Can | ||
| Allmusic Biography : Always at least three steps ahead of contemporary popular music, Can were the leading avant-garde rock group of the 70s. From their very beginning, their music didnt conform to any commonly held notions about rock & roll -- not even those of the countercultures. Inspired more by 20th century classical music than Chuck Berry, their closest contemporaries were Frank Zappa or possibly the Velvet Underground. Yet their music was more serious and inaccessible than either of those artists. Instead of recording tight pop songs or satire, Can experimented with noise, synthesizers, non-traditional music, cut-and-paste techniques, and, most importantly, electronic music; each album marked a significant step forward from the previous album, investigating new territories that other rock bands werent interested in exploring. Throughout their career, Cans lineup was fluid, featuring several different vocalists over the years; the core bandmembers remained keyboardist Irmin Schmidt, drummer Jaki Leibezeit, guitarist Michael Karoli, and bassist Holger Czukay. During the 70s, they were extremely prolific, recording as many as three albums a year at the height of their career. Apart from a surprise U.K. Top 30 hit in 1978 -- "I Want More" -- they were never much more than a cult band; even critics had a hard time appreciating their music. Can debuted in 1969 with the primitive, bracing Monster Movie, the only full-length effort to feature American-born vocalist Malcolm Mooney. Released in 1970, the film music collection Soundtracks introduced Japanese singer Kenji "Damo" Suzuki, and featured "Mother Sky," one of the groups best-known compositions. With 1971s two-record set Tago Mago, Can hit their visionary stride, shedding the constraints of pop forms and structures to explore long improvisations, angular rhythms, and experimental textures. Arriving in 1972, Ege Bamayasi refined the approach, and incorporated an increasingly jazz-like sensibility into the mix; Future Days, recorded the following year as Suzukis swan song, traveled even further afield into minimalist, almost ambient territory. With 1974s Soon Over Babaluma, Can returned to more complicated and abrasive ground, introducing dub rhythms as well as Karolis shrieking violin. In 1976 they released Flow Motion, which included the hit single "I Want More." Unlimited Edition (1976) and Saw Delight (1977) proved equally restless, and drew on a wide range of ethnic musics. Their tenth record saw the introduction of Rosko Gee and Rebop Kwaku Bahh, and the sidelining of Czukay -- who was reduced to making electronic sounds. Out of Reach was received coolly by critics, and subsequent reissues were never endorsed by the band. Out of Reach marked what would become a long hiatus in Cans career. Czukay was increasingly pushed to the fringes, and the band disintegrated. A self-titled record, also known as Inner Space, was released in 1979 after the bands breakup, and it would be ten years before any new material surfaced. Can briefly re-formed for the 1989 record Rite Time, with original vocalist Mooney, and subsequently regrouped for sporadic live performances and recordings. Karoli died of cancer in 2001. The intervening years saw a number of reissues and compilations. Most notably, the band released a series of Super Audio CD remasters of their back catalog, which began in 2004 and was completed by 2006; and in 2012 a compilation of studio outtakes and live recordings titled Lost Tapes was released. The collection was compiled by Schmidt and son-in-law Jono Podmore, and spanned the period from 1968 to 1977. Liebezeit died of pneumonia in January 2017, and Czukay died in September of that year in his Weilerswist, Germany apartment, a living space that had been converted from Cans old Inner Space Studio. A compilation of the bands singles had just been released that June; The Singles drew from their entire career, including the classic Suzuki years ("Vitamin C," "Halleluwah," "Moonshake") and commercial hits like "I Want More," and the previously unreleased track "Turtles Have Short Legs." Can left behind a body of work that has proven surprisingly groundbreaking; echoes of their music can be heard in Public Image Ltd., the Fall, and Einstürzende Neubauten, among others. As with much aggressive and challenging experimental music, Cans music can be difficult to appreciate, yet their albums offer some of the best experimental rock ever recorded. | ||
 | Album: 1 of 26 Title: Monster Movie Released: 1969 Tracks: 4 Duration: 37:49 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Father Cannot Yell (07:01) 2 Mary, Mary So Contrary (06:16) 3 Outside My Door (04:11) 4 Yoo Doo Right (20:20) |
