The first time I heard this album, sometime in 1995 A.K. (After Krautrocksampler), the song Butterfly scared me to death. Those big raw E chords, they just pound away at you as Malcolm Mooney goes increasingly spazzoman over some poor butterfly. I think I would have developed a fear of butterflies if I’d been exposed to this in nursery school! Has anyone ever played this song for their toddlers? What happened? The other songs are very cool as well. My other favorite is the last song, Little Star of Bethlehem (no, not that one). Froggie and Toadie get into some mischief involving coat hangers, tangerine seeds and popcorn (hmm, perhaps preparing for some kind of xmas gathering?…nah, that’s a stretch). Anyways, it’s really a great ramshackle clanking funky piece of music it is.
Is it possible to transfer your Native Instruments Komplete 7 license?
I know Can propellerhead you can easily transfer your Propellerhead Reason license. But can you transfer a Komplete 7 license if you decide to part with it? If so HOW?thanks!
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Tags: Butterflies, Coat Hangers, Fear, Froggie, Keyword, Little Star Of Bethlehem, Malcolm Mooney, Mischief, Nah, Nursery School, Piece Of Music, Poor Butterfly, Seeds, Star Of Bethlehem, Toddlers
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August 6th, 2010 at 6:52 pm
each song is a living thing with a pulse, sensually textured and wayward, and you’ll want to keep your finger on that pulse for as long as possible. anarchistic improvisation and clever editing techniques conspire in funky, rhythmically organic seizures; jazzy keyboard freakouts one moment, apparitional chinese scales the next. some of the improvisation (for example, several minutes straight of possessed scatting and gibberish) is just too absurdist and anti-musical to take seriously, but the amusing spectacle of it all should be enough to tide you over before the band gets back in serious mode with the underwater-sounding electronics of “bring me coffee or tea” or the understated yet frightening and apocalyptic “mushroom.” a subversive study in rhythm and texture, with tago mago can transcended rock ages before some bored journalist ever made up the term “post-rock.”
August 7th, 2010 at 6:32 am
People like to mention the bands that really stood out in the 70’s compared to other bands, such as Black Sabbath, the Moody Blues, Jethro Tull, the Who, and many others.
But Can. CAN!
All I can say is wow. Talk about *completely shocking*. An album like this that actually came out in the early 70’s? An album that sounds like NOTHING else at the time, and certainly 20 years ahead of its time, I don’t even know how to describe music like this. Is it electronica? Is it dance? Does it rock? Are the vocals good or annoying? Are they melodic or not? I really don’t know.
It’s all a fascinating blur that leaves me speechless. Tago Mago is a MUST for anyone who likes discovering bands from the early 70’s that sound like nobody else.
Probably the weakest point would be “Peking O”. This song doesn’t feel like much overall, and would fit in better with the more aimless moments on Pink Floyd’s Ummagumma.
“Augmn” includes some more mysterious choices of sounds and styles that, once again, are completely original considering the year this album was released. I could probably do without the lead singer acting like a ghost for over six minutes straight though. The drum solo at the very end is notable to me as feeling quite spiritual. The violin bursts come as quickly as they go, and the way they were put into the track is utterly fascinating.
“Halleluhwah” has some really good guitar soloing during the second half of this VERY lengthy track that almost reminds me of the Grateful Dead, however what is almost immediately mind-boggling about this song are the vocals. The vocals alone sound like they played a big part in the influence of early 90’s bands such as the Red Hot Chili Peppers. Seriously. Even the drum pattern behind the vocals feels like nothing else from the 70’s and would fit in perfectly with some of the early 90’s rock movements.
I don’t know what else to say other than… very very unusual how Tago Mago seems to be a colorful 73-minute ride of originality.
August 7th, 2010 at 6:20 pm
In 1971 Can released their third studio album (without counting the 1968 recordings “Delay”) titled “Tago Mago” and it marked the debut of Japanese vocalist Damo Suzuki. The four remaining members stayed the same with Michael Karoli on guitar, Holger Czukay on bass, Jaki Liebezeit on drums, and Irmin Schmidt on keyboards.
The first song “Paperhouse” runs for seven minutes and a half displaying a prog-rock feel in the first section somewhat similar to something that Pink Floyd could have done but the distinctive vocals of Suzuki are already in place. Before long, the mood changes and Jaki’s tribal drumming dominates while Karoli throws some lead guitar lines plus Suzuki’s strange whisperings. In the coda, some tremolo-laden keyboard notes are repeated making for a great ending. Without warning, the next song out “Mushroom” comes in; a composition dominated by a great drum beat from Liebezeit featuring a metallic snare drum sound with a lot of reverb. Suzuki shines also here providing some simple catchy vocal lines. Karoli pulls out the violin to play a slightly dissonant note here and there but the thing to really pay attention here is the keyboard work from Schmidt. This is a great example of his textural style of playing!
