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Can: Michael Karoli (vocals, guitar, bass); Irmin Schmidt (keyboards, synthesizer); Rosko Gee (bass); Jaki Liebezeit (drums); Reebop Kwaku Baah (percussion).
Recorded at Inner Space Studios, Weilerswist, Germany in 1978.
1979's Can release (later entitled Inner Space) signified an end to the band's bewildering experimental efforts and atmospheric free-for-alls. By this time, Can had worn out their avant-garde style and electronic psychedelia, and with Holger Czukay's credits reading as editor rather than musician, the decline was somewhat incontrovertible. The hiring of percussionist Reebop Kwaku Baah and bass player Rosko Gee two years prior, both of Traffic fame, made the situation a little better, but not enough to rekindle Can's uniquely flavored sound of old. The two opening tracks, "All Gates Open" and "Safe," are straight-ahead pieces, with only fragments of effects and decorative devices aiding Michael Karoli's vocals, but both songs do employ some avid keyboard inundations from Irmin Schmidt. With recognizable guitar riffs taking the place of what used to be outpourings of distortion and rumbling feedback, Can takes on a milder, calmer tone the whole album through. "Ethnological Forgery Series No. 99" is the album's most attractive cut, which is actually an electronic creation of "Can Can," implementing overruns of blurry guitar and sharp synthesizer in order to create the traditional melody. The three minutes of "Can Be" is pure synth and percussion...simple-sounding and far from baffling. Can shows numerous signs that the band was ready to pack it in, and not long after the release of the album, they did. With Czukay and other members departing for solo careers, Can was the group's last collaboration. They re-formed ten years later for Rite Time, but this proved disappointing as well. ~ Mike DeGagne
This one suffers without bassist Holger Czukay, and from overblown pop keyboards. ~ Myles Boisen
Can briefly disbanded in 1977, but three of the core members reformed the next year to produce the mildly disappointing OUT OF REACH. The same three--Irmin Schmidt, Michael Karoli and Jaki Liebezeit--continued the following year with the much-improved CAN, an album which largely picks up where the final quartet album, 1977's SAW DELIGHT, left off.
The trio knew during the sessions that this would be the final Can album, barring compilations and occasional temporary reunions, some of which involved original singers Malcolm Mooney and Damo Suzuki, and there's a hint of valedictory sadness in tracks like "All Gates Open" and "Can Be." However, the mood is far from somber. "A Spectacle," which features tape loops and electronics by former member Holger Czukay, is as exciting as anything the band ever did, and the amusing "Can Can" is an in-joke finish to a spectacular career.Mojo (Publisher) (1/95, p.112) - "...charts 25 years of musical pioneering, peaking with 'Future Days', a dazzling collision of funk and electronics. The best of Can music has a spare, wayward beauty that has strongly influenced a younger generation..." **Super Audio CD (SACD) Hybrid**
This CD will play in standard CD players.
A Super Audio CD player is required to take advantage of the SACD sound technology. Can Music | List Price | $16.98 (You save $2.43) | | Category | Rock/Pop Albums, Rock CDs, Pop, Alternative, Art Rock, Kraut Rock, Enhanced CD, Super Audio | | Label | Mute | | Orig Year | 1979 | | All Time Sales Rank |  52780  | | CD Universe Part number | 7062254 | | Catalog number | 9319 | | Discs | 1 | | Release Date | May 30, 2006 | | Studio/Live | Studio | | Mono/Stereo | Stereo | | Producer | Can | | Engineer | Rene Tinner | | Personnel | Jaki Liebezeit - drums
Irmin Schmidt - keyboards, synthesizer
Michael Karoli - vocals, guitar, bass
Rosko Gee - bass
Reebop Kwaku Baah - percussion
| | Additional Info | SACD Hybrid; Remastered |
Can Review
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Purchase Can CD To buy, Click on price to add to cart | Can Unlimited Edition CD (1976) Remastered
Can
 $14.55  
Can: Damo Suzuki, Malcolm Mooney (vocals); Michael Karoli (guitar, shenai); Jaki Liebezeit (winds, drums, percussion); Irmin Schmidt (keyboards, synthesizer); Holger Czukay (bass).
Recorded at Can Studio, Weilerswist, Germany between September 1968 and July 1975.
This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.
