Can (band)

Last updated

Can
Can promo 71.jpg
Can c.1972
From left: Karoli, Schmidt, Czukay, Liebezeit, Suzuki
Background information
Origin Cologne, West Germany
Genres
Years active1968–79, 1986, 1988, 1991, 1999
Labels Liberty, United Artists, Spoon, Mute
Associated acts Traffic, Phew
Website spoonrecords.com
Past members

Can was a German experimental rock band formed in Cologne in 1968 by the core quartet of Holger Czukay (bass, tape editing), Irmin Schmidt (keyboards), Michael Karoli (guitar), and Jaki Liebezeit (drums). The group cycled through several vocalists, most prominently the American-born Malcolm Mooney (1968–70) and the Japanese-born Damo Suzuki (1970–73), as well as various temporary members. [1]

Experimental rock is a subgenre of rock music which pushes the boundaries of common composition and performance technique or which experiments with the basic elements of the genre. Artists aim to liberate and innovate, with some of the genre's distinguishing characteristics being improvisational performances, avant-garde influences, odd instrumentation, opaque lyrics, unorthodox structures and rhythms, and an underlying rejection of commercial aspirations.

Cologne city in North Rhine-Westphalia, Germany

Cologne is the largest city of Germany's most populous federal state of North Rhine-Westphalia and the fourth most populous city in Germany after Berlin, Hamburg, and Munich. With slightly over a million inhabitants within its urban area, Cologne is the largest city on the Rhine and also the most populous city both of the Rhine-Ruhr Metropolitan Region, which is Germany's largest and one of Europe's major metropolitan areas, and of the Rhineland. Centred on the left bank of the Rhine, Cologne is about 45 kilometres (28 mi) southeast of North Rhine-Westphalia's capital of Düsseldorf and 25 kilometres (16 mi) northwest of Bonn. It is the largest city in the Central Franconian and Ripuarian dialect areas.

Holger Czukay German bass-guitarist and co-founder of "Can"

Holger Czukay was a German musician, probably best known as a co-founder of the krautrock group Can. Described as "successfully bridg[ing] the gap between pop and the avant-garde", Czukay was also notable for having created early important examples of ambient music, for having explored "world music" well before the term was coined, and for having been a pioneer of sampling.

Contents

Coming from backgrounds in the avant-garde and jazz, the members of Can blended elements of psychedelic rock, funk, and noise on influential albums such as Tago Mago (1971), Ege Bamyasi (1972) and Future Days (1973). [7] Can also had occasional commercial success, with singles such as "Spoon" and "I Want More" reaching national singles charts. They have been widely hailed as pioneers of the German krautrock scene, [1] and a considerable influence on subsequent rock, post-punk, ambient, and electronic music. [8]

Avant-garde music is music that is considered to be at the forefront of experimentation or innovation in its field, with the term "avant-garde" implying a critique of existing aesthetic conventions, rejection of the status quo in favor of unique or original elements, and the idea of deliberately challenging or alienating audiences.

Jazz is a music genre that originated in the African-American communities of New Orleans, United States. It originated in the late 19th and early 20th centuries, and developed from roots in blues and ragtime. Jazz is seen by many as "America's classical music". Since the 1920s Jazz Age, jazz has become recognized as a major form of musical expression. It then emerged in the form of independent traditional and popular musical styles, all linked by the common bonds of African-American and European-American musical parentage with a performance orientation. Jazz is characterized by swing and blue notes, call and response vocals, polyrhythms and improvisation. Jazz has roots in West African cultural and musical expression, and in African-American music traditions including blues and ragtime, as well as European military band music. Intellectuals around the world have hailed jazz as "one of America's original art forms".

Psychedelic rock Style of rock music

Psychedelic rock is a diverse style of rock music inspired, influenced, or representative of psychedelic culture, which is centred around perception-altering hallucinogenic drugs. The music is intended to replicate and enhance the mind-altering experiences of psychedelic drugs, most notably LSD. Many psychedelic groups differ in style, and the label is often applied spuriously.

History

Origins: 1966–68

The roots of Can can be traced back to Irmin Schmidt and a trip that he made to New York City in 1966. While Schmidt initially spent his time with avant-garde musicians such as Steve Reich, La Monte Young and Terry Riley, he was also eventually exposed to the world of Andy Warhol, Hotel Chelsea. In his own words, the trip "corrupted" him, sparking a fascination with the possibilities of rock music. Upon his return to Cologne later that year, an inspired Schmidt formed a group with American avant-garde composer and flautist David C. Johnson and music teacher Holger Czukay with the intention of exploring his newly broadened horizons.

Irmin Schmidt is a German keyboardist and composer, best known as a founding member of the band Can.