After the fade-out, the sound of thunder and rain is heard. Soon, a cool drum beat kicks in plus the trade-mark atmospheric keyboard work. Damo’s vocals are played backwards making for a dark and mysterious vibe. Towards the end the main structure shifts somewhat and Karoli delivers some mean bluesy licks till the fad-out. Excellent! The longest song clocking at 18:32 follows and it’s called “Halleluhwah”. Here, the band brings forward a psychedelic funk-rock sound with a killer drum rhythm that repeats nearly throughout its whole length. Listen carefully about four minutes into it… the drumming fades away and you’ll hear a cool, short bridge with some nice piano runs before it goes back to the main pattern. This could be described as early trance-rock! Simply awesome!
From now on, things gets more avant-garde and abstract with “Aumgn”, a seventeen-minute structure-less composition filled for the most part with experimental and strange electronic effects. Listen carefully during the first two minutes though…you’ll hear a cool dark melody on guitar from Karoli! This is where he might have invented the post-punk style of guitar playing! Keyboardist Schmidt chants the song’s title over and over in a droning manner and towards the end Liebezeit plays some tribal drumming. Great experiment!
The experimentation continues in “Peking O”, another long composition (11:35) which puts Suzuki on the front singing some eastern inspired chants in the intro. This track is notable for the use of a primitive electronic drum machine. Some apparently Chinese inspired melodies follow and soon Suzuki comes in to do this wild scat singing! The first time I heard this, it made me laugh! But wait! Towards the end the whole thing sounds like it’s going to collapse! The vocals get more manic and in addition, there’s some dissonant keyboard lines and some screeching violin as well…or is it a guitar? Well, I’m not sure!
The last piece “Bring Me Coffee or Tea” closes the LP in a much more accessible fashion. The vocals are more melodic/controlled and the textural keyboard work really shines here. Karoli plays some cool lead guitar too throughout this nearly seven-minute jam. A great LP ending!
Can is essential listening for those who enjoy the experimental nature of Kraut-Rock and I’d say “Tago Mago” is a good place to start!
Thanks for taking the time to read!
Later…
August 8th, 2010 at 6:34 am
Although unfairly singled out often as Can’s best, TM surely remains a high mark for early 70’s krautrock recordings, if anything for how out there some of the anti-musical, stream of consciousness sentiment actually gets. Make no mistake though that as self-gratifying as the psychedelic influence can get, a percussive and melodic backbone eventually come in to sweep up all excess debris.
August 8th, 2010 at 6:52 pm
By this point a history lesson on Can is probably not needed as their importance to the last 25 years of underground and not so underground music and their incredible musical legacy has been quite well documented. And we’re pretty excited about the recent renewed interest in Can resulting in the remastering and re-releasing of much of their back catalog. The aptly titled Delay was recorded in the late ’60s with Malcom Mooney on vocals. This is a way more stripped down, raw, proto-punk Can then maybe most folks are used to. Recorded around the same time as White Light/White Heat this shares the same blistering spirit that The Velvet Underground were exploring across the sea. We’ve no doubt mentioned Can as a huge influence on so many AQ favorites: Circle, No Neck Blues Band, Nurse With Wound, Throbbing Gristle, Radiohead, Tortoise, on and on and on…. but listening to Delay you begin to think that Can may just out-rock them all. A year or so before The Stooges would hit the scene, Can were already displaying such raw emotion and all out rock exuberance, that the world couldn’t help but be awed (if they’d heard it). Delay once again demonstrates that no matter what kind of sounds Can were working with they always managed to find the emotional core, and let it seep into every bit of music they made.
August 9th, 2010 at 6:59 am
The first, and the last song, are mammoth outstanding. Getting towards the middle of the album I notice myself doing a lot of fast-forwarding. But that’s OK. Any demo this band produced is better than 90% of recorded music. This is a weird album if you know Can’s early 70s stuff, since Delay sometimes sounds like if Deep Purple were an art-rock band. Which is really good. A lot of their signature devices are already falling into place, but a bit different that what you may have already heard.
August 9th, 2010 at 6:44 pm
“Delay 1968″ — titled as such because it’s release was delayed — I suppose they held on to it until the rest of us caught up to what they were doing here.
The album is a collection of the band’s first recordings which featured their most interesting vocalist, American singer Malcolm Mooney.
Originally these songs were slated to be the band’s first album which was to be called “Prepared To Meet Thy PNOOM”. But nobody was prepared to meet this PNOOM. So they recorded a more “commercial” album that would end up becoming their first offical release entitled “Monster Movie”. And, as you might have guessed, it’s impossible to see any commercial difference between the two. Both feature Malcolm Mooney and both kick against the fashion of the rock music of the day while setting the agenda for the coming decades. (Radiohead recently covered “Thief” some 30 odd years later).
The Malcolm Mooney Can is my personal choice of the best period of this excellent, restless, influential, and wide ranging band. And this, for me, is the best release from that period. So much so that I think it’s quite possibly the best album of the sixties — and yes, I’m aware the Beatles had a release the year before that many consider the best album of all time. But, I must say that I’ll take Can.
