th 1991- Kansas City, MO, USA
         March, 29th 1991- Wichita, KS, USA    
March, 31st 1991- Omaha, NE, USA     
April, 1st 1991 - St. Louis, MO, USA, The Arena
April, 3rd 1991 - Minneapolis, MN, USA, The Arena        
April, 4th 1991 - Green Bay, WI, USA, Brown County Arena        
April, 5th 1991 - Milwaukee, WI, USA
April, 6th 1991 - Rosemont, IL, USA
April, 7th 1991 - Rosemont, IL, USA      
April, 9th 1991 - Kalamazoo, MI, USA, Brown County Arena
       April, 11th 1991 - Auburn Hills, MI, USA
April, 12th 1991 - Indianapolis, IN, USA 
April, 13th 1991 - Dayton, OH, USA
April, 14th 1991 - Richfield, OH, USA                            
April, 16th 1991 - Rochester, NY, USA
                          April, 18th 1991 - East Rutherford, NJ, USA       
April, 19th 1991 - Providence, RI, USA   
April, 20th 1991 - Hartford, CT, USA      
April, 22nd 1991 - Albany, NY, USA, Knickerbocker Arena         
April, 23rd 1991 - Worcester, MA, USA
    April, 24th 1991 - Philadelphia, PA, USA           
April, 26th 1991 - Montreal, QC, Canada
April, 27th 1991 - Ottawa, ON, Canada  
April, 28th 1991 - Quebec, QC, Canada
 April, 30th 1991 - Toronto, ON, Canada, Skydome         
May, 1st 1991 - Wilkes Barre, PA, USA
May, 3rd 1991 - Uniondale, NY, USA, Nassau Colliseum
May, 4th 1991 - Pittsburgh, PA, USA                            
May, 5th 1991 - Lexington, KY, USA
                            May, 7th 1991 - Syracuse, NY, USA
                             May, 8th 1991 - Buffalo, NY, USA, Buffalo Memorial Auditorium  
May, 10th 1991 - Landover, MD, USA, Capital Centre     
May, 11th 1991 - Hampton, VA, USA, The Scope                      
May, 12th 1991 - Charleston, WV, USA                        
May, 14th 1991 - Greenboro, NC, USA                          
May, 15th 1991 - Charlotte, NC, USA, Charlotte Coliseum
          May, 17th 1991 - Nashville, TN, USA, Starwood Amphitheater    
May, 18th 1991 - Atlanta, GA, USA, Lakewood Amphitheater     
May, 19th 1991 - Knoxville, TN, USA
                 May, 21st 1991 - Jacksonville, FL, USA
 May, 22nd 1991 - Ft. Meyers, FL, USA              
May, 24th 1991 - Orlando, FL, USA, Orlando Arena       
May, 25th 1991 - Tampa, FL, USA
                           May, 26th 1991 - Miami, FL, USA
June, 8th 1991 - S.Antonio, TX, USA, Convention Center Arena
                               June, 9th 1991 -  Austin, TX, USA, Frank Erwin Center
June, 13th 1991 - Denver, CO, USA, Red Rocks
June, 14th 1991 - Morrison, CO, USA, Red Rocks Amphitheatre
June, 17th, 1991 - Los Angeles, CA, USA, Veterans Memorial Coliseum
June, 18th 1991 - Irvine, CA, USA, Irvine Meadows         
June, 20th 1991 - Los Angeles, CA, USA, The Forum     
June, 21st 1991 - Los Angeles, CA, USA, The Forum     
June, 22nd 1991 - Sacramento, CA, USA, Cal Expo Ampitheater
 June, 24th 1991 - Reno, NV, USA, Reno Hilton Amphitheater
July, 1st 1991 - Anchorage, AL, USA    
July, 2nd 1991 - Anchorage, AL, USA    
July, 3rd 1991 - Spokane, WA, USA      
July, 5th 1991 - Missoula, MT, USA      
July, 6th 1991 - Billings, MT, USA         
July, 8th 1991 - Sioux Falls, SD, USA, Sioux Falls Arena           
July, 9th 1991 - Ames, IA, USA, Hilton Coliseum                       
July, 10th 1991 - Cedar Rapids, IA, USA, Five Seasons Center
   July, 12th 1991 - Tinley Park, IL, USA, World Music Theatre       
July, 13th 1991 - East Troy, WI, USA, Alpine Valley Music Theater                    
July, 15th 1991 - Mears, MI, USA                     
July, 16th 1991 - Maple, ON, Canada    
July, 17th 1991 - Cuyahoga Falls, OH, USA       
July, 18th 1991 - Cincinati, OH, USA
     July, 20th 1991 - Peoria, IL, USA
July, 21th 1991 - Detroit. MI, USA, New Pine Knob         
July, 22nd 1991 - Columbus, OH, USA  
July, 24th 1991 - Mansfield, MA, USA, Great Woods Center 
      July, 25th 1991 - Middletown, NY, USA  
July, 27th 1991 - Old Orchard Beach, ME, USA, Great Woods Center     
July, 28th 1991 - Bristol, CN, USA, Great Woods Center
September, 16th 1991 - London, England, Astoria Theater
September 17th 1991 - Copenaghen, Denmark, K.B. Hallen
September, 27th 1991 - Stockholm, Sweden, The Globe Arena
   September, 28th 1991 - Koln, Germany, Sporthalle
October, 01st 1991 - Kiel, Germany, Oosterporthalle
October, 2nd 1991 - Essen, Germany, Grugahalle          
October, 3rd 1991 - Mannheim, Germany, Maimarkthalle
October, 05th 1991 - Munchen, Germany
October, 07th 1991 - Nurnber, Germany
October, 09th 1991 - Stuttgart, Germany
October, 11th 1991 - Bordeaux, France, Patinoire Meriadeck
      October, 12th 1991 - San Sebastian, Spain, Velodromo de Anoeta
October 13th 1991 - Madrid, Spain, Palacio De Deportes
October, 14th 1991 - Madrid, Spain, Pabellon Des Deportes
October, 16th 1991 - Marseille, France, Stadium
October, 17th 1991- Milan, Italy, Palatrussardi
   October, 19th 1991 - Rennes, France, Salle Omnisports
 October, 21st 1991 - Paris, France, Salle Omnisports De Bercy 
October, 23rd 1991 - Clermont-Ferrand, France, Maison De Sports                     
October, 24th 1991 - Lyon, France, Hall Tony Carnier
                 October, 25th 1991 - Strasbourg, France, Halle Rhenus  
October, 27th 1991 - Lausanne, Switzerland, Patinoire De Malleyi 
         October, 29th 1991 - Gent, Belgium, Sportpaleis
October, 30th 1991, Rotterdam, Holland, Ahoy Stadium
November 02nd 1991 - Hannover, Germany, Messehalle
November, 3rd 1991 - Hannover, Germany, Messehalle
November 04th 1991 - Ulm, Germany, Donauhalle
November, 5th 1991 - Frankfurt, Germany, Festhalle
November, 06th 1991 - Dortmund, Germany, Westfalenhalle
November, 12th 1991, Berlin, Germany, Deutschlandhalle
December, 3th 1991 - Sendai, Japan, Sun Plaza Hall
December, 5th 1991 - Tokyo, Nippon Budokan                   
December, 6th 1991 - Nagoya, Japan, Aichi                  
December, 7th 1991 - Osaka, Japan, Festival Hall
August, 31th 1992 - Sevilla, Spain, Pabellon Aleman Expo

Bootleg Audio: 62
Bootleg Video: 34

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