Steve Reich American composer

Stephen Michael Reich is an American composer who, along with La Monte Young, Terry Riley, and Philip Glass, pioneered minimal music in the mid to late 1960s.

La Monte Thornton Young is an American avant-garde composer, musician, and artist recognized as one of the first American minimalist composers. His works are cited as examples of post-war experimental and contemporary music, and were tied to New York's downtown music and Fluxus art scenes. Young is perhaps best known for his pioneering work in Western drone music, prominently explored in the 1960s with the experimental music collective the Theatre of Eternal Music. He has engaged in musical and multimedia collaborations with a wide range of artists, including Tony Conrad, Pandit Pran Nath, John Cale, Terry Riley, and multimedia artist Marian Zazeela, with whom he developed the Dream House sound and light environment.

Up to that point, the inclinations of all three musicians had been exclusively avant-garde classical. In fact, both Schmidt and Czukay had directly studied under the influential composer Karlheinz Stockhausen. [9] Schmidt chose to play organ and piano, while Czukay played bass and was able to record their music with a basic two-track tape machine. The group was soon fleshed out by guitarist Michael Karoli, a 19-year-old pupil of Czukay, and drummer Jaki Liebezeit, who had grown disenchanted with his work in free jazz groups. As the group developed a more rock-oriented sound, a disappointed Johnson left the group at the end of 1968.

Karlheinz Stockhausen German composer

Karlheinz Stockhausen was a German composer, widely acknowledged by critics as one of the most important but also controversial composers of the 20th and early 21st centuries. A critic calls him "one of the great visionaries of 20th-century music". He is known for his groundbreaking work in electronic music, for introducing controlled chance into serial composition, and for musical spatialization.

Multitrack recording process of mixing individual sound sources to a single recording

Multitrack recording (MTR)—also known as multitracking, double tracking, or tracking—is a method of sound recording developed in 1955 that allows for the separate recording of multiple sound sources or of sound sources recorded at different times to create a cohesive whole. Multitracking became possible in the mid-1950s when the idea of simultaneously recording different audio channels to separate discrete "tracks" on the same reel-to-reel tape was developed. A "track" was simply a different channel recorded to its own discrete area on the tape whereby their relative sequence of recorded events would be preserved, and playback would be simultaneous or synchronized.

Michael Karoli was a German guitarist, violinist and composer. He was a founding member of the influential krautrock band Can.

Name of the band

The band used the names "Inner Space" and "The Can" before finally settling on "CAN". Liebezeit subsequently suggested the backronym "Communism, Anarchism, Nihilism" for the band's name, after an English paper had claimed this was the actual meaning. [10] However, Malcolm Mooney had originally suggested the name Can due to it having positive meanings in various languages. [11] For example, in Turkish, a language much heard in Germany due to high numbers of Turkish speakers, "can" may mean, depending on the context, "life, soul, heart, spirit, beloved and vitality". [12]

A backronym, or bacronym, is a constructed phrase that purports to be the source of a word that is an acronym. Backronyms may be invented with either serious or humorous intent, or they may be a type of false etymology or folk etymology.

Communism socialist political movement and ideology

In political and social sciences, communism is the philosophical, social, political, and economic ideology and movement whose ultimate goal is the establishment of the communist society, which is a socioeconomic order structured upon the common ownership of the means of production and the absence of social classes, money, and the state.

Anarchism is an anti-authoritarian political philosophy that rejects hierarchies deemed unjust and advocates their replacement with self-managed, self-governed societies based on voluntary, cooperative institutions. These institutions are often described as stateless societies, although several authors have defined them more specifically as distinct institutions based on non-hierarchical or free associations. Anarchism's central disagreement with other ideologies is that it holds the state to be undesirable, unnecessary, and harmful.

Early years: 1968–70

Around September 1968 [13] , the band enlisted the creative, highly rhythmic, but unstable and often confrontational American vocalist Malcolm Mooney, a New York-based sculptor, with whom they recorded the material for an album, Prepared to Meet Thy Pnoom . [14] As "Inner Space", and with both Johnson and Mooney present, the band appeared briefly in the 1969 film Kamasutra: Vollendung der Liebe backing singer Margarete Juvan. Unable to find a recording company willing to release the album, the group continued their studio work until they had material for what became their first release, Monster Movie , released in 1969. This album contained new versions of two songs previously recorded for Prepared to Meet Thy Pnoom, "Father Cannot Yell" and "Outside My Door". Other material recorded around the same time was released in 1981 as Delay 1968 . Mooney's bizarre ranting vocals emphasized the sheer strangeness and hypnotic quality of the music, which was influenced particularly by garage rock, psychedelic rock and funk. Repetition was stressed on bass and drums, particularly on the track "Yoo Doo Right", which had been edited down from a six-hour improvisation to take up a mere single side of vinyl. Liebezeit's tight but multifarious drumming was crucial in carrying the music.

