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The late 1960's were a magical time in popular music. While there
were explosions in rock and jazz, a couple of nutty European students
got together and formed a band to make modern classical music.
They called their band Can. Many people have never heard
of them, and that may be for the best. Can's music is a smorgasbord
of sound, blending early sampling with reactionary pop and classical
structures. It wasn't music for the simple minded. It was music
that made the listener react; a thing that seems lost in much
of today's rock music.
Mute Records has just re-issued remastered editions of the first
four Can records, and each one sounds better than it ever did
before. Rather than expanding track lists and adding bonus songs,
these reissues are more about sound quality. Each of the CDs has
been digitally remastered by the musicians from Can themselves,
and each one is compatible in normal stereo CD players, as well
as the new generation of higher quality SACD players. In essence,
this process has produced records that sound more like they were
originally meant to sound than if remastered by someone not related
to the original project.
The music is as timeless and captivating as it ever was, but
cleaner and crisper in sound. Monster Movie, the debut
Can release, is an exercise in musical flexibility. Progressive
in its sound, filled with keyboards and oddly undulating bass
lines, the songs are hard to listen to at times. Very reminiscent
of the early Velvet Underground work, these songs tell
stories that amble along magically and then coalesce into a final
thrust of sound. Foregoing the rock norms of the time, this is
a stand out record for anyone who wants to know where the prog-rock
movement had its roots. Without Can, there may never have been
many of the bands of the 70's keyboard scene. Four songs in just
over 40 minutes set a record for length, railing against popular
music convention.
Soundtracks is a classic album cover, one that will be
recognized by anyone who has ever spent hours pouring through
stacks of records (or CDs) at their local independent shop. This
record is classic and epic for those who lived through the time
when it was released. Each song pulled from the soundtrack of
a movie that Can had previously contributed music to, the songs
are varied in their presentation, each one invoking moods that
surely reinforced the screen's images. The oddly rolling "Tango
Whiskyman" and the classic "Don't Turn The Light On,
Leave Me Alone" (the first appearance of Damo Suzuki
with Can) are prime examples of the culmination of the early years
of Can's work as a force in the modern musical world of the late
60's; incorporating varied instrumentation, pushing boundaries,
and creating music that would obviously stand the test of time.
Tago Mago is enthralling, filled with the new voice of
Damo Suzuki and a renewed freshness. The music strays closer to
the likes of British Invasion sounds, incorporating more modern
pop elements and straying from some of the more abrasive elements
found on Monster Movie. The guitar work is clean, and the
drums are enormous. Much easier to listen to for extended amounts
of time, these songs are built a bit more traditionally in a pop-rock
sense. However, the songs continue to stretch into eighteen minute
anthems of exploration, giving us seven tracks in about 70 minutes.
Ege Bamyasi, with it's okra tin can artwork, is forever
a classic album cover. The music behind the art is enthralling,
as new arenas of pop music are once again explored. Incorporating
a bit more jazz into the sound, these songs trim down a bit in
length, clocking seven songs in just under 40 minutes. The songs
are more listenable at times, but also stray into Frank Zappa-esque
experimentation. The classic "Pinch" could possibly
have set Frank upon his odd journeys with the Mothers Of Invention.
The voice of Damo Suzuki is matured and has a depth that was missing
on Tago Mago, showing his growth as a singer and contributor to
the band's sound. This record moves from sound to sound, possibly
fulfilling the band's goal as modern classical music best of any
of their records. One listen to "Sing Swan Song" will
prove it.
Each of the CDs includes not only the original album artwork,
but liner notes and additional photographs culled from the archives.
This historic re-release of such monumental albums is sure to
inspire a new generation of rock makers, hopefully providing
the impetus for a return to a truly active and creative musical
world.
-Embo Blake
Track Lists:
Monster Movie
1. Father Cannot Yell
2. Mary, Mary So Contrary
3. Outside My Door
4. Yoo Doo Right
Soundtracks
1. Deadlock
2. Tango Whiskeyman
3. Deadlock (instrumental)
4. Don't Turn The Light On, Leacve Me Alone
5. Soul Desert
6. Mother Sky
7. She Brings The Rain
Tago Mago
1. Paperhouse
2. Mushroom
3. Oh Yeah
4. Halleluhwah
5. Aumgn
6. Peking O
7. Bring Me Coffee Or Tea
Ege Bamyasi
1. Pinch
2. Sing Swan Song
3. One More Night
4. Vitamin C
5. Soup
6. I'm SO Green
7. Spoon
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