| Monster Movie : Allmusic album Review : Though Monster Movie was the first full-length album in what would become a sprawling and often genre-defining discography, Can were on a level well ahead of the curve even in their most formative days. Recorded and released in 1969, Monster Movie bears many of the trademarks that Can would explore as they went on, as well as elements that would set the scene for the burgeoning Krautrock movement. This would be the only album Cans first singer Malcolm Mooney would sing the entirety of, as he was replaced by Damo Suzuki by the time of 1970s Soundtracks, leaving the band after going through a highly unstable time. Mooney was known for his erratic ways, and some of that mania undoubtedly comes through here, with his caterwauling howls on the unexpectedly garage-influenced "Outside My Door" as well as the sung-spoken pseudo-poetry rants of album opener "Father Cannot Yell." Riding a particularly Velvet Underground vibe, "Father Cannot Yell" sounds like post-punk before punk even existed. Irmin Schmidts brittle keyboard squalls and dissonant rhythms and Mooneys buried recitations predated the Fall, Swell Maps, the noise scene, and generations of difficult sound by years and in some cases decades. Holger Czukays pensive basslines are also an already distinctive calling card of the band on this debut, providing a steadfast glue for the barrages of noisy tones, edits, and pulses the record offers from all angles. The 20-minute album closer "Yoo Doo Right" is an enormous highlight, cementing the locked-in hypnotic exploration Can would extrapolate on for the rest of their time and come to be known for. Mooneys raspy vocals range from whispery incantations to throaty rock & roll shouts, building with the band into an almost mantra-level meditation as the song repeats its patterns and multi-layered grooves into what feels like infinity. Legend has it that the final side-long version of the song was edited down from a six-hour recording session focusing on that tune alone. Given the level of commitment to experimentation Can would go on to show, its not hard to believe theyd play one song for six hours to find its core, nor is it unfathomable that Monster Movie was the more accessible album they recorded after their first attempts were deemed too out there to be commercially released. Even in their earliest phases, Can were making their name by blowing away all expectations and notions that rock & roll had limits of any kind. | ||
 | Album: 2 of 26 Title: Soundtracks Released: 1970 Tracks: 7 Duration: 35:18 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Deadlock (03:27) 2 Tango Whiskeyman (04:03) 3 Deadlock (instrumental title melody) (01:39) 4 Dont Turn the Light on, Leave Me Alone (03:42) 5 Soul Desert (03:50) 6 Mother Sky (14:28) 7 She Brings the Rain (04:05) |
| Soundtracks : Allmusic album Review : Malcolm Mooney passes the baton to Damo Suzuki for Soundtracks, a collection of film music featuring contributions from both vocalists. The dichotomy between the two singers is readily apparent: Suzukis odd, strangulated vocals fit far more comfortably into the groups increasingly intricate and subtle sound, allowing for greater variation than Mooneys stream-of-consciousness discourse. | ||
 | Album: 3 of 26 Title: Tago Mago Released: 1971 Tracks: 7 Duration: 1:13:23 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic Wikipedia AlbumCover | 1 Paperhouse (07:28) 2 Mushroom (04:03) 3 Oh Yeah (07:23) 4 Halleluhwah (18:28) 5 Aumgn (17:36) 6 Peking O (11:37) 7 Bring Me Coffee or Tea (06:45) |
| Tago Mago : Allmusic album Review : With the band in full artistic flower and Damo Suzukis sometimes moody, sometimes frenetic speak/sing/shrieking in full effect, Can released not merely one of the best Krautrock albums of all time, but one of the best albums ever, period. Tago Mago is that rarity of the early 70s, a double album without a wasted note, ranging from sweetly gentle float to full-on monster grooves. "Paperhouse" starts things brilliantly, beginning with a low-key chime and beat, before amping up into a rumbling roll in the midsection, then calming down again before one last blast. Both "Mushroom" and "Oh Yeah," the latter with Schmidt filling out the quicker pace with nicely spooky keyboards, continue the fine vibe. After that, though, come the huge highlights -- three long examples of Can at its absolute best. "Halleluwah" -- featuring the Liebezeit/Czukay rhythm section pounding out a monster trance/funk beat; Karolis and Schmidts always impressive fills and leads; and Suzukis slow-building ranting above everything -- is 19 minutes of pure genius. The near-rhythmless flow of "Aumgn" is equally mind-blowing, with swaths of sound from all the members floating from speaker to speaker in an ever-evolving wash, leading up to a final jam. "Peking O" continues that same sort of feeling, but with a touch more focus, throwing in everything from Chinese-inspired melodies and jazzy piano breaks to cheap organ rhythm boxes and near babbling from Suzuki along the way. "Bring Me Coffee or Tea" wraps things up as a fine, fun little coda to a landmark record. | ||