Malcolm Mooney American singer

Malcolm Mooney is an American singer, poet, and artist, best known as the original vocalist for German krautrock band Can.

<i>Delay 1968</i> 1981 compilation album by Can

Delay 1968, or just Delay, is a compilation album of early outtakes by German experimental rock band Can during its work with singer Malcolm Mooney, including some of the band's earliest material. It notably features the song "The Thief", a slightly longer version of which had already been released officially on the United Artists compilation album Electric Rock in 1970. The track was later covered live by Radiohead.

Kamasutra: Vollendung der Liebe is a 1969 film score by Innerspace Productions, an early name for the band Can. It was recorded as the soundtrack for the West German film of the same name. Little information is available on the film, and while the soundtrack saw a CD release in 2009, there is little information available on the production details of the recording. The musical styles heard on the album demonstrate a temporary departure from the Krautrock sound the band was producing around that time, experimenting with styles such as South Asian music and blues rock. Some of the band's first recordings, this score, together with the band's previous soundtrack album Agilok & Blubbo, are seldom discussed by the band members. Neither are featured as any tracks on the band's 1970 compilation Soundtracks which has songs only previously found on film soundtracks. The song "I'm Hiding My Nightingale" was released as a 7" single.

Mooney made his last recordings with Can in December 1969 [15] before returning to America around the end of the year on the advice of a psychiatrist, having been told that getting away from the chaotic music of Can would be better for his mental health. [16] The liner notes of the CD reissue of Monster Movie claim that Mooney suffered a nervous breakdown ("caught in a Can groove"), shouting "upstairs, downstairs" repeatedly. He was replaced in May 1970 [17] by the more understated Kenji "Damo" Suzuki, a young Japanese traveller found busking outside a Munich café by Czukay and Liebezeit. Though he only knew a handful of guitar chords and improvised the majority of his lyrics (as opposed to committing them to paper), Suzuki was asked to perform with the band that same night. The band's first record with Suzuki was Soundtracks , released in 1970, a compilation of music made for films that also contained two earlier tracks recorded with Mooney. Suzuki's lyrics were usually in English, though sometimes in Japanese (for example, in "Oh Yeah" and "Doko E").

Middle years: 1971–73

The next few years saw Can release their most acclaimed works. While their earlier recordings tended to be at least loosely based on traditional song structures, on their mid-career albums the band reverted to an extremely fluid improvisational style. The double album Tago Mago (1971) is often seen as a groundbreaking, influential and deeply unconventional record, based on intensely rhythmic jazz-inspired drumming, improvised guitar and keyboard soloing (frequently intertwining), tape edits as composition, and Suzuki's idiosyncratic vocalisms. Czukay: "(Tago Mago) was an attempt in achieving a mystery musical world from light to darkness and return." [18]

In 1971 the band composed the music for the three-part German-language television crime mini-series Das Messer ("The Knife"), directed by Rolf von Sydow  [ de ]. [19] The track used was "Spoon".

Tago Mago was followed in 1972 by Ege Bamyasi , a more accessible but still avant-garde record which featured the catchy "Vitamin C" and the Top 10 German hit "Spoon". Czukay: "We could achieve an excellent dry and ambient sound... [Ege Bamyasi] reflects the group being in a lighter mood." [18]

It was followed by Future Days in 1973, which represents an early example of ambient music, as well as including the pop song "Moonshake". Czukay: "'Bel Air' [the 20 minute-long track which took up the whole of side two on the Future Days original vinyl LP] showed Can in a state of being an electric symphony group performing a peaceful though sometimes dramatic landscape painting." [18]

Suzuki left soon after the recording of Future Days to marry his German girlfriend, and become a Jehovah's Witness. [20] Vocals were taken over by Karoli and Schmidt; [16] however, after the departure of Suzuki, fewer of their tracks featured vocals, as Can found themselves experimenting with the ambient music they had begun with Future Days.

Later years: 1974–79

Soon Over Babaluma from 1974 continued in the ambient style of Future Days , yet it regained some of the abrasive edge of Tago Mago and Ege Bamyasi . In 1975, Can signed to Virgin Records in the UK and EMI/Harvest in Germany, appearing the same year on BBC's Old Grey Whistle Test where a memorable performance of Vernal Equinox involved Schmidt playing one keyboard section with a series of rapid karate chops. Shortly after the appearance Schmidt suffered a broken leg which led to cancellation of the band's UK tour.

