Soon Over Babaluma | ||||
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Studio album by | ||||
Released | November 1974 | |||
Recorded | August 1974 | |||
Studio | Inner Space Studio, Weilerswist, near Cologne | |||
Genre | ||||
Length | 38:56 | |||
Label | United Artists, Spoon, Mute | |||
Producer | Can | |||
Can chronology | ||||
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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.
It takes the ambient style of Future Days and pushes it even further at times, as on "Quantum Physics", although there are also some upbeat tracks, such as "Chain Reaction" and "Dizzy Dizzy".
Review scores | |
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Source | Rating |
AllMusic | [2] |
Encyclopedia of Popular Music | [3] |
The Great Rock Discography | 6/10 [4] |
Pitchfork | 8.9/10 [5] |
The Rolling Stone Album Guide | [6] |
Spin Alternative Record Guide | 10/10 [7] |
Tom Hull | B [8] |
The Village Voice | B− [9] |
American musician Dominique Leone reviewed Soon Over Babaluma for Pitchfork , writing that he "was constantly surprised at how clear everything sounded, as if the band had recorded all of this stuff in one fell swoop during an unbelievably inspired, marathon session. One of the great things about Can ... was the attention to detail and realization that the effect of each tiny moment in the course of a song can affect the momentum of the entire piece. No small miracles here: even if it's sad to think these albums represent Can's last great gasp, none of their moments have ever sounded better". [5] In his review for Allmusic, American music journalist Ned Raggett stated that "With Suzuki departed, vocal responsibilities were now split between Karoli and Schmidt. Wisely, neither try to clone Mooney or Suzuki, instead aiming for their own low-key way around things", giving the album a rating of four stars out of five. [2] Robert Christgau was less impressed in The Village Voice , comparing its "singularly European" music to a less interesting, less biting variation on Miles Davis' 1970s electric period: "It's never pompous, discernibly smart, playful, even goofy. If you give it your all you can make out a few shards of internal logic. But the light tone avoids texture, density, or pain. The jazzy pulse is innocent of swing, funk, or sex". [9] In The Rolling Stone Album Guide , Douglas Wolk said the album was "mellow and almost timid in places", with the exception of "Chain Reaction", deeming the song a precursor to 1990s techno. [6]
All lyrics written by Holger Czukay, Michael Karoli, Jaki Liebezeit, and Irmin Schmidt, unless otherwise noted.
No. | Title | Writer(s) | Length |
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1. | "Dizzy Dizzy" | Duncan Fallowell (lyrics); Holger Czukay, Ulli Eichberger, Jaki Liebezeit Irmin Schmidt (music) | 5:40 |
2. | "Come sta, La Luna" | 5:42 | |
3. | "Splash" | 7:45 |
No. | Title | Length |
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4. | "Chain Reaction" | 11:09 |
5. | "Quantum Physics" | 8:31 |
The album was first released in LP format throughout Europe in 1974 via United Artists Records, with the exclusion of Spain where it was released on Ariola Eurodisc. It was published in the U.S. the following year through United Artists. In 1989, it was first released in CD format in Europe and the U.S. on Spoon Records and Mute Records. In 2005, the album was remastered and first published in Super Audio CD format. [10]
Year | Format | Label | Country | Note |
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1974 | LP | United Artists (UA[S|G] 29673[1]) | France, Germany, UK, Yugoslavia | — |
Ariola Eurodisc (88723-I) | Spain | |||
1975 | United Artists (UA-LA343-G) | U.S. | ||
1981 | Celluloid (CEL 6610) | France | ||
1984 | Spoon (SPOON 010) | Germany | ||
1989 | CD | Spoon (SPOON 010) | Germany, Austria | |
1998 | Mute (9065-2) / Spoon (SPOON CD[0]10) | U.S. | ||
2005 | P-Vine (PCD-22206) | Japan | ||
SACD | Spoon (SPOON SA 010)/(0724356329621) / Mute (9289-2) | Europe, UK, U.S. | Remastered | |
2007 | CD | Spoon ([CD ] SPOON[CD] [0]10[ WY]) | Germany | — |
ArsNova (AN99-0320) | Russia |
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). They featured several vocalists, including the American Malcolm Mooney (1968–70) and the Japanese Damo Suzuki (1970–73). They have been hailed as pioneers of the German krautrock scene.
Michael Karoli was a German guitarist, violinist and composer. He was a founding member of the influential 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 full studio album to feature Damo Suzuki after the 1970 departure of previous vocalist Malcolm Mooney, though Suzuki had been featured on most tracks on the compilation album Soundtracks the prior year. Recorded at Schloss Nörvenich, a medieval castle near Cologne, the album features long-form experimental tracks blending rock and jazz improvisation, funk rhythms, and musique concrète tape editing 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 1970 compilation album by the German krautrock group Can, containing music written for various films. The album marks the departure of the band's original vocalist Malcolm Mooney, who sings on two tracks, and his replacement by Damo Suzuki. "Don't Turn the Light On, Leave Me Alone" features Suzuki's first recorded performance with the band. Stylistically, the record also documents the group's transition 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 on 1 August 1973 by United Artists. It was the group's final album to feature vocalist Damo Suzuki, who subsequently left the band to become a Jehovah's Witness, and explores a more atmospheric sound than their previous releases.
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 an album by the German rock band Can. It 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.
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Rite Time is the eleventh and final studio album by the German rock band Can. Though Can had not yet split up, it is considered a reunion album because of the time elapsed since the band's previous album, Can, was 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 included on the 2014 vinyl reissue.
Delay 1968 is a compilation album by the German experimental rock band Can released in 1981. It comprises previously unreleased work recorded for Can's rejected debut album, Prepared to Meet Thy Pnoom, recorded with the singer Malcolm Mooney.
"Mushroom" is a song by the German krautrock band Can, from their 1971 album Tago Mago. It's the shortest song on the album, with a duration of 4 minutes and 8 seconds. A video was made for the track which has been shown on MTV.
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.
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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.
Live in Paris 1973 is a live double-album by German krautrock band Can, recorded at a performance of the band at L'Olympia in Paris, France. It was released on vinyl and CD by Spoon Records on 23 February 2024, two weeks after the death of Can member Damo Suzuki on 9 February 2024.