 | Album: 4 of 26 Title: Ege Bamyasi Released: 1972 Tracks: 7 Duration: 40:10 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Pinch (09:30) 2 Sing Swan Song (04:48) 3 One More Night (05:35) 4 Vitamin C (03:32) 5 Soup (10:32) 6 I’m So Green (03:05) 7 Spoon (03:04) |
| Ege Bamyasi : Allmusic album Review : The follow-up to Tago Mago is only lesser in terms of being shorter; otherwise the Can collective delivers its expected musical recombination act with the usual power and ability. Liebezeit, at once minimalist and utterly funky, provides another base of key beat action for everyone to go off on -- from the buried, lengthy solos by Karoli on "Pinch" to the rhythm box/keyboard action on "Spoon." The latter song, which closes the album, is particularly fine, its sound hinting at an influence on everything from early Ultravox songs like "Hiroshima Mon Amour" to the hollower rhythms on many of Gary Numans first efforts. Liebezeit and Czukays groove on "One More Night," calling to mind a particularly cool nightclub at the end of the evening, shows that Stereolab didnt just take the brain-melting crunch side of Can as inspiration. The longest track, "Soup," lets the band take off on another one of its trademark lengthy rhythm explorations, though not without some tweaks to the expected sound. About four minutes in, nearly everything drops away, with Schmidt and Liebezeit doing the most prominent work; after that, it shifts into some wonderfully grating and crumbling keyboards combined with Suzukis strange pronouncements, before ending with a series of random interjections from all the members. Playfulness abounds as much as skill: Slide whistles trade off with Suzuki on "Pinch"; squiggly keyboards end "Vitamin C"; and rollicking guitar highlights "Im So Green." The underrated and equally intriguing sense of drift that the band brings to its recordings continues as always. "Sing Swan Song" is particularly fine, a gentle float with Schmidts keyboards and Czukays bass taking the fore to support Suzukis sing-song vocal. | ||
 | Album: 5 of 26 Title: Future Days Released: 1973 Tracks: 4 Duration: 40:55 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic Wikipedia AlbumCover | 1 Future Days (09:30) 2 Spray (08:28) 3 Moonshake (03:03) 4 Bel Air (19:52) |
| Future Days : Allmusic album Review : On Future Days, Can fully explored the ambient direction they had introduced into their sound on the previous years Ege Bamyasi, and in the process created a landmark in European electronic music. Where Ege Bamyasi had played fast and loose with elements of rock song structure, Future Days dispensed with these elements altogether, creating hazy, expansive soundscapes dominated by percolating rhythms and evocative layers of keys. Vocalist Damo Suzuki turns in his final and most inspired performance with the band. His singing, which takes the form here of a rhythmic, nonsensical murmur, is all minimal texture and shading. Apart from the delightfully concise single "Moonshake," the album is comprised of just three long atmospheric pieces of music. The title track eases us into the sonic wash, while "Spray" is built around Suzukis eerie vocals, which weave in and out of the shimmering instrumental tracks. The closing "Bel Air" is a gloriously expansive piece of music that progresses almost imperceptibly, ending abruptly after exactly 20 minutes. Aptly titled, Future Days is fiercely progressive, calming, complex, intense, and beautiful all at once. It is one of Cans most fully realized and lasting achievements. | ||
 | Album: 6 of 26 Title: Soon Over Babaluma Released: 1974 Tracks: 5 Duration: 38:53 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Allmusic Wikipedia AlbumCover | 1 Dizzy Dizzy (05:41) 2 Come Sta, La Luna (05:43) 3 Splash (07:47) 4 Chain Reaction (11:10) 5 Quantum Physics (08:31) |
| Soon Over Babaluma : Allmusic album Review : 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. The guitarist half speaks/half whispers his lines on the opening groover, "Dizzy Dizzy," while on "Come Sta, La Luna" Schmidt uses a higher pitch that is mostly buried in the background. Czukay sounds like hes throwing in some odd movie samples on that particular track, though perhaps its just heavy flanging on Schmidts vocals. Karolis guitar achieves near-flamenco levels on the song, an attractive development that matches up nicely with the slightly lighter and jazzier rhythms the band comes up with on tracks like "Splash." Also, his violin work -- uncredited on earlier releases -- is a bit more prominent here. Musically, if things are a touch less intense on Babaluma, the