The later albums Landed (1975) and Flow Motion (1976) saw Can moving towards a somewhat more conventional style as their recording technology improved. Accordingly, the disco single "I Want More" from Flow Motion became their only hit record outside Germany. Co-written by their live sound mixer Peter Gilmour, it reached No 26 in the UK charts in October 1976, which prompted an appearance on Top of the Pops , where Czukay performed with a double bass. In 1977 Can were joined by former Traffic bassist Rosko Gee and percussionist Rebop Kwaku Baah, both of whom provided vocals to Can's music, appearing on the albums Saw Delight (1977), Out of Reach (1978) and Can (1979). During this period Holger Czukay was pushed to the fringes of the group's activity; in fact he just made sounds using shortwave radios, Morse code keys, tape recorders and other sundry objects. He left Can in late 1977 and did not appear on the albums Out of Reach or Can, although he was involved with production work for the latter album. The band seemed to be in a hiatus shortly afterwards, but reunions have taken place on several occasions since.

After the split and reunion

Since the split, all the former members have been involved in musical projects, often as session musicians for other artists. In 1986 they briefly reformed, with original vocalist Mooney, to record Rite Time (released in 1989). There was a further reunion in 1991 by Karoli, Liebezeit, Mooney and Schmidt to record a track for the Wim Wenders film Until the End of the World and in August 1999 by Karoli, Liebezeit and Schmidt with Jono Podmore to record a cover of "The Third Man Theme" for Grönland record's compilation album Pop 2000. [21] [22] In 1999 the four core members of Can, Karoli, Liebezeit, Schmidt and Czukay, performed live at the same show, although playing separately with their current solo projects (Sofortkontakt, Club Off Chaos, Kumo and U-She respectively). Michael Karoli died of cancer on November 17, 2001. Can have since been the subject of numerous compilations, live albums and samples. In 2004, the band began a series of Super Audio CD remasters of its back catalog, which were finished in 2006. Jaki Liebezeit died of pneumonia on January 22, 2017, and Holger Czukay died of natural causes on September 5, 2017, [23] thus leaving Irmin Schmidt as the sole surviving consistent member of the group.

Solo works

Holger Czukay recorded several ambient albums and collaborated with David Sylvian among others. Jaki Liebezeit played extensively with bassists Jah Wobble and Bill Laswell, with a drum ensemble called Drums of Chaos and in 2005 with Datenverarbeiter on the online album Givt. [24] Michael Karoli recorded a reggae album with Polly Eltes before his death, and Irmin Schmidt has begun working with the acclaimed drummer Martin Atkins, producing a remix for the industrial band The Damage Manual and a cover of "Banging the Door" for a Public Image Ltd tribute album, both released on Atkins' label, Invisible Records. Karoli formed Sofortkontakt! for the Can reunion shows in 1999 with Mark Spybey, who had previously been associated with Dead Voices on Air, Zoviet France, Reformed Faction and Download. The band also featured Alexander Schoenert, Felix Guttierez of Jelly Planet, Thomas Hopf and Mandjao Fati. Karoli also performed on numerous occasions with Damo Suzuki's Network. Damo Suzuki returned to music in 1983 and since then he has been playing live improvisational shows around the world with local musicians and members of touring bands at various points, sometimes issuing live albums. Malcolm Mooney recorded an album as singer for the band Tenth Planet in 1998. Rosko Gee has been the bassist in the live band on Harald Schmidt's TV show in Germany since 1995. Rebop Kwaku Baah died in 1983 following a brain hemorrhage.

Archive releases

Can released a compilation album Limited Edition in 1974, and expanded it to a double album Unlimited Edition in 1976 from their unreleased studio recordings. Delay 1968 , released in 1981, was a compilation of unreleased 1968–1969 recordings. Cannibalism 2, a compilation album of album and single material, also included one unreleased song, "Melting Away", from 1960s.

In 1995 The Peel Sessions was released, a compilation of Can recordings at the BBC. In 1999 Can Box was released, with a Can video documentary, a concert recording from 1972 and a double live CD compiled by Michael Karoli and later released separately as Can Live Music (Live 1971–1977) . Unreleased live music of Can have been also released on the 40th Anniversary Edition of Tago Mago in 2004 and 17 LP collection box Can in 2014.

The Lost Tapes , released in 2012, was overseen by Irmin Schmidt and Daniel Miller, compiled by Schmidt and Jono Podmore, and edited by Podmore.