Expanding the original Limited Edition release to a full double-LP/single-CD set, Unlimited is very much a dog's breakfast -- albeit a highly entertaining one -- of previously unreleased performances. Suzuki and Mooney take the spotlight on some songs, while on others the key foursome go at it in their usual way. A number of songs are mere snippets, like the vaguely tribal-sounding "Blue Bag," while one tune, the 20-minute "Cutaway," from 1969, is a sprawling pastiche of oddities. (Keep an ear out for the very formal request to keep modulations in frequency with other bandmembers!) Five cuts are listed as part of the band's continuing Ethnological Forgery Series, on which they recreate or interpret a variety of world musics through their own vision. The majority of songs come from 1968-1971 -- manna from heaven for those interested in the band's roots. Many cuts show off the varying abilities of the players. Leibezeit plays wind instruments on five separate cuts, while Schmidt is credited with "schizophone" on the Mooney-sung funk-soul of "The Empress and the Ukraine King." Though a few tracks are seemingly here to fill space, a lot of what's present easily stands up on its own, and with the band's legend as well. The opening cut, "Gomorrha," recorded after Suzuki's departure, is quite fine, an understated but still epic piece with lovely keyboards from Schmidt and intoxicating Karoli guitar. On the Suzuki-era cut "I'm Too Leise," Leibezeit's medieval flutes and light percussion add to a half-folk/half-something-else vibe. Mooney gets an interesting moment of glory with "Mother Upduff," a spoken-word tale of touris
| | Can Landed CD (1975) Remastered
Can
$14.55
Can: Michael Karoli (vocals, guitar, violin); Irmin Schmidt (vocals, keyboards); Holger Czukay (vocals, bass); Jaki Liebezeit (woodwinds, drums, percussion).
Additional personnel: Olaf Kubler (tenor saxophone).
Recorded at Inner Space Studio, Weilerswist, Germany in 1975.
This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.
Another erratic waxing features some great guitar and Babaluma-style grooves, but is unfocused on the whole. ~ Myles Boisen
1975's LANDED is among the most controversial titles in the hefty Can catalog. Opinion varies as to whether it is the last great Can album or a dismal failure that represents the beginning of the end for the legendary German band. The fact is that LANDED is both. And, no matter how you feel, LANDED is too complex an album to submit to such a simplistic good/bad dichotomy.
LANDED can't be dismissed offhand, if only because the album directly follows Can's high-water mark, SOON OVER BABALUMA. Such tracks as "Half Past One" and "Red Hot Indians" repeat BABALUMA's electrifying recombination of pan-cultural rhythms and ethnic flavors but suffer from a lack of definition. A prog-rock mentality creeps into LANDED, manifested with such telltale symptoms as showy musicianship ("Vernal Equinox"), odd keyboard fills, and overly glossy production. But there's excellent material here. The closing "Unfinished" explores an impressive composite soundscape reminiscent of Teutonic contemporaries Faust. "Vernal Equinox" scales multiple peaks between its excesses. "Full Moon on the Highway" and "Hunters and Collectors" bristle with eccentric pop flourishes. The album as a whole may be uneven, but LANDED is still unmistakably Can.
| | Can Delay CD (1981) SACD Hybrid; Remastered
Can
$14.95 
Can: Malcolm Mooney (vocals); Michael Karoli (guitar); Irmin Schmidt (keyboards); Holger Czukay (bass); Jaki Leibzeit (drums).
Recorded at Schloss Norvenich, Germany in 1968 & 1969.
Although recorded in the late '60s, the material included on Can's Delay...1968 did not appear commercially until 1981. A collection of cuts featuring early vocalist Malcolm Mooney, these seven songs are among the very first Can tunes ever recorded; while nowhere near as intricate or assured as the group's later work, the visceral energy of tracks like the deranged "Uphill" and "Butterfly" is undeniable. ~ Jason Ankeny
A ragged-but-right Can recorded the material found on DELAY before and after completing 1968's official debut, MONSTER MOVIE. Literally delayed, this important document of the band's beginnings was edited from archival tapes by bassist and co-founder Holger Czukay and didn't see release until 1981. It's a surprisingly strong collection that's redolent of the group's influences (Stooges, Hendrix, Velvet Underground, Captain Beefheart, perhaps the 13th Floor Elevators) and sheds light on Can's formative years.