sense of a band perfectly living in each others musical pocket and able to react on a dime hasnt changed at all. "Chain Reaction," the longest track on the album, shows that the combination of lengthy jam and slight relaxation actually can go together rather well. After an initial four minutes of quicker pulsing and rhythm (which sounds partly machine provided), things downshift into a slower vocal section before firing up again; Karolis blistering guitar work at this point is striking to behold. "Chain Reaction" bleeds into Babalumas final song, "Quantum Physics," a more ominous piece with Czukays bass closer to the fore, shaded by Schmidts work and sometimes accompanied by Liebezeit. It makes for a nicely mysterious conclusion to the album. | ||
 | Album: 7 of 26 Title: Limited Edition Released: 1974 Tracks: 19 Duration: 1:18:38 Scroll: Up Down Top Bottom 25% 50% 75% Allmusic Wikipedia AlbumCover | 1 Gomorrha (05:46) 2 Doko E. (02:27) 3 LH 702 (Nairobi / Munchen) (02:13) 4 I’m Too Leise (05:11) 5 Musette (02:14) 6 Blue Bag (Inside Paper) (01:18) 7 Ethnological Forgery Series No. 27 (01:48) 8 TV Spot (03:02) 9 Ethnological Forgery Series No. 7 (01:06) 10 The Empress and the Ukraine King (04:41) 11 Ethnological Forgery Series No. 10 (02:02) 12 Mother Upduff (04:29) 13 Ethnological Forgery Series No. 36 (02:05) 1 Cutaway (18:49) 2 Connection (02:20) 3 Fall of Another Year (03:24) 4 Ethnological Forgery Series No. 8 (01:37) 5 Transcendental Express (04:39) 6 Ibis (09:19) |
 | Album: 8 of 26 Title: Landed Released: 1975 Tracks: 6 Duration: 40:22 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic Wikipedia AlbumCover | 1 Full Moon on the Highway (03:32) 2 Half Past One (04:39) 3 Hunters and Collectors (04:20) 4 Vernal Equinox (08:48) 5 Red Hot Indians (05:40) 6 Unfinished (13:21) |
| Landed : Allmusic album Review : Another erratic waxing features some great guitar and Babaluma-style grooves, but is unfocused on the whole. | ||
 | Album: 9 of 26 Title: Flow Motion Released: 1976 Tracks: 7 Duration: 38:13 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic Wikipedia AlbumCover | 1 I Want More (03:37) 2 Cascade Waltz (05:43) 3 Laugh Till You Cry, Live Till You Die (06:38) 4 …And More (02:51) 5 Babylonian Pearl (03:32) 6 Smoke (Ethnologial Forgery Series No. 59) (05:20) 7 Flow Motion (10:29) |
| Flow Motion : Allmusic album Review : The second of Cans three Virgin albums, 1976s Flow Motion, is a divisive record in the groups canon. It was their most commercially successful album (the opening track, "I Want More," was released as a single in the U.K. and actually charted, thanks to its smoothly percolating near-disco groove, which makes it resemble a late-period Roxy Music hit), but many fans dismiss it as the groups feint toward commercial success. That fluke hit aside, the charge doesnt really hold water. Theres a newfound smoothness to the groups interplay, which Holger Czukay attributes to an interest in reggae music, yet the Caribbean influence is quite subtle; only on "Cascade Waltz" and, particularly, "Laugh Till You Cry Live Till You Die" is there a noticeable reggae lilt. The two highlight tracks are "Smoke," a wild, Moroccan-styled entry in their ever-growing Ethnological Forgery Series, and the limber title track, a ten-and-a-half minute instrumental groove that recalls the best moments of earlier albums like Soon Over Babaluma. By no means one of Cans very best albums, Flow Motion deserves better than its poor reputation in some circles. | ||
 | Album: 10 of 26 Title: Saw Delight Released: 1977 Tracks: 5 Duration: 38:02 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic Wikipedia AlbumCover | 1 Dont Say No (06:36) 2 Sunshine Day and Night (05:50) 3 Call Me (05:52) 4 Animal Waves (15:31) 5 Fly by Night (04:10) |
| Saw Delight : Allmusic album Review : Bearing bar none the worst title pun of any Can album -- and with titles like Cannibalism, thats saying something -- 1977s Saw Delight was the German progressive groups farewell. Clearly, the core quartet had found themselves in a rut by the recording of this album, bringing in percussionist Reebop Kwaku Baah and bassist Rosko Gee from a late-era lineup of Traffic to add a sort of Afro-Cuban jazz feel to their sound. Whats frustrating is that this idea could have worked brilliantly, but the execution is all wrong. Instead of the polyrhythmic fireworks expected from a drum duel between Baah and the African-influenced Jaki Liebezeit, Cans senior drummer basically rolls over, keeping time with simple beats while the percussionist takes on the hard work. Similarly, Rosko Gees handling of the bass duties (which he performs superbly throughout, adding an almost Mingus-like rhythmic intensity to even the loosest songs) frees Holger Czukay to add electronics and sound effects to the proceedings, an opportunity he doesnt make much of. On the up side, the opening "Dont Say No" recalls the controlled fury of earlier tunes like "Moonshake," and side two, consisting of Gees lengthy, jazz-based composition "Animal Waves" and the lovely instrumental "Fly by Night," is largely excellent, but the two lengthy tracks that close side one are melodically and rhythmically pale in comparison, and theres a tired, somewhat dispirited vibe to the whole album that makes it an unsatisfying send-off to Cans career. | ||