Music

Style

Holger Czukay and Irmin Schmidt were both pupils of Karlheinz Stockhausen, and Can inherited a strong grounding in his musical theory; the latter was trained as a classical pianist, while Michael Karoli was a pupil of Holger Czukay and brought the influence of gypsy music through his esoteric studies. Drummer Jaki Liebezeit had strong jazz leanings. The band's sound was originally intended to be based on the sound of ethnic music, so when the band decided to pick up the garage rock sound, original member David Johnson left. This world music trend was later exemplified on albums such as Ege Bamyasi (the name meaning "Aegean okra" in Turkish), Future Days and Saw Delight , and by incorporating new band members with different nationalities. A series of tracks on Can albums, known as "Ethnological Forgery Series", abbreviated to "E.F.S", demonstrated the band's ability to successfully recreate ethnic-sounding music. They constructed their music largely through collective spontaneous composition, sampling themselves in the studio and editing down the results; [25] bassist and chief engineer Czukay referred to Can's live and studio performances as "instant compositions". [26]

The band's early rock influences include The Beatles and The Velvet Underground [26] as well as Jimi Hendrix, Sly Stone and Frank Zappa. [27] The band have admitted that the beginning of Can's "Father Cannot Yell" was inspired by the Velvet Underground's "European Son". Malcolm Mooney's voice has been compared to that of James Brown (an acknowledged hero of the band members) and their early style, rooted in psychedelic music, drew comparisons with Pink Floyd. Czukay's extensive editing has occasionally been compared to the late-'60s music of trumpeter Miles Davis (such as In a Silent Way and Bitches Brew ): [28] Can and Davis both would record long groove-intensive improvisations, then edit the best bits together for their albums. Czukay and Teo Macero (Davis's producer and editor) both had roots in the musique concrète of the 1940s and '50s. Irmin Schmidt stated in a discussion with Michael Karoli in 1996 concerning the various citations of influences upon their music: "You know, it's funny that in spite of all the supposed influences on us that have been written about, the one overriding influence has never been mentioned: Michael von Biel."

Damo Suzuki was a very different singer from Mooney, with a multilingual (he claimed to sing in "the language of the Stone Age") and often inscrutable vocal style. With Suzuki, the band made their most critically and commercially successful albums. The rhythm section's work on Tago Mago has been especially praised: one critic writes that much of the album is based on "long improvisations built around hypnotic rhythm patterns"; [29] another writes that "Halleluhwah" finds them "pounding out a monster trance/funk beat". [30]

Legacy and influence

The Lumerians [31] and Happy Mondays [32] have cited Can as an influence. Critic Simon Reynolds wrote that "Can's pan-global avant-funk anticipated many of the moves made by sampladelic dance genres like trip hop, ethnotechno and ambient jungle." [6] Brian Eno made a short film in tribute to Can, while John Frusciante of the Red Hot Chili Peppers appeared at the Echo Awards ceremony, at which Can were awarded the most prestigious music award in Germany, [33] to pay tribute to guitarist Michael Karoli. Radiohead covered Can's song "The Thief" frequently in the early 2000s, [34] and claimed the band as an influence during this time. [35] Mark E. Smith of The Fall pays tribute to Damo Suzuki with the track "I Am Damo Suzuki" on the 1985 album This Nation's Saving Grace . The Jesus and Mary Chain used to cover "Mushroom" live in the mid-1980s.

At least five notable bands have named themselves in tribute to Can: The Mooney Suzuki for Malcolm Mooney and Damo Suzuki; the indie rock band Spoon after the hit "Spoon"; the electronic band Egebamyasi, formed by Scottish musician Mr Egg in 1984, after Can's album Ege Bamyasi ; Hunters & Collectors after a song on the Landed album; and Moonshake, named for a track on Future Days , and formed by ex-Wolfhounds frontman David Callahan. The Scottish writer Alan Warner has written two novels in tribute to two different Can members ( Morvern Callar to Holger Czukay and The Man Who Walks to Michael Karoli respectively). The Sacrilege remix album features remixes of Can tracks by artists who were influenced by Can, including Sonic Youth and U.N.K.L.E.. [36] Their ethnomusicological tendencies pre-date the craze for world music in the 1980s. While not nearly as influential on electronic music as Kraftwerk, they were important early pioneers of ambient music, along with Tangerine Dream and the aforementioned band. Many groups working in the post-rock genre can look to Can as an influence as part of the larger krautrock scene, as can New Prog bands such as The Mars Volta. Rolling Stone called the group a "pioneering space rock band." [37] Kanye West has sampled "Sing Swan Song" on his song "Drunk & Hot Girls" from his 2007 album Graduation . The UK band Loop was deeply influenced by Can for their repetitive polyrhythmic style, covering Can's "Mother Sky" on their Fade Out album. [38]

In addition, Can also influenced "classical" avant-garde composers such as Bernhard Lang and Karlheinz Essl.

