Can - Monster Movie (1969)

Can - Monster Movie (1969)

rock | 1cd | eac-flac-cue-log-cover | 240MB

SACD 2004

Allmusic:
Can's debut is the only full-length, proper release to feature original vocalist Malcolm Mooney, whose free-form ranting is matched by a raw, aggressive dynamic unlike anything else in the group's canon; driving, dissonant songs like the extraordinary "Father Cannot Yell" and "Outside My Door" even owe a rather surprising debt to psychedelia and garage rock. More indicative of things to come is the closer, "Yoo Doo Right," a 20-minute epic built on the kinds of hypnotic motifs and minimal rhythms that quickly became Can trademarks.

Tracks
-1. "Father Cannot Yell" 7:06
-2. "Mary, Mary So Contrary" 6:21
-3. "Outside My Door" 4:11
-4. "Yoo Doo Right" 20:27

Personnel
* Irmin Schmidt – keyboards
* Jaki Liebezeit – drums
* Holger Czukay – bass
* Michael Karoli – guitar
* Malcolm Mooney – vocals

sample & buy: Monster Movie

 

Can - Live Music (1971-77) 2cd

Can - Live Music (1971-77)
(Can Box Music: Live 1971-1977)
rock | 2cd | eac-flac-cue-log-cover | 620MB

Spoon | rel: 1999

Allmusic:
Mute celebrated Can's 30th birthday with the release of the Can Box. Formed in Cologne, Germany, in 1968, the feckless sound experimenters went on to reach the lofty cult and seminal status of bands like the Velvet Underground and Mothers of Invention. The three-item box contains a double CD of live music recorded from 1971-1977; a book of history, interviews, reviews, and photos; as well as a video of a 1972 concert and a previously unreleased documentary made in 1988 and 1997. The CD is compiled from cassettes and other non-professional fan recordings with professional sound processing and mastering applied. Four of the pieces are extemporaneous jams that have as heretofore not seen the light of day. The tome proves to be of just such rare and personal content. The concert was a free event attended by over 10,000 when Can had placed "Spoon" (available on the Box album) into the number one chart position. The footage was made with help from Wim Wenders' film editor, Peter Przygodda. While this attention brought the group to do a small German tour where each member presented a solo project, there were no plans for a reunion.

Tracks
cd1
-1. "Jynx" (Karoli, Czukay, Liebezeit, Schmidt) – 16:06
14th Oct 1975, Giessen, Universität
-2. "Dizzy Dizzy" (Karoli, Czukay, Liebezeit, Schmidt) – 8:02
19th Nov 1975, Brighton, Sussex University
-3. "Vernal Equinox" (Karoli, Czukay, Liebezeit, Schmidt) – 12:44
19th Nov 1975, Brighton, Sussex University
-4. "Fizz" (Karoli, Czukay, Liebezeit, Schmidt, Rosko Gee) – 6:27
2nd Mar 1977, Keele, University of Keele
-5. "Yoo Doo Right" (Karoli, Czukay, Liebezeit, Schmidt, Mooney) – 14:26
4th May 1975, Croydon, Greyhound
-6. "Cascade Waltz" (Karoli, Czukay, Liebezeit, Schmidt) – 4:48
23rd Mar 1977, London, Sound Circus
cd2
-1. "Colchester Finale" incl. "Halleluhwah" (Karoli, Czukay, Liebezeit, Schmidt, Suzuki) – 37:24
8th May 1972, Colchester, University of Essex
-2. "Kata Kong" (Karoli, Czukay, Liebezeit, Schmidt) – 8:28
21st Nov 1975, Hatfield, Hatfield Polytechnic
-3. "Spoon" (Karoli, Czukay, Liebezeit, Schmidt, Suzuki) – 14:23
3rd Feb 1972, Cologne, Sporthalle

Personnel
*Holger Czukay – bass (1972–1975); short wave radio, sampler & electronic treatments (1977)
*Michael Karoli – guitar, vocals
*Jaki Liebezeit – drums, percussion
*Irmin Schmidt – keyboards
*Damo Suzuki – vocals (1972 only)
*Rosko Gee – bass (1977 only)

sample & buy: Can Box Music: Live 1971-1977

Can - Soundtracks (1970) (SACD) (eac-log-cover)

Can - Soundtracks (1970)

rock, soundtrack | 1cd | eac-flac-cue-log-cover | 250MB

Spoon | SACD | 2004 remaster

Allmusic:
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: Suzuki's odd, strangulated vocals fit far more comfortably into the group's increasingly intricate and subtle sound, allowing for greater variation than that allowed by Mooney's stream-of-consciousness discourse.
Wikipedia:
Soundtracks is a soundtrack 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 first recordings (i.e., Monster Movie and Delay 1968) to the more meditative, electronic, and experimental mode of the studio albums that followed (such as Tago Mago and Ege Bamyasi).
"She Brings the Rain" was later featured in Wim Wenders' 1994 film Lisbon Story, the 2000 Oskar Roehler film Die Unberührbare and Tran Anh Hung's film Norwegian Wood, released in 2010.
"Don't Turn the Light On, Leave Me Alone" features Damo Suzuki's first recorded performance with Can.
In March 2005, Q magazine placed "Mother Sky" at number 48 in its list of the 100 Greatest Guitar Tracks.

