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
Music : Irmin Schmidt
Text : Duncan Fallowell
Alcool 5:03 Schmidt / Fallowell
Le Weekend 4:46 Schmidt / Fallowell
Time The Dreamkiller 6:12 Schmidt / Fallowell
(C) & (P) Spoon Records



(SPOON 1984 LC 7395)
selected tracks : Neon Man, Nervous Breakdown

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



DELUGE (SPOON 1983 LC7395)
selected tracks: Home Truths

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



(EMI 1979, Spoon UK 1997)
selected tracks: Cool In The Pool, Persian Love

composed, recorded, mixed, edited and produced by Holger Czukay
advised by Conny Plank


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

(EMI 1981 / SPOON 1997)
selected tracks: Witches Multiplication Table, Ode To Perfume

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

(VIRGIN U.K.1984)
selected track: Der Osten Ist Rot

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



selected track: Rapido De Noir

composed and arranged by Irmin Schmidt & Bruno Spoerri
produced by Irmin Schmidt


Irmin Schmidt synths, keyboards
Bruno Spoerri lyricon, sopranino, tenor sax, synths


Recorded and mixed by Ron Kurz at Studio für Electronische Musik SPOERRI - Zürich

(Germany :WEA 1987, SPOON UK 1997)
selected tracks: Love, Alcool

composed, arranged and produced by Irmin Schmidt
lyrics by Duncan Fallowell


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

(Germany WEA 1991, SPOON UK 1997)
selected tracks: Le Weekend, Time The Dreamkiller

composed and arranged by Irmin Schmidt
lyrics by Duncan Fallowell
produced by Gareth Jones and 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


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