Oasis' 2008 single "The Shock of the Lightning" was inspired by Can and Neu!. [39]

Their 1971 single "Turtles Have Short Legs" is reported to have been influential, if not outright sampled, for a song in the 1997 PlayStation game PaRappa the Rapper during the driving test sequence. [40]

Improvisation, recording and live shows

Much of Can's music was based on free improvisation and then edited for the studio albums. For example, when preparing a soundtrack, only Irmin Schmidt would view the film and then give the rest of the band a general description of the scenes they would be scoring. This assisted in the improvised soundtrack being successful both inside and outside the film's context. [41]

Can's live shows often melded spontaneous improvisation of this kind with songs appearing on their albums. The track "Colchester Finale", appearing on the Can Live album, incorporates portions of "Halleluhwah" into a composition lasting over half an hour. Early concerts found Mooney and Suzuki often able to shock audiences. The actor David Niven was asked by Czukay what he had thought of a concert, Niven replied: "It was great, but I didn't know it was music." [42] After the departure of Suzuki, the music grew in intensity without a vocal centre. The band maintained their ability to collectively improvise with or without central themes for hours at a time (their longest performance, in Berlin, lasted over six hours), resulting in a large archive of performances.

Can made attempts to find a new vocalist after the departure of Damo Suzuki, although no one quite fit the position. In 1975, folk singer Tim Hardin took the lead vocal spot and played guitar with Can for one song, at two gigs, performing his own "The Lady Came From Baltimore". Malaysian Thaiga Raj Raja Ratnam played four dates with the band between January and March 1976, all of which were recorded, and did considerable studio work with them. Another vocalist, Englishman Michael Cousins, toured with Can in March (France) and April (Germany) 1976.

Band members

Additional collaborators

Timeline

Can (band)

Discography

Videography

Related Research Articles

Damo Suzuki Japanese singer

Kenji Suzuki, better known as Damo Suzuki (ダモ鈴木), is a Japanese musician who has been living in Germany since the early 1970s and is best known as the former lead singer of the German krautrock group Can.

<i>Monster Movie</i> (album) 1969 studio album by Can

Monster Movie is the debut studio album by German rock band Can, released in August 1969 by Music Factory and Liberty Records.

<i>Tago Mago</i> 1971 studio album by Can

Tago Mago is the third album by the German krautrock band Can, originally released as a double LP in 1971. It was the band's second studio album and the first to feature Damo Suzuki after the 1970 departure of previous vocalist Malcolm Mooney. Recorded in a rented castle near Cologne, the album features long-form experimental tracks blending funk rhythms, avant-garde noise, jazz improvisation, and electronic tape editing techniques.

<i>Ege Bamyasi</i> 1972 studio album by Can

Ege Bamyasi is the fourth studio album by German krautrock band Can which was originally released as an LP in 1972 by United Artists. The album contains the single "Spoon", which charted in the Top 10 in Germany, largely because of its use as the theme of a German TV thriller mini-series called "Das Messer". The success of the single allowed Can to move to a better studio in which they recorded Ege Bamyası.

<i>Soundtracks</i> (Can album) 1970 compilation album by Can

Soundtracks is a compilation album by the Krautrock group Can. It was first released in 1970 and consists of tracks written for various films. The album marks the departure of the band's original vocalist Malcolm Mooney, who sings on two tracks, to be replaced by new member Damo Suzuki. Stylistically, the record also documents the transition from the psychedelia-inspired jams of their earliest recordings to the more meditative, electronic, and experimental mode of the studio albums that followed.

<i>Future Days</i> 1973 studio album by Can

Future Days is the fifth studio album by the German experimental rock group Can, originally released in 1973. It is the last Can album to feature Japanese vocalist Damo Suzuki.

<i>Soon Over Babaluma</i> 1974 studio album by Can

Soon Over Babaluma is the sixth studio album by the rock music group Can. This is the band's first album without a lead vocalist who does not play an instrument, following the departure of Damo Suzuki in 1973 during which he married his German girlfriend. The vocals are provided by guitarist Michael Karoli and keyboardist Irmin Schmidt. It is also their last album that was created using a two-track recorder.

<i>Flow Motion</i> 1976 studio album by Can

Flow Motion is the eighth Can studio album, and features the UK hit single "I Want More".

<i>Saw Delight</i> 1977 studio album by Can

Saw Delight is the ninth Can studio album, and features two new band members who were ex-members of the band Traffic, Rosko Gee and Rebop Kwaku Baah, with Can's bassist Holger Czukay giving up the bass in favour of experimental effects.

