The First Night at the Quasimodo
February 1979 – The now five-piece Lustfaust jam together on a regular basis. Kruger begins to feel left behind in the musical stakes as both Berger and van Baelen are pushing musical boundaries he never knew existed. This period becomes Berger’s happiest as he genuinely feels that he is making the best and more importantly to him, the most original music of his life. Despite Kruger’s wounded pride, the members of the band are at their most harmonious during this period. Most fans believe this line-up to be the definitive version of Lustfaust.
Kruger suggests recording some of their jams and putting it out as an album as Ashworth has told how, on his return to New York in December, people were hungrily bagging the copies of Lustfaust’s previous albums he had taken with him. All other members suggest the band get the feel of the new music they’re creating before they try to transfer anything either to tape or to the stage. Lustfaust, with Ashworth’s help, secure a gig at the legendary jazz club Quasimodo for March – their biggest solo gig to date. Van Baelen suggests they make a high-quality recording of the gig and release the recording as the next album. The other members of the band agree that this is a good idea and provisions are made to acquire the necessary equipment. Concurrently, Ashworth makes plans for the next edition of Falke Tränen that will feature the recording and exegesis of the album as its centrepiece. Ashworth also scouts record companies to see if any label has any interest in putting out the album. The response is muted but a couple of labels agree they will come to see the gig. The band spends the rest of February practicing hard for the Quasimodo gig.
March 1979 – Quasimodo. For once everything goes right for the band and the gig is a huge success, with Lustfaust at their tightest musically. Kazuki is a blur of improvisation; tireless, inspired and wired. Kruger’s costume and antagonism antics are curbed in favour of heartfelt and professional singing. Van Baelen shifts masterfully from guitars to synths between songs and is more accommodating and cooperative than ever, curbing his virtuoso streak (It is later revealed that Oracle spiked his drink, though not to Baelen). Oracle takes care of rhythm and lead guitar sharing duties with van Baelen as necessary and his playing ties the band together. Even Berger has managed to tame his narcotic habits, his performance a model of skillful concentration as he abandons his instrumental experimentation in favour of bass guitar.