Are Original Pressings Invincible? Can: Tago Mago + Ege Bamyasi

Germany
Can Tago Mago: https://amzn.to/3fMzv1M
Can Ege Bamyasi https://amzn.to/3rAysEF
USA
Can Tago Mago: https://amzn.to/3EqTmO7
Can Ege Bamyasi https://amzn.to/3yoftRE
United Kingdom
Can Tago Mago: https://amzn.to/3ejnT5I
Can Ege Bamyasi https://amzn.to/3Ch8zOX



Can (stylised as CAN) was a German experimental rock band formed in Cologne in 1968 by Holger Czukay (bass, tape editing), Irmin Schmidt (keyboards), Michael Karoli (guitar), and Jaki Liebezeit (drums). The group used several vocalists, most prominently the American Malcolm Mooney (1968–70) and the Japanese Damo Suzuki (1970–73).[8] They have been widely hailed as pioneers of the German krautrock scene.[8][9]

Coming from backgrounds in the avant-garde and jazz, Can blended elements of psychedelic rock, funk, and musique concrète on influential albums such as Tago Mago (1971), Ege Bamyasi (1972) and Future Days (1973).[8][10] Can also had commercial success with singles such as "Spoon" (1971) and "I Want More" (1976) reaching national singles charts. Their work has influenced rock, post-punk, ambient, and electronic acts.
The roots of Can can be traced back to Irmin Schmidt and a trip that he made to New York City in 1966. While Schmidt initially spent his time with avant-garde musicians such as Steve Reich, La Monte Young and Terry Riley, he was also eventually exposed to the world of Andy Warhol and Hotel Chelsea. In his own words, the trip "corrupted" him, sparking a fascination with the possibilities of rock music. Upon his return to Cologne later that year, an inspired Schmidt formed a group with American avant-garde composer and flautist David C. Johnson and music teacher Holger Czukay with the intention of exploring his newly broadened horizons.

When I founded the group I was a classical composer and conductor and pianist making piano recitals, playing a lot of contemporary music but also Brahms, Chopin and Beethoven and everything. And when we got together I wanted to do something in which all contemporary music becomes one thing. Contemporary music in Europe especially, the new music was classical music was Boulez, Stockhausen and all that. I studied all that, I studied Stockhausen but nobody talked about rock music like Sly Stone, James Brown or the Velvet Underground as being contemporary music. Then there was jazz and all these elements were our contemporary music, it was new. It was, in a way, much newer than the new classical music which claimed to be 'the new music'.

— Schmidt, in a 2004 interview
Up to that point, the inclinations of all three musicians had been exclusively avant-garde classical. In fact, both Schmidt and Czukay had directly studied under the influential composer Karlheinz Stockhausen.[12] Schmidt chose to play organ and piano, while Czukay played bass and was able to record their music with a basic two-track tape machine. The group was soon fleshed out by guitarist Michael Karoli, a 19-year-old pupil of Czukay, and drummer Jaki Liebezeit, who had grown disenchanted with his work in free jazz groups. As the group developed a more rock-oriented sound, a disappointed Johnson left the group at the end of 1968.

The band used the names "Inner Space" and "the Can" before finally settling on Can, stylised in all caps. Mooney suggested the name due to its positive meanings in various languages.[13] For example, in Turkish, a language much heard in Germany, "can" may mean, depending on the context, "life, soul, heart, spirit, beloved and vitality".[14] Liebezeit later suggested the backformation acronym "Communism, Anarchism, Nihilism", after an English magazine claimed this was the intended meaning.[15]

Early years: 1968–70
Around September 1968,[16] the band enlisted the creative, highly rhythmic, but unstable and often confrontational American vocalist Malcolm Mooney, a New York-based sculptor, with whom it recorded the material for an album, Prepared to Meet Thy Pnoom.[17] As "Inner Space", and with both Johnson and Mooney present, the band appeared briefly in the 1969 film Kamasutra: Vollendung der Liebe backing singer Margarete Juvan. Unable to find a recording company willing to release the album, the group continued its studio work until it had material for what became its first release, Monster Movie (1969). This album contained new versions of two songs previously recorded for Prepared to Meet Thy Pnoom, "Father Cannot Yell" and "Outside My Door". Other material recorded around the same time was released in 1981 as Delay 1968. Mooney's ranting vocals emphasized the music's sheer strangeness and hypnotic quality, which was influenced particularly by garage rock, psychedelic rock and funk. Repetition was stressed on bass and drums, particularly on the track "Yoo Doo Right", which had been edited down from a six-hour improvisation to take up a mere single side of vinyl. Liebezeit's tight but multifarious drumming was crucial in carrying the music.


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