| $16.11
new to stock as of
january 6th, 2007
threads:
psych-prog
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| | | spoon (uk) #spoon 9316 cd can “delay 1968” hybrid compact disc and super audio compact disc - butterfly (8:20)
- pnoom (0:26)
- nineteen century man (4:18)
- thief (5:03)
- man named joe (3:54)
- uphill (6:41)
- little star of bethlehem (7:09)
| | a compilation of late 60s recordings with malcolm mooney, unearthed in the late 70s and issued for the time in the early 80s. this is the earliest set of recordings by the band commercially available... |
| | can
biography
june 2003 marked the 35th anniversary of the founding of can when holger czukay (bass), david johnson (flute), jazz drummer jaki liebezeit and beat guitar player michael karoli met in classical conductor and piano player irmin schmidt's cologne apartment in 1968. their first gig, a collage of rock music and tape samples, took place at schloss nörvenich (castle nörvenich, near cologne). the show is documented on the audio cassette prehistoric future.
the nameless collective had established its first studio, inner space, at the castle when american sculptor malcolm mooney, visiting irmin and hildegard schmidt, joined the band. his intuitive drive led the musicians toward a unique take on rock music and the track father cannot yell originated from one of these early sessions. david johnson, who by then had become the band's sound engineer, left at the end of 1968. around this period, the lack of a name was solved by mooney and liebezeit who came up with the can.
the first can album, monster movie (1969), defined can music. played and recorded spontaneously and driven by repetitive rhythms, the album was recorded directly on to a 2-track machine and then extensively edited. soundtracks featuring film scores from 1969 and 1970, was the next album. just after the record was released, malcolm mooney left the band and returned to the u.s. following a psychological breakdown. the mooney era is extensively documented on can - delay, released in 1982.
in may 1970, japanese singer kenji "damo" suzuki joined can after being spotted by holger czukay and jaki liebezeit busking in munich. the very same evening he performed with the band at the blow up club.
in december 1971, can founded the can studio - known as inner space until 1978 when can soundman rené tinner took over running the operation - in a former cinema in weilerswist, close to cologne. all subsequent can albums were produced there except rite time. the studio has now been painstakingly disassembled and is being reconstructed to scale as a working exhibit at the german rock'n'pop museum in gronau, near the dutch border.
the period 1970-2 was a breakthrough time for the band with tago mago (1971) impressing critics in england and france as well as germany. ege bamyasi, released in 1972, featured the track spoon, the theme tune for the crime thriller das messer and also the band's first chart success in germany. the track, which was the first time that can used an early version of a drum machine, led to a goldene europa tv award in recognition of can's soundtrack work. ege bamyasi also included the music from another tv crime series in the form of vitamin c.
the success of spoon inspired the band to try to reach a wider audience which led to the can free concert. the event was filmed by martin schäfer, robbie müller and egon mann for director peter przygodda at the cologne sporthalle on february 3rd, 1972. british music weekly melody maker wrote: "can are without doubt the most talented and most consistent experimental rock band in europe, england included." french magazine rock & folk portrayed can's music as "one of the most impressive musical experiments offered by contemporary bands."
future days (1973) was the last can album with damo suzuki. first michael karoli took over the vocal duties, followed by short interludes with a succession of singers, among them tim hardin. the recording of soon over babaluma that same year marked the end of the era of recording straight onto 2-track. landed (1975), was the first can lp to be produced using multi-track technology. the album led melody maker to call them "the most advanced rock unit on the planet."gary smith. |
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