 | Album: 11 of 26 Title: Out of Reach Released: 1978 Tracks: 7 Duration: 35:42 Scroll: Up Down Top Bottom 25% 50% 75% Spotify TrackSamples Allmusic Wikipedia AlbumCover | 1 Serpentine (04:03) 2 Paupers Daughter and I (05:57) 3 November (07:37) 4 Seven Days Awake (05:12) 5 Give Me No "Roses" (05:21) 6 Like INOBE GOD (05:51) 7 One More Day (01:37) |
| Out of Reach : Allmusic album Review : All but unknown to most but the most hardcore Can fanatics, 1978s Out of Reach is one of the groups rarest albums. This is due in large part to the fact that bassist Holger Czukay left the band before the recording sessions, and drummer Jaki Liebezeit has a greatly reduced role, leaving most of the rhythm duties to percussionist-come-lately Reebop Kwaku Baah. As a result, many fans dont consider this a true Can album. They have a point, and theres no doubt that this is not one of Cans better albums. However, its not an album to be dismissed outright. As on the groups proper swan song, 1977s Saw Delight, new bassist Rosko Gee largely leads the group, and his jazz-inflected playing is marvelous, especially on the centerpiece improvisations "November" and "Serpentine." On the down side, he should never have been allowed to sing: The inept "The Paupers Daughter" is saved from being Cans worst-ever recording only by the even worse "Like Inobe God" on side two. Can themselves have disowned this album, making it the only Can music not reissued on their Spoon label in the 90s. | ||
 | Album: 12 of 26 Title: CAN Released: 1978 Tracks: 8 Duration: 38:57 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia AlbumCover | 1 All Gates Open (08:17) 2 Safe (08:32) 3 Sunday Jam (04:24) 4 Sodom (05:28) 5 A Spectacle (05:47) 6 Ping-Pong (00:21) 7 Can-Can (03:11) 8 Can Be (02:53) |
 | Album: 13 of 26 Title: InCANdescence Released: 1981 Tracks: 10 Duration: 45:32 Scroll: Up Down Top Bottom 25% 50% 75% Allmusic AlbumCover | 1 I Want More (03:30) 2 Full Moon on the Highway (03:32) 3 Gomorrah (05:43) 4 Hunters and Collectors (04:20) 5 The Empress and the Ukraine King (04:41) 6 Mother Upduff (04:29) 7 Call Me (05:52) 8 Half Past One (04:39) 9 Laugh Till You Cry, Live Till You Die (06:38) 10 Ethnological Forgery Series No. 36 (02:05) |
 | Album: 14 of 26 Title: Delay 1968 Released: 1981 Tracks: 7 Duration: 35:50 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia AlbumCover | 1 Butterfly (08:20) 2 Pnoom (00:26) 3 Nineteen Century Man (04:18) 4 Thief (05:06) 5 Man Named Joe (03:54) 6 Uphill (06:38) 7 Little Star of Bethlehem (07:07) |
 | Album: 15 of 26 Title: Rite Time Released: 1989 Tracks: 8 Duration: 41:52 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic Wikipedia AlbumCover | 1 On the Beautiful Side of a Romance (07:27) 2 The Withoutlaw Man (04:18) 3 Below This Level (Patients Song) (03:44) 4 Movin Right Along (03:28) 5 Like a New Child (07:37) 6 Hoolah Hoolah (04:31) 7 Give the Drummer Some (06:47) 8 In the Distance Lies the Future (03:59) |
| Rite Time : Allmusic album Review : An unexpected reunion from Can (made even more unexpected by the presence of original singer Malcolm Mooney, who left the band in 1969), 1989s Rite Time is in large part a return to form for the group, especially when one considers how weak Cans last few 70s albums were. Wisely, the quintet doesnt try to replicate the sound they created over two decades before on albums like Monster Movie. Instead, Mooney and company make Rite Time a document of where theyre at musically at the time. In short, its funkier ("Give the Drummer Some"), funnier ("Hoolah Hoolah," which takes that old schoolyard rhyme about how they dont wear pants on the other side of France as the jumping-off point for its melody and lyrics), and more abstractly ambient (the elliptical closer "In the Distance Lies the Future") than before. Rite Time doesnt have the rubbery, polyrhythmic intensity of classic Can albums like Ege Bamyasi or Future Days, but its a solidly listenable album that, unlike the majority of reunion albums, doesnt soil the memory of the band. | ||
 | Album: 16 of 26 Title: Cannibalism 1 Released: 1989-07-01 Tracks: 12 Duration: 1:14:10 Scroll: Up Down Top Bottom 25% 50% 75% Allmusic AlbumCover | 1 Father Cannot Yell (06:57) 2 Soup (02:42) 3 Mother Sky (06:35) 4 She Brings the Rain (04:05) 5 Mushroom (04:26) 6 One More Night (05:35) 7 Outside My Door (04:07) 8 Spoon (03:04) 9 Halleluwah (05:36) 10 Aumgn (07:12) 11 Dizzy Dizzy (03:27) 12 You Doo Right (20:18) |