<i>Rite Time</i> 1989 studio album by Can

Rite Time is Can's twelfth and final studio album, considered a reunion album because of the time elapsed since the band's previous album, Can, which had been released in 1979. The album consists of sessions recorded in the South of France in late 1986, edited extensively by the band over the course of subsequent years. Rite Time features the vocals of the band's original singer, Malcolm Mooney, who had left the group in 1970 after their debut album Monster Movie. Upon the album's initial release, "In the Distance Lies the Future" only appeared on the CD version, but it was subsequently featured on the 2014 vinyl reissue.

Halleluhwah song by krautrock band Can

"Halleluhwah" is a song by the krautrock band Can, on their 1971 album Tago Mago. The track, which originally took up a whole side of long-playing vinyl record, lasts for 18 minutes and 28 seconds and is characteristic of the band's sound around 1971 in that it features a vast array of improvised guitars and keyboards, tape editing, and the rhythm section "pounding out a monster trance/funk beat". The drum beat for which the song is famous is repeated almost continuously by Jaki Liebezeit, with only minor variations, throughout the course of the 18-minute jam. In one line of the song, Damo Suzuki's lyrics mention all the songs from side one of Tago Mago: "mushroom head, oh yeah, paper house."

<i>Can Live Music (Live 1971–1977)</i> 1999 live album by Can

Can Live Music is a double live album by the band Can, released in 1999 and recorded in the UK and West Germany between 1972 and 1977. It originally came as an item in the now out of print Can box set.

<i>Can</i> (album) 1979 studio album by Can

Can, also known as Inner Space, is the eleventh studio album by experimental rock band Can, released in 1979. Former bassist Holger Czukay's involvement with this album was limited to tape editing. It was Can's last album before the reunion album Rite Time, ten years later, and was released after the band's break-up.

<i>Anthology</i> (Can album) 1994 compilation album by Can

Anthology, also called Anthology 1968–1993, is a compilation double album by Krautrock artists Can which was released in 1994. Several of the songs are presented in edited form. The first CD has the same track listing as Can's previous compilation, Cannibalism.

"Mother Sky" is a song by the krautrock group Can, written by members Holger Czukay, Jaki Liebezeit, Michael Karoli, Irmin Schmidt, and Damo Suzuki. Lasting fourteen and a half minutes, it was recorded in July 1970 for the soundtrack of Jerzy Skolimowski's film Deep End and released in 1970 on Can's Soundtracks album. It opens in mid guitar solo before settling down into a familiar Can groove as singer Damo Suzuki mulls the relative merits of madness and "Mother Sky".

<i>The Peel Sessions</i> (Can album) 1995 compilation album by Can

The Peel Sessions is a compilation album by the German experimental rock band Can. Released in November 1995, it contains songs from four sessions recorded for John Peel's Radio 1 show. The sessions took place in February 1973, January 1974, October 1974, and May 1975. The songs are mostly unreleased improvisations. "Geheim" is released as "Half Past One" on Landed and "Mighty Girl" as "November" on Out of Reach.

<i>Unlimited Edition</i> (album) compilation album by Can

Unlimited Edition is a compilation album by the band Can. Released in 1976 as a double album, it was an expanded version of the 1974 LP Limited Edition on United Artists Records which, as the name suggests, was a limited release of 15,000 copies. The album collects unreleased music from throughout the band's history from 1968 until 1976, and both the band's major singers are featured. The cover photos were taken in Pantheon room of The British Museum.

<i>The Lost Tapes</i> (Can album) 2012 compilation album by Can

The Lost Tapes is a compilation album of studio outtakes and live recordings by the German experimental rock band Can, which was originally released as an LP in 2012 by Spoon Records in conjunction with Mute Records. The compilation was curated by Irmin Schmidt and Daniel Miller, compiled by Irmin Schmidt and Jono Podmore, and edited by Jono Podmore.

