Father Cannot Yell 7:05 Karoli, Czukay, Liebezeit, Schmidt, Mooney
Soup 3:03 Karoli, Czukay, Liebezeit, Schmidt, Mooney
Mother Sky 6:41 Karoli, Czukay, Liebezeit, Schmidt, Mooney
She Brings The Rain 4:07 Karoli, Czukay, Liebezeit, Schmidt, Mooney
Mushroom 4:31 Karoli, Czukay, Liebezeit, Schmidt, Mooney
One More Night 5:37 Karoli, Czukay, Liebezeit, Schmidt, Mooney
Outside My Door 4:11 Karoli, Czukay, Liebezeit, Schmidt, Mooney
Spoon 3:09 Karoli, Czukay, Liebezeit, Schmidt, Mooney
Halleluwah 5:39 Karoli, Czukay, Liebezeit, Schmidt, Mooney
Aumgn 7:08 Karoli, Czukay, Liebezeit, Schmidt, Mooney
Dizzy Dizzy 3:30 Music: Karoli, Czukay, Liebezeit, Schmidt
Words: Duncan Fallowell
You Doo Right 20:20 Karoli, Czukay, Liebezeit, Schmidt, Mooney


Publishing : Spoon - Music - Gema LC 7395

Compilation from CAN Records:


Monster Movie 1969
Soundtracks 1970
Tago Mago 1971
Ege Bamyasi 1972
Future Days 1973
Soon over Babaluma 1974


Holger Czukay bass
Michael Karoli guitar
Jaki Liebezeit drums
Irmin Schmidt keyboards
Damo Suzuki voc. on Title No.
Malcolm Mooney voc. on Title No.


Written and produced by CAN,
recorded and edited by Holger Czukay,
compilation and re-editing by Duncan Fallowell 1978

Lyrics for DIZZY DIZZY by Duncan Fallowell Cover Design : KAY KASSEL


by Pascal Bussy

CAN: a magical name and a significant one to many followers of contemporary music. Rarely in modern culture has a group of musicians generated such power and such paradox, achieving a unique universe of creation, matched in its variety only by its density. During the decade from 1968 to 1978 Can teased and provoked the boundaries of musical dogma, inventing and discovering sounds in a spirit that placed them at the forefront of a true avantgarde. Now, many years later, this spirit still lives in the hearts of many people.

"They are more original than it is possible to be", a critic once wrote, obviously impressed and intrigued by a band whose very lack of formula allowed them to formulate and manifest a music with rhythms, melodies and atmospheres at once beautiful, brutal, majestic, crude, sinister, transcendental. The music defies description yet begs it, and the key to any definition lies in the spontaneity in which it is conceived. The area in which CAN operates at any given time may be rock, blues, hard rock, jazz, experimental or ethnic, or any combination of these: but their own sound is immediately recognizable. If comparisons are to be made they need to be with James Brown, The Velvet Underground, John Coltrane, Miles Davis, Lee Perry, Steve Reich, some mysterious African voodoo combos...

With the music goes the philosophy of CAN, an ideal as well as a band, which has ground rules. At an artistic level this involves an openess at all times to other members of the band, listening intently to what the unit as a whole is producing rather than playing "solos". At a political level, being a true collective, arriving at decisions around the music, finances and so on, in lifestyle and attitude (e.g. toward the music business), and awareness of the whole situation, including the public. Hence CAN's principle of "instant composition" an interaction within the group often termed by fans and band alike as "telepathic". This method meant risk-taking but the results of such collective compositions were never less than exciting, "possible" or sometimes seemingly impossible...

When they began, the point at which they met was clear. Each wanted to change his life generally and specifically with regard to the music he was making: classical and contemporary music for Irmin Schmidt, experimental and modern works for Holger Czukay, free jazz for Jaki Liebezeit, traditional rock for Michael Karoli. Equally clearly CAN were pioneers. They never reached an enormous audience, but their reputation is still growing as the years pass. Their solo careers (as well as new collaborations together or with others, not to mention of course the CAN reunion in 1988) continue to prove that they are still able to innovate and surprise.

CAN never followed fashions, but always preceded them. They were the first to explore possibilities with ethnorock collages (the prophetic E.F.S. collection), came before the rise of interest in reggae and Pan African music, and inspired much of the New Wave. John Lydon, Cabaret Voltaire, Pete Shelley, Wire and the members of D.A.F. for example, all cite CAN as a major influence. Others, including David Byrne and the Eurythmics owe them a lot stylistically.

Then there are always the myths, the legends and the fascination.

CAN is from beyond. CAN is timeless.......Enjoy!

(Pascal Bussy is a French journalist, who published in 1986 THE CAN BOOK.)






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