Can were a German experimental rock band formed in Cologne in 1968 by Holger Czukay, Irmin Schmidt (keyboards), Michael Karoli (guitar), and Jaki Liebezeit (drums). The group featured several vocalists, including the American Malcolm Mooney (1968–70) and the Japanese Damo Suzuki (1970–73). They have been widely hailed as pioneers of the German krautrock scene.
Malcolm Mooney is an American singer, poet, and artist, best known as the original vocalist for German krautrock band Can.
Monster Movie is the debut studio album by German rock band Can, released in August 1969 by Music Factory and Liberty Records.
Tago Mago is the second studio album by the German krautrock band Can, originally released as a double LP in August 1971 on the United Artists label. It was the band's first studio album 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 rock improvisation, funk rhythms, and musique concrète techniques.
Ege Bamyası is the third studio album by German krautrock band Can, originally released as an LP in 1972 by United Artists. The album contains the single "Spoon", which charted in the Top 10 in Germany owing its use as the theme of German TV thriller mini-series Das Messer. The success of the single allowed Can to move to a better studio in Weilerswist, where they recorded the rest of the album.
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 rock-inspired jams of their earliest recordings to the more meditative and experimental mode of the studio albums that followed.
Future Days is the fourth studio album by the German experimental rock group Can, released in 1973. It was the last Can album to feature Japanese vocalist Damo Suzuki, and sees the band exploring a more atmospheric sound than their previous releases.
Flux + Mutability is the second collaboration between David Sylvian and Holger Czukay. It was released in September 1989. The music consists of two instrumental tracks improvised by the participants.
Soon Over Babaluma is the fifth studio album by the rock music group Can. This is the band's first album following the departure of Damo Suzuki in 1973. 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 tape recorder.
Flow Motion is the seventh studio album by German rock band Can. It was released in October 1976 and features the UK hit single "I Want More".
Saw Delight is the eighth studio album by the German rock band Can, 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.
Out of Reach is the ninth studio album by the German krautrock band Can, released as an LP in 1978 on Harvest Records. It is their tenth official studio album, discounting compilations such as Unlimited Edition.
Delay 1968, or just Delay, is an archival compilation album by German experimental rock band Can during its work with singer Malcolm Mooney comprising previously unissued early recordings of the band's rejected debut album, Prepared to Meet Thy PNOOM. The song "Thief" had previously been released officially on the United Artists compilation album Electric Rock in 1970; it was later covered live by Radiohead.
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 was originally included in the now out-of-print Can box set, Can Box.
Can, also known as Inner Space, is the tenth 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.
Anthology, also called Anthology - 25 Years and 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.
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.
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 among the Elgin Marbles in the Duveen Gallery of the British Museum.
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.
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 and was released some 40 years later in 2009. 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, more in keeping with Indian setting of the film. Among their first recordings, this score, together with the band's previous soundtrack album Agilok & Blubbo, are seldom discussed by the band members. Neither have material on the band's 1970 compilation Soundtracks which consists of songs previously only heard on film soundtracks.
