  |
   |
   |
   |
   |
   |
 |
 |
  |
|
CANNIBALISM 3
|
|
| TITLE | TIME | WRITTEN BY |
| Neon Man | 3:52 | Liebezeit, Senger, Zerlett, Ancel |
| Nervous Breakdown | 4:46 | Liebezeit, Senger, Zerlett, Ancel |
| Home Truths | 6:06 | M. Karoli , P. Eltes |
| Yours & Mine | 4:50 | M. Karoli , P. Eltes |
| Cool In The Pool | 4:51 | Holger Czukay |
| Persian Love | 6:22 | Holger Czukay |
| Witches Multiplication Table | 4:53 | Holger Czukay |
| Ode To Perfume | 5:46 | Holger Czukay |
| Der Osten Ist Rot | 6:16 | Holger Czukay |
| Rapido De Noir | 6:55 | I.Schmidt, B. Spoerri |
|
Love
|
4:39
|
Music : Irmin Schmidt Text : Duncan Fallowell |
| Alcool | 5:03 | Schmidt / Fallowell |
| Le Weekend | 4:46 | Schmidt / Fallowell |
| Time The Dreamkiller | 6:12 | Schmidt / Fallowell |
|
SPOON-MUSIC /GEMA LC 7395
(C) & (P) Spoon Records |
|
|
JAKI LIEBEZEIT PHANTOMBAND: NOWHERE
(SPOON 1984 LC 7395)
All compositions, arrangements and words by PHANTOMBAND |
|
| Jaki Liebezeit | drums |
| Dominik von Senger | guitar | Helmut Zerlett | keyboards |
| Sheldon Ancel | voice |
|
|
processing by Holger Czukay and René Tinner
recorded at CAN-Studio, Weilerswist |
|
|
MICHAEL KAROLI
DELUGE (SPOON 1983 LC7395)
All tracks written, composed and arranged by Michael Karoli and Polly Eltes |
|
| Polly Eltes | Vocals |
| Michael Karoli | All instruments | Kai Althoff | Drums and percussion on "Home Truth" |
|
|
Recorded at Outer Space by Michael Karoli
Mixed at Outer Space, Nice, and at Silo, Soundsuite and Nicholas Sykes'studios, London |
|
|
HOLGER CZUKAY
MOVIES
composed, recorded, mixed, edited and produced by Holger Czukay
|
|
| Holger Czukay | vocals, guitar, keyboards, synthesizer, short waves, bass, French horn |
| Jaki Liebezeit | drums | Conny Plank | cemetery synthesizer violin on: "Witches Multiplication Table" |
|
|
recorded at CAN-studio
Mixed at Conny's studio Edited at Holger's LAB |
composed, recorded, mixed, edited and produced by Holger Czukay |
|
| Holger Czukay | vocals, guitar, organ, vocoder , bass, French horn, flute, radio, mouth organ, congas |
| Jaki Liebezeit | drums, congas | Reebop Kwaku Baah | Chicken Organ on "Cool In The Pool" |
|
|
recorded at CAN-studio
Mixed at Conny's studio Edited at Holger's LAB |
composed, recorded, mixed, edited and produced by Holger Czukay |
|
| Holger Czukay | dictaphone, vocals, guitar, bass, organ, French horn |
| Jaki Liebezeit | trumpet, trum, drums |
|
|
Recorded by René Tinner and Holger Czukay at CAN-Studio
Mixed and processed by Holger in his LAB |
|
|
IRMIN SCHMIDT
TOY PLANET: IRMIN SCHMIDT & BRUNO SPOERRI (SPOON 1981 Lc 7395)
composed and arranged by Irmin Schmidt & Bruno Spoerri
|
|
| Irmin Schmidt | synths, keyboards |
| Bruno Spoerri | lyricon, sopranino, tenor sax, synths |
|
| Recorded and mixed by Ron Kurz at Studio für Electronische Musik SPOERRI - Zürich |
composed, arranged and produced by Irmin Schmidt
|
|
| Irmin Schmidt | vocals, keyboards, synths |
| Michael Karoli | guitars |
| Jaki Liebezeit | drums |
| Trilok Gurtu | percussion |
| Franck Ema Otu | bass |
| Max Lässer | slide guitar on "Love" |
| Steve Baker | harmonica on "Love" |
| Manfred Schoof | flügelhorn on "Alcool" |
|
|
Recorded by Michael Karoli at Outer Space Studio, Nice, René Tinner at CAN-Studio, Weilerswist, Ron Kurz at Powerplay - Studios
Mixed at Powerplay Studios, Maur/Zürich by Ron Kurz Executive Producer : George Reinhart |
composed and arranged by Irmin Schmidt
|
|
| Irmin Schmidt | vocals, keyboards, synths |
| Michael Karoli | guitars |
| Jaki Liebezeit | drums |
| Steve Shehan | percussion |
| Franck Ema Otu | bass |
| Juan José Mosalini | bandoneon on "Time the Dreamkiller" |
| Geoff Warren | altosax on "Time the Dreamkiller |
| Gitte Haenning | backing vocals on "Le Weekend" |
| Özay Fecht | backing vocals on "Le Weekend" |
| Claudia Stülpner | backing vocals on "Le Weekend" |
|
|
Recorded by: Gareth Jones at Tritonus, René Tinner at CAN-Studio, Mathias Fallert at Studio Rossignols
Mixed by Gareth Jones at Tritonus-Studio, Berlin Executive Producer: George Reinhart |
|