| Cannibalism 1 : Allmusic album Review : Given the cohesion of the groups studio albums, Cans songs work surprisingly well in compilation form, as evidenced by Cannibalism 1, a collection of tracks taken from the first six years of the groups existence. Covering ground from 1969s Monster Movie to 1974s Soon Over Babaluma (although nothing from 1973s superb Future Days makes the cut), the sampler compiles many of the groups high points (including "Father Cannot Yell," "She Brings the Rain," "Mushroom," and "Soup"), and offers a thorough overview of Cans eclectic musical history to date, even if the abridged versions of cuts like "Mother Sky," "Aumgn," and "Halleluhwah" dont measure up to the full-length renditions featured on the original albums. | ||
 | Album: 17 of 26 Title: Cannibalism 2 Released: 1992 Tracks: 22 Duration: 1:12:25 Scroll: Up Down Top Bottom 25% 50% 75% Allmusic AlbumCover | 1 Uphill (06:17) 2 Pnoom (00:25) 3 Connection (02:55) 4 Mother Upduff (03:36) 5 Little Star (06:27) 6 T.V. Spot (00:37) 7 Doko E. (01:44) 8 Turtles Have Short Legs (03:14) 9 Shikaku Maru Ten (02:11) 10 Gomorrha (03:37) 11 Blue Bag (01:17) 12 Red Hot Indians (04:13) 13 Half Past One (03:55) 14 Flow Motion (03:56) 15 Smoke (01:51) 16 I Want More and... (06:03) 17 Laugh Till You Cry (03:47) 18 Aspectacle (02:48) 19 Animal Waves (08:11) 20 Sunshine Day and Night (02:31) 21 E.F.S. No. 7 (01:06) 22 Melting Away (01:32) |
| Cannibalism 2 : Allmusic album Review : Though it was released over a decade later, the 22 tracks on CANNIBALISM II are a perfect match with the selections from the first volume. However, where that volume focused primarily on the groups earliest work, CANNIBALISM II directs its attentions to a broader range, covering tracks from 1968 to the groups first (temporary) breakup in 1978. Including obscure tracks like "Mother Upduff" (a musical recasting of the urban legend about the stolen grandmothers corpse), an excellent edit of the expansive "Animal Waves," and a fascinating remix melding "I Want More" and "And More" from 1976s FLOW MOTION, CANNIBALISM II functions as not only a convenient starting point for neophytes, but a handy collection for fans. Taken in toto, the three volumes of CANNIBALISM are as good a summation of this wide-ranging groups work as youre likely to find. | ||
 | Album: 18 of 26 Title: Cannibalism III Released: 1994 Tracks: 14 Duration: 1:15:31 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Neon Man (03:49) 2 Nervous Breakdown (04:57) 3 Home Truths (06:01) 4 Yours & Mine (04:50) 5 Cool in the Pool (04:54) 6 Persian Love (06:25) 7 Witches Multiplication Table (04:52) 8 Ode to Perfume (05:43) 9 Der Osten ist rot (06:20) 10 Rapido de noir (06:55) 11 Love (04:39) 12 Alcool (04:59) 13 Le Weekend (04:48) 14 Time the Dreamkiller (06:14) |
 | Album: 19 of 26 Title: Anthology: 25 Years Released: 1994 Tracks: 29 Duration: 2:28:48 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Father Cannot Yell (06:57) 2 Soup (02:42) 3 Mother Sky (06:35) 4 She Brings the Rain (04:05) 5 Mushroom (04:26) 6 One More Night (05:35) 7 Outside My Door (04:07) 8 Spoon (03:04) 9 Halleluwah (05:36) 10 Aumngn (07:12) 11 Dizzy Dizzy (03:27) 12 You Doo Right (20:18) 1 Uphill (06:25) 2 Mother Upduff (04:29) 3 Doko E. (02:27) 4 Musette (02:14) 5 Blue Bag (01:15) 6 TV Spot (03:06) 7 Half Past One (04:39) 8 Moonshake (03:03) 9 Future Days (09:30) 10 Cascade Waltz (05:40) 11 I Want More (03:30) 12 Animal Waves (08:09) 13 Dont Say No (06:36) 14 Aspectacle (03:07) 15 Below This Level (02:14) 16 Hoolah Hoolah (04:31) 17 Last Night Sleep (03:35) |
 | Album: 20 of 26 Title: The Peel Sessions Released: 1995 Tracks: 6 Duration: 1:06:08 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Up the Bakerloo Line With Anne (18:48) 2 Return to BB City (08:26) 3 Tape Kebab (08:58) 4 Tony Wanna Go (14:31) 5 Geheim (Half Past One) (06:42) 6 Mighty Girl (08:41) |
| The Peel Sessions : Allmusic album Review : This collection of songs Can recorded for John Peel’s radio show find the band in its peak period (1973-75), pumping on all cylinders. A real treat for Can collectors, most of the tracks here were improvised, and none exist on studio recordings, so this is something of a “lost” Can album. Much of the album is taken up two extended pieces, “Tony Wanna Go” and “Up the Bakerloo Line With Anne,” both of which feature swaths of fuzz guitar and jazzy drumming over intense, minimalist structures. The other tracks opt for a bit of a lower-key groove and make more use of varied atmospheric textures, but all stand to prove why Can is regarded as one of the seminal outfits of German experimental rock. | ||