References

  1. 1 2 3 Can at AllMusic
  2. Hunt, Elle. "Jaki Liebezeit, drummer of seminal krautrock band Can, dies at 78". The Guardian . Retrieved 28 April 2019.
  3. Erlewine, Stephen Thomas (2002). All Music Guide to Rock: The Definitive Guide to Rock, Pop, and Soul. Hal Leonard Corporation. p. 178.
  4. Pareles, Jon. "Jaki Liebezeit, Influential Drummer for Can, Dies at 78". The New York Times . Retrieved 28 April 2019.
  5. Williamson, Nigel (2008). The Rough Guide to the Best Music You've Never Heard. Rough Guides. p. 211.
  6. 1 2 Reynolds, Simon (1995). "Krautrock Reissues". Melody Maker . Retrieved 5 March 2017.
  7. Mistry, Anupa. "Damo Suzuki". Red Bull Music Academy . Retrieved 28 April 2019.
  8. Canniblism 1, Spoon Records, 1986, archived from the original on 3 April 2010, retrieved 16 June 2010
  9. "Interview by Jason Gross". Perfect Sound Forever . February 1997. Retrieved 10 July 2015.
  10. Stubbs, David (2014). Future Days: Krautrock and the Building of Modern Germany. Faber and Faber Rock Music. pp. 74–77.
  11. Cope, Julian. Krautrock Sampler. Head Heritage, 1995, pp. 51-52
  12. Young, Rob; Schmidt, Irmin (2018). All gates Open: The Story of Can. Faber & Faber Social. p. 66-67. ISBN   978-0571311491.
  13. Krautrock Sampler. Head Heritage, 1995, pp. 51-52
  14. Young, Rob; Schmidt, Irmin (2018). All gates Open: The Story of Can. Faber & Faber Social. p. 110. ISBN   978-0571311491.
  15. 1 2 Can, Mute Liberation Technologies, archived from the original on 10 October 2007, retrieved 25 October 2007
  16. Young, Rob; Schmidt, Irmin (2018). All gates Open: The Story of Can. Faber & Faber Social. p. 126. ISBN   978-0571311491.
  17. 1 2 3 "Holger Czukay Can discography". Perfect Sound Forever / furious.com. Archived from the original on 20 April 2008. Retrieved 27 January 2011.
  18. Rose, Steve (11 March 2011). "Can: the ultimate film soundtrack band? | Music". The Guardian . Retrieved 27 July 2014.
  19. Ulrich Adelt, "Machines with a Heart: German Identity in the Music of Can and Kraftwerk", Popular Music and Society, 2012, DOI:10.1080/03007766.2011.567908.
  20. "Spoon Records". Spoon Records. Retrieved 25 April 2014.
  21. "Can - Der dritte Mann". ultratop.be. Retrieved 19 March 2018.
  22. Young, Rob; Schmidt, Irmin (2018). All gates Open: The Story of Can. Faber & Faber Social. p. 328-330. ISBN   978-0571311491.
  23. Givt, Datenverarbeiter vs. Jaki Liebezeit, archived from the original on 4 June 2007, retrieved 16 June 2010
  24. Payne, John (February 1997), Hiss 'n' Listen: Holger Czukay and the rhythms of a secret life , retrieved 11 August 2010
  25. 1 2 Unterberger, Richie (1997), An Interview With Holger Czukay, Krautrock.com, retrieved 16 June 2010
  26. Hollow, Chris (1 March 2004), Interview With Irmin Schmidt, Sand Pebbles, archived from the original on 19 July 2011, retrieved 16 June 2010
  27. Reynolds, Simon, The History of Krautrock, archived from the original on 13 October 2007, retrieved 9 October 2007
  28. Grant, Steven, CAN, Trouser Press , retrieved 16 June 2010
  29. Tago Mago > Review, AllMusic , retrieved 16 June 2010
  30. Ian S. Port (22 April 2011). "Lumerians Talk Video Projections, Recording in a Church, and "Space-Rock"". SF Weekly. Retrieved 15 May 2011.
  31. Collins, Dan (17 September 2009). "Happy Mondays: See, We're Ground Breaking!". L.A. Record . Retrieved 19 July 2013.
  32. Can – Biography, Intuitive Music, 16 August 2003, archived from the original on 9 March 2011, retrieved 16 June 2010
  33. "Krautrock SPIN". www.spin.com. Retrieved 1 April 2018.
  34. Reynolds, Simon (July 2001). "Walking on Thin Ice". The Wire. Archived from the original on 4 February 2012. Retrieved 17 March 2007.
  35. Rainey, Nik, Can – You Dig It?, Lollipop Magazine, retrieved 16 June 2010
  36. Sprague, David. "Can Guitarist Dies in France". Rolling Stone. Retrieved 7 March 2017.
  37. Loop. NME . Retrieved 16 June 2010. The UK shoegaze band The Faith Healers also cover "Mother Sky" on its 1991 recording Lido.
  38. Porter, Tom (28 September 2008). "Noel Gallagher on The Shock of the Lightning: "It's Krautrock" | Oasis Noel Gallagher | Guitar News". MusicRadar. Retrieved 25 April 2014.
  39. "Musical Miscreants: Game Music That Sounds a Little Too Familiar". 1UP.com. IGN Entertainment. Archived from the original on 3 August 2012. Retrieved 29 July 2015.
  40. England, Phil (1994), Holger Czukay Interview, ESTWeb, retrieved 16 June 2010
  41. "Interview with Holger Czukay (February 1997)". Perfect Sound Forever / furious.com. Retrieved 27 January 2011.

Bibliography