Tracks
-1. "Deadlock" – 3:27 (from the film [[Deadlock, 1970, dir. Roland Klick)
-2. "Tango Whiskyman" – 4:04 (from the film Deadlock, 1970, dir. Roland Klick)
-3. "Deadlock (Titelmusik)" – 1:40 (from the film Deadlock, 1970, dir. Roland Klick)
-4. "Don't Turn the Light On, Leave Me Alone" – 3:42 (from the film Cream)
-5. "Soul Desert" – 3:48 (from the film Mädchen... nur mit Gewalt, 1970, dir. Roger Fritz. Cited on album sleeve as "Mädchen mit Gewalt")
-6. "Mother Sky" – 14:31 (from the film Deep End, 1971, dir. Jerzy Skolimowski)
-7. "She Brings the Rain" – 4:04 (from the film Bottom - Ein großer graublauer Vogel 1971, dir. Thomas Schamoni)

Personnel
* Holger Czukay – bass, double bass
* Michael Karoli – guitar, violin
* Jaki Liebezeit – drums, percussion, flute
* Malcolm Mooney – vocals on "Soul Desert" and "She Brings the Rain"
* Irmin Schmidt – keyboards, synthesizers
* Damo Suzuki – vocals on "Deadlock", "Tango Whiskyman", "Don't Turn the Light On, Leave Me Alone" and "Mother Sky"; percussion

sample & buy: Soundtracks

Can - Delay (1968) (2007 remaster) (eac-log-cover)

Can - Delay (1968)

rock | 1cd | eac-flac-cue-log-cover | 270MB

Spoon | 2007 remaster

Allmusic:
Although recorded in the late '60s, the material included on Can's Delay...1968 did not appear commercially until 1981. A collection of cuts featuring early vocalist Malcolm Mooney, these seven songs are among the very first Can tunes ever recorded; while nowhere near as intricate or assured as the group's later work, the visceral energy of tracks like the deranged "Uphill" and "Butterfly" is undeniable.

Tracks:
-1. "Butterfly" 8:20
-2. "Pnoom" 0:26
-3. "Nineteen Century Man" 4:26
-4. "Thief" 5:03
-5. "Man Named Joe" 3:54
-6. "Uphill" 6:41
-7. "Little Star of Bethlehem" 7:09
Total length: 35:48

Personnel:
* Holger Czukay – bass
* Michael Karoli – guitar
* Jaki Liebezeit – drums, percussion
* Irmin Schmidt – keyboards
* Malcolm Mooney – vocals

sample & buy: Delay

Can - Saw Delight (1977) (SACD) (eac-log-cover)

Can  - Saw Delight (1977)

rock | 1cd | eac-flac-cue-log-cover | 330MB

Spoon Records | SACD 2006

AMG:
Bearing bar none the worst title pun of any Can album -- and with titles like Cannibalism, that's saying something -- 1977's Saw Delight was the German progressive group's 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. What's 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, Can's senior drummer basically rolls over, keeping time with simple beats while the percussionist takes on the hard work. Similarly, Rosko Gee's 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 doesn't make much of. On the up side, the opening "Don't Say No" recalls the controlled fury of earlier tunes like "Moonshake," and side two, consisting of Gee's 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 there's a tired, somewhat dispirited vibe to the whole album that makes it an unsatisfying send-off to Can's career.

Tracks:
-1. "Don't Say No" >6:36
-2. "Sunshine Day and Night" >5:52
-3. "Call Me" >5:51
-4. "Animal Waves" >15:29
-5. "Fly by Night" >4:08
Total length: 37:29

Personnel:
* Holger Czukay – wave receiver, spec. sounds & vocals on 1
* Michael Karoli – guitar, electric violin & vocals on 1, 5
* Jaki Liebezeit – drums & vocals on 1
* Irmin Schmidt – keyboard, Alpha 77 & vocals on 1
* Rosko Gee – bass & vocals on 1, 3
* Rebop Kwaku Baah – percussion & vocals on 1

sample & buy: Saw Delight (SACD)

Can - Tago Mago (1971) (eac-log-cover)

Can - Tago Mago (1971)

rock | 1cd | eac-flac-cue-log-cover | 490MB

Spoon | 2004 SACD remaster

AMG:
With the band in full artistic flower and Suzuki's 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; Karoli's and Schmidt's always impressive fills and leads; and Suzuki's 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.

Tracks:
-1. "Paperhouse" 7:28
-2. "Mushroom" 4:03
-3. "Oh Yeah" 7:23
-4. "Halleluhwah" 18:32
-5. "Aumgn" 17:37
-6. "Peking O" 11:37
-7. "Bring Me Coffee or Tea" 6:47

Personnel:
* Damo Suzuki – vocals
* Holger Czukay – bass, engineering, editing
* Michael Karoli – guitar
* Jaki Liebezeit – drums, double bass, piano
* Irmin Schmidt – keyboards, vocals on "Aumgn"

sample & buy: Tago Mago

rc

Can - Flow Motion (1976)

Can - Flow Motion (1976)
rock | 1CD | EAC Rip | FLAC+CUE+LOG | cover
Spoon Music | RAR +5% recovery | 250MB

# Artist: Can
# Release Date: 1976
# Total Time: 37:37
# Genre: Rock

amg:
The second of Can's three Virgin albums, 1976's Flow Motion, is a divisive record in the group's 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 group's feint toward commercial success. That fluke hit aside, the charge doesn't really hold water. There's a newfound smoothness to the group's 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 Can's very best albums, Flow Motion deserves better than its poor reputation in some circles.

Composed, written and produced by Can. Lyrics by Peter Gilmour. "Cascade Waltz" was produced by Can and Simon Puxley.
It was recorded at Inner Space Studio, Cologne by Holger Czukay and Rene Tinner and was mixed by Manfred Schunke at Delta Acoustic Studio, Wilster, Germany.

1, I Want More (3:34)
2, Cascade Waltz (5:37)
3, Laugh Till You Cry, Live Till You Die (6:38)
4, ...and More (2:48)
5, Babylonian Pearl (3:32)
6, Smoke (E.F.S. No. 59) (5:19)
7, Flow Motion (10:29)

links:
Hotfile
pass: kipp-kopp