 | Album: 21 of 26 Title: Inner Space / Out of Reach Released: 1997 Tracks: 15 Duration: 1:13:45 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 All Gates Open (07:31) 2 Safe (08:28) 3 Sunday Jam (04:20) 4 Sodom (05:28) 5 A Spectacle (05:47) 6 Ping-Pong (00:21) 7 EFS No. 99 Can-Can (03:10) 8 Can Be (02:53) 9 Serpentine (04:03) 10 Paupers Daughter and I (05:57) 11 November (07:37) 12 Seven Days Awake (05:12) 13 Give Me No "Roses" (05:21) 14 Like INOBE GOD (05:51) 15 One More Day (01:37) |
| Inner Space / Out of Reach : Allmusic album Review : In 1998, Thunderbolt released Inner Space/Out of Reach, which contained two complete albums -- Inner Space (which is actually Cans self-titled record from 1979 released on Laser and then re-released in 1985 as Inner Space on Thunderbolt) and Out of Reach (1978, originally released on Harvest) -- by influential German group Can on one compact disc. | ||
 | Album: 22 of 26 Title: Sacrilege Released: 1997 Tracks: 16 Duration: 1:43:13 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia AlbumCover | 1 Pnoom (Moon Up mix) (00:57) 2 Spoon (Sonic Youth mix) (06:07) 3 Blue Bag (Inside Paper) (Toroid mix) (06:54) 4 Tango Whiskeyman (A Guy Called Gerald mix) (05:13) 5 TV Spot (Bruce Gilbert mix) (03:53) 6 Vitamin C (U.N.K.L.E. mix) (08:18) 7 Halleluhwah (Halleluwa Orbus 2) (09:20) 8 Oh Yeah (Sunroof mix) (08:53) 1 Unfinished (Hiller/Kaiser/Leda mix) (06:01) 2 Future Days (Blade Runner mix) (06:08) 3 .....And More (Westbam mix) (06:41) 4 Father Cannot Yell (Pete Shelley/Black Radio mix) (08:28) 5 Dizzy Spoon (System 7 mix) (06:45) 6 Yoo Doo Right (3P mix) (04:13) 7 Flow Motion (Air Liquide mix) (06:15) 8 Oh Yeah (Secret Knowledge mix) (09:00) |
 | Album: 23 of 26 Title: Can Live: Music (Live 1971-1977) Released: 1999-11-02 Tracks: 9 Duration: 2:02:58 Scroll: Up Down Top Bottom 25% 50% 75% Wikipedia AlbumCover | 1 Jynx (16:07) 2 Dizzy Dizzy (07:52) 3 Vernal Equinox (13:04) 4 Fizz (06:18) 5 Yoo Doo Right (14:25) 6 Cascade Waltz (04:49) 1 Colchester Finale (37:22) 2 Kata Kong (08:31) 3 Spoon (14:25) |
 | Album: 24 of 26 Title: Can DVD Audio CD Released: 2003-11-24 Tracks: 13 Duration: 1:07:35 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Goatfooted Balloonman (06:10) 2 Fledermenschen (live) (06:29) 3 Plumas del Búho (08:14) 4 Rhein Rauf (06:27) 5 On A Can (04:29) 6 Velociraptor (Live) (05:33) 7 Solitary Life (Live) (02:43) 8 Time and Tide (Live) (04:04) 9 Cruise (Live) (03:57) 10 Sunday Morning (Live) (03:59) 11 Lumpy Todda (live) (04:09) 12 Pounding Venus (live) (05:19) 13 Research Has Shown... (live) (06:02) |
 | Album: 25 of 26 Title: The Lost Tapes Released: 2012-06-18 Tracks: 30 Duration: 3:15:55 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Millionenspiel (05:49) 2 Waiting for the Streetcar (10:08) 3 Evening All Day (06:57) 4 Deadly Doris (03:10) 5 Graublau (16:46) 6 When Darkness Comes (03:47) 7 Blind Mirror Surf (08:39) 8 Oscura Primavera (03:19) 9 Bubble Rap (09:23) 1 Your Friendly Neighbourhood Whore (03:42) 2 True Story (04:30) 3 The Agreement (00:36) 4 Midnight Sky (02:44) 5 Desert (03:19) 6 Spoon (live) (16:46) 7 Dead Pigeon Suite (11:46) 8 Abra Cada Braxas (live) (10:12) 9 A Swan Is Born (03:00) 10 The Loop (02:32) 1 Godzilla Fragment (live) (01:59) 2 On the Way to Mother Sky (04:35) 3 Midnight Men (07:35) 4 Networks of Foam (live) (12:36) 5 Messer, Scissors, Fork and Light (08:23) 6 Barnacles (07:46) 7 E.F.S. 108 (02:07) 8 Private Nocturnal (06:49) 9 Alice (01:56) 10 Mushroom (live) (08:18) 11 One More Saturday Night (live) (06:34) |
| The Lost Tapes : Allmusic album Review : When the studio of ever-groundbreaking Krautrock pioneers Can was sold to Germanys Rock n Pop Museum, the entire space was disassembled and moved, and in the process, reels and reels of poorly marked and seemingly forgotten tapes were found buried amid other detritus in the studio. These tapes held over 30 hours of unreleased music from Can spanning a nine-year period and including work from both vocalists Malcolm Mooney and Damo Suzuki. Edited down to just over three hours, The Lost Tapes still includes an extensive amount of unheard studio, live, and soundtrack work from the band, and at its heights is as revelatory and brilliant as the best material on their well-loved albums. Early vocalist Malcolm Mooney left the band under doctors orders after suffering a nervous breakdown connected with heavy paranoia, and his unhinged vocals characterize collections of early Can recordings like Delay. On The Lost Tapes, Mooney rants his way through the ten-plus-minute "Waiting for the Streetcar," a charged jam that crackles with all the same kind of energy that would embody the post-punk movement years later. Of the Mooney era, "Deadly Doris" also has the same fuzzy punk vibes meeting the kind of Krautrock groove Can excelled at, while the spoken eeriness of "When Darkness Comes" finds a brittle