CAN began to dissolve in 1977, with the departure of Holger Czukay, and by 1979 this process was complete and all its members were pursuing solo careers. But they continued to be involved in each other's projects. At the end of the 80s the original group reformed (with Malcolm Mooney on vocals) to produce an album RITE TIME (1989) which in my opinion is CAN's best since FUTURE DAYS. In fact the sense of authority is stronger than ever and this reflects the move towards more consciously crafted pieces which has occupied them all in the intervening years. JAKI LIEBEZEIT is the musician most regularly working with the others and his deep, hypnotic drum style is immediatly recognisable on many of their solo records. In the early 80s he formed the PHANTOMBAND which released three albums. Since then he has worked in many areas from avant garde jazz to pop but, as RITE TIME shows, CAN still provides the perfect vehicle for his mysterious brilliance. He has worked extensively with JAH WOBBLE and has been voted No.1 drummer worldwide in a NEW MUSICAL EXPRESS POLL. He lives in Cologne. MICHAEL KAROLI has moved to a riverbank in a gorge north of Nice. He has a studio there, where his first album DELUGE (1984) was recorded with British singer and actress POLLY ELTES. His guitar work, blazing or spidery, features extensively on the records of Holger Czukay and Irmin Schmidt, and the curves and jerks of the final sound disguise his famously fastidious studio technique. He is currently working on a solo album of songs with lyrics by Duncan Fallowell. HOLGER CZUKAY has had the most obviously successful pop career of any CAN member so far and his solo records sell in large numbers worldwide. In 1969 he released the album CANAXIS 5, two long electronic soundstreams incorporating Asian music and done in collaboration with Rolf Dammers. Ten years later he was the first CAN member to issue a solo work, MOVIES (1979) which defined his basic compositional method of editing sounds and music from various sources (including the radio) into a broad rhythmic framework or sometimes even simple song pattern. Technology is crucial to his music which like film, as opposed to theatre, is a recorded construct rather than a performed event : his instrument is the studio itself. This method, developed on further albums, ON THE WAY TO THE PEAK OF NORMAL (1981), THE EAST IS RED (1984), ROME REMAINS ROME (1987) RADIO WAVE SURFER (1991) and MOVING PICTURES (1993), has created a body of work which is characterised by the collision of technological virtuosity with emotional innocence. This has earned him the nickname 'The Mad Professor'. It has also been extremely influential and Czukay is certainly among the fathers of the studio wizardry of recent pop music. He has worked with ANNIE LENNOX and DAVID STEWART,JAH WOBBLE, DAVID SYLVIAN, BRIAN ENO, THE EDGE and the Japanese singer PHEW, and lives in Cologne. IRMIN SCHMIDT, who lives in Provence, is increasingly a composer, the creator of musical structures whose identity exists independently from their arrangement or from machines (although he often uses a wide range of electronic instrumentation). He can work on a large scale, a symphony, film scores (he has released 6 albums of film music, now collected into the CD - boxset "ANTHOLOGY SOUNDTRACKS 1978-1993"), and currently he is preparing the opera "GORMENGHAST", based on Mervyn Peake's "TITUS GROAN" books. But he is equally at home in the detailed confines of the songs he has been creating with the English writer Duncan Fallowell (who is also the librettist of GORMENGHAST). Apart from a volume of film music, Schmidt's first venture after CAN was a collaboration with BRUNO SPOERRI, TOY PLANET (1981), a mixed electronic and instrumental work of haunting romance. MUSK AT DUSK (1987) was his first album of songs in the true sense and marks the beginning of his collaboration with FALLOWELL; you have to go back to WEILL and BRECHT to find a composer and a writer working so curiously and effectively in the popular field. This has continued in the smoother but equally original IMPOSSIBLE HOLIDAYS (1991). Schmidt has been called a post modern composer. I don't know what this means but if it implies an art which sounds like the classical music of Mars, then there may be some use in the term. But Schmidt's work is perhaps only the most highly evolved example of that which marked CAN from the beginning: aggression somehow born from sophistication and beauty born from surprises: the endlessly fascinating love affair between harmony and discord, between the ancient and the unprecedented, the earthy and the unearthly. Dr. Guy Manners
|