August 10th, 2010 at 6:53 am
everybody who knows can, knows that the tago mago-ege bamyasi-future days era was by far and away the most interesting and exciting, and, while good old tago has been reviewed almost 40 times here, ege bamyasi remains slightly ignored. come on! this album deserves equal attention people! anyway, sfter releasing what is arguably one of the greatest influences on modern rock music with tago mago the year before, can were faced with the tricky challenge of following it up. it would have been a mistake to try to make a sprawling epic, a tago mago part II really; tago mago sounded like a one-off when it was released and should remain that way. which i why i feel that the bands decision to assemble an much shorter album was so well chosen (not that the band were probably thinking this, they were always so implulsive anyway). ege bamyasi sounds like what chart topping pop would have sounded like if someone like joe meek had revolutionised pop music instead of the beatles: melodic, funky, inventive and funny. it begins with one of the longest tracks, and one with the strongest relationship to the music on tago. pinch is a ten minute jazz-funk workout with jaki liebezeit at the driving seat, proving that he was just as capable of incessant, complex grooves as funky, playful hard-hitting jazz improvisation. he is wonderful on the track, so much delicate touch and hard punches, the rest of the band follow with subtle touches: karoli’s wailing guitar feedback is pure minimalism, schmidt’s psych-funk keyboards, czukay’s snaking basslines and, of course, the incomprehensible suzuki mantras. it remains one of my favorite can tracks, and one of the strangest. the only other lengthy track is soup, which, at ten minutes-plus, can be filed away with augmn and peking o for collage madness. it is the weakest track here. starting with a loud, rather punky guitar section (the loudest bit on the album) it quickly discards all notions of structure in favour of bizarre ethno-percussion and keyboard vomiting. but why is it even here? fundamentally, it is no worse than the second half of tago mago, but it doesn’t seem necessary. i have heard that it was quickly recorded as a deadline loomed, and it sounds it. the reason i am happy to put up with augmn and peking o off tago mago but not this is that the delicious progression of atmosphere isn’t there as it was on TG. impressive, yes, but do you really want this shoved in the middle of such a wonderful album, taking up more than a quarter of the time? but, tig, augmn and peking o take up MORE than a quarter of the tago mago. true, but can you honestly say that you listen to those tracks every time you slot the album into your player? i doubt it. tago mago was perfectly designed for you to avoid those tracks if you didn’t want them… just listen from track 1 to 4 and then maybe whack on bring me coffee or tea. simple. those tracks were there if you really wanted to slip into the psychosis of the album’s trip, something which i have enjoyed doing. but not everytime. on this occassion you are practically forced to listen to it. especially when the standout previous track segues into it. vitamin c is a rampant bossanova stomp which is, amazingly, built almost entirely from drums, bass and vocals. the density of the sound they create here puts any band who needs to draft in a 40-piece orchestra to flesh out their music to shame. it just rocks! the chorus (yes, a chorus on a can ablum, and there are many more) is so dumbly catch it could only have been written by a genius or an idiot savant (stand up damo!) you’ll be humming this for years to come. elsewhere, sing swan song is a gorgeous ambient waltz, czukay’s subaquatic bass throbbing throughout and damo suzuki singing beatifully. the slightly eastern ambience only adds to the song’s mystique. one more night is the epitomy of minimalism, each band member contibuting the barest hint of melody and rhythm but producing an incredibly dense whole. the final two tracks are the most obviously conventional (in can’s terms) but are slightly obscured by coming right after soup. i’m so green is a light funky number with a playful melody and increasing pace while spoon (a number one single in native germany! why doesn’t this ever happen in england?) is a great showdown between jaki liebezeit and a drum machine driving an oddly anthemnic melody along. it ends the album on a playful note which begs “play me again”. and you do… a lot. the main problem (and the reason i can’t give the album 5 stars) is that the sequencing is all wrong. first three tracks, fine. in fact, the first four tracks are excellent, but with vitamin c blending so seamlessly into soup you either have to be very tactfull with your volume button, or suffer the horribly jarring experience of cutting a track off mid-flow to avoid soup. better would have been like this: 1, 2, 3, 6, 7, 4, 5. that way you can bask in the beauty of can at their weirdo-pop best and sink into their freak-out at the end of you wish. nevertheless, this is an unbelievable album, one which deserves more praise than it gets. it is just as full of inventiveness and verve as tago mago and more accessible too. this would be my first chioce of can album to introduce a friend to their immense work. as it stands it is some of the most mind-blowing music ever produced.
August 10th, 2010 at 6:26 pm
Let’s face it, if the members of Can were stock brokers back in 73′ they’d see Bill Gates comin’ from miles away. These guys are more than a genre, they took music to where it is today. Today’s pioneering bands like Stereolab, Tortoise, and the ambient soundscapes that proliferate (Tosca, Mouse on Mars, etc.),owe their livlihoods to Can. They are without a doubt one of the most influential bands ever. Let’s face it, no one ever came close to their originality then..or now.