soundscape of formless tones and menacing muttering. Highlights are bountiful throughout the sets three discs, with soundtrack work like the hypnotic "Dead Pigeon Suite" and brilliant live renditions of classic tracks from the Damo Suzuki era like "Spoon" and "Mushroom." Some of the material cuts in and out between studio and live recordings, while other studio tracks are extended pieces with well-known album tracks housed in the middle of before-unheard jams. With over 30 hours of material to cull from, it goes without saying that Can loved to jam. If The Lost Tapes has any shortcomings, it would be that Cans exploratory nature led them to follow any idea at great length, and several of the songs approach or exceed the nine-minute mark, making the set difficult to digest at once. Some of the live tracks lack the fire of the rest of the set, as do some of the seemingly innocuous interludes. While The Lost Tapes isnt for every casual listener, the collection keeps from becoming a "fans only" compilation through the sheer amount of ideas and material put forth. Cans inarguable importance in so many fields of music from experimental to production-minded electronic music and so on has spanned generations, and these lost recordings represent an amazing mother lode to any Can enthusiast and certainly should hold more than enough interesting moments for even a curious new listener. | ||
 | Album: 26 of 26 Title: The Singles Released: 2017-06-16 Tracks: 23 Duration: 1:19:25 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Soul Desert (03:52) 2 She Brings the Rain (04:07) 3 Spoon (03:06) 4 Shikako Maru Ten (03:18) 5 Turtles Have Short Legs (03:25) 6 Halleluwah (edit) (03:38) 7 Vitamin C (03:33) 8 I’m So Green (03:05) 9 Mushroom (04:01) 10 Moonshake (03:02) 11 Future Days (edit) (03:24) 12 Dizzy Dizzy (edit) (03:30) 13 Splash (edit) (04:04) 14 Hunters and Collectors (edit) (03:23) 15 Vernal Equinox (edit) (03:11) 16 I Want More (03:32) 17 …and More (03:20) 18 Silent Night (03:13) 19 Cascade Waltz (03:37) 20 Don’t Say No (edit) (03:19) 21 Return (03:06) 22 Can Can (03:11) 23 Hoolah Hoolah (edit) (03:28) |
| The Singles : Allmusic album Review : German art rock innovators Can were known for creating relentlessly experimental albums boiled down from endless improvisational sessions, but they possessed a keen sensibility for writing offbeat pop songs. They released a decent amount of 45s, all of which are collected in one place for the first time on The Singles. Even though some of these selections appeared in longer form on the groups seminal albums, here theyre presented as three- or four-minute edits. In the case of tracks like Tago Magos sprawling centerpiece "Halleluwah" or the lovely riverside drift of Future Days title track, the single version distills them to their essence, concentrating on the moments with the heaviest grooves and most up-front vocals. Of course, Cans albums contained plenty of tracks that were obvious choices for singles, and tunes like the smooth, trippy "She Brings the Rain" and the immortal funk jams "Vitamin C" and "Mushroom" are among the most memorable and instantly appealing selections in the groups sprawling catalog. Two of the groups poppiest singles even managed to become genuine chart hits at the time of their release. The 1971 single "Spoon," which uniquely combined live drumming with a drum-machine pulse, reached the German Top Ten after it was featured as the theme song to a popular television program called Das Messer. A few years later, Cans cosmic disco single "I Want More" hit the U.K. Top 30, and even resulted in an appearance on the BBCs iconic Top of the Pops. Aside from songs like this, which are well known even to casual fans of the group, the collection contains a decent amount of rarities and lesser-known A-sides (particularly from the groups later, less canonical incarnations). Some of these are among the silliest pieces the group ever laid to tape. "Turtles Have Short Legs," a rare single from 1971, is particularly goofy, with Damo Suzuki giddily shouting over the songs supremely jaunty piano-led rhythm. Theres also a curious instrumental rendition of the Christmas standard "Silent Night." Even more head-scratching is "Can Can," a swirling, athletic interpretation of the familiar Jacques Offenbach melody, and the novelty single "Hoolah Hoolah," from Cans late-80s reunion album Rite Time (which featured the groups original vocalist, Malcolm Mooney). Songs like these are pretty trivial compared to the groups best work, but in the context of a run through the groups singles, theyre harmless whimsy. For all of their serious, avant-garde inclinations, Can could be awfully fun to listen to, and this alternate universe hit parade is a sterling demonstration of the group at its most immediate, energetic, and enjoyable. | ||