"Butterfly" kicks off DELAY in an immediately recognizable mode. Czukay, superb drummer Jaki Liebezeit, and guitarist Michael Karoli lock into a mesmerizing, maze-like groove while expatriate American artist Malcolm Mooney extemporizes a parched mantra about how "dying butterfly began to fly," and keyboardist Irmin Schmidt fills the spaces with dissonant, seesawing electronics. If possible, "Little Star of Bethlehem," a spoken/sung saunter through feedback-streaked Band of Gypsies territory, and the fragment "Pnoom" are even more art-damaged. Schmidt's synthesizers lend an appealingly woozy psychedelic glaze to "Thief," an ambitious number couched in Karoli's spindly, melodic phrasing. "Man Named Joe" is warped rockabilly with a falsetto scat and wheezy, harmonica-like synth. The irresistible "Nineteen Century Man" and "Uphill" mine an arty funk-punk groove
| | Can Flow Motion CD (1976) SACD Hybrid; Remastered
Can
$14.59
Can: Michael Karoli (vocals, slide guitar, electric violin, baglama); Irmin Scmidt (vocals, keyboards); Holger Czukay (bass, djun, background vocals); Jaki Liebezeit (drums, percussion, background vocals).
Recorded at Inner Space, Weilerswist, Germany in 1976.
The second of Can's three Virgin albums, 1976's Flow Motion, is a divisive record in the group's canon. It was their most commercially successful album (the opening track, "I Want More," was released as a single in the U.K. and actually charted, thanks to its smoothly percolating near-disco groove, which makes it resemble a late-period Roxy Music hit), but many fans dismiss it as the group's feint toward commercial success. That fluke hit aside, the charge doesn't really hold water. There's a newfound smoothness to the group's interplay, which Holger Czukay attributes to an interest in reggae music, yet the Caribbean influence is quite subtle; only on "Cascade Waltz" and, particularly, "Laugh Till You Cry Live Till You Die" is there a noticeable reggae lilt. The two highlight tracks are "Smoke," a wild, Moroccan-styled entry in their ever-growing Ethnological Forgery Series, and the limber title track, a ten-and-a-half minute instrumental groove that recalls the best moments of earlier albums like Soon Over Babaluma. By no means one of Can's very best albums, Flow Motion deserves better than its poor reputation in some circles. ~ Stewart Mason
1976's FLOW MOTION is probably Can's most immediately accessible album, borne out by the fact that the opening track, "I Want More," was the group's sole chart hit in Britain. The album title is uncannily (sorry) descriptive; this music flows with the sinuous grace of a dancer.
The Stockhausen-influenced repetition that marked their earlier records is still evident here, but Holger Czukay's bass has a new limberness and melodic bent, showing a fresh appreciation of the supple rhythms of reggae and other Carribean musics. Czukay's bass combines with Michael Ka
| | Can Rite Time CD (1989) SACD Hybrid; Remastered
Can
$14.49
Can: Malcolm Mooney (vocals); Michael Karoli (guitar, pocket organ, bass, background vocals); Holger Czukay (French horn, synthesizer, bass); Irmin Schmidt (keyboards, kimbele); Jaki Leibezeit (drums, percussion).
Recorded at Outer Space Studio, Nice, France in December 1986.
An unexpected reunion from Can (made even more unexpected by the presence of original singer Malcolm Mooney, who left the band in 1969), 1989's Rite Time is in large part a return to form for the group, especially when one considers how weak Can's last few '70s albums were. Wisely, the quintet doesn't try to replicate the sound they created over two decades before on albums like Monster Movie. Instead, Mooney and company make Rite Time a document of where they're at musically at the time. In short, it's funkier ("Give the Drummer Some"), funnier ("Hoolah Hoolah," which takes that old schoolyard rhyme about how they don't wear pants on the other side of France as the jumping-off point for its melody and lyrics), and more abstractly ambient (the elliptical closer "In the Distance Lies the Future") than before. Rite Time doesn't have the rubbery, polyrhythmic intensity of classic Can albums like Ege Bamyasi or Future Days, but it's a solidly listenable album that, unlike the majority of reunion albums, doesn't soil the memory of the band. ~ Stewart Mason
RITE TIME finds Can's original lineup--including first vocalist Malcolm Mooney-- reconvening nearly 20 years after its stunning 1968 debut, MONSTER MOVIE. With the decade-long legacy of Can's unparalleled accomplishments (and another decade of oft-worthy solo activities) under their collective belts, the musicians have little to prove here. Unlike many cash-in reunion efforts, RITE TIME is a thoroughly entertaining coda for an extraordinary musical career.
Recorded in sun-drenched Nice during December of 1986, the one-off RITE TIME captures an ageless band at play. Without so much as a blink, the regrouped Can leaps right back into the
| | Can Saw Delight CD (1977) SACD Hybrid; Remastered
Can
$13.89
Can: Michael Karoli (vocals, guitar, electric violin); Irmin Scmidt (vocals, keyboards); Holger Czukay (vocals, synthesizer); Rosko Gee (vocals, bass); Jaki Liebezeit (vocals, drums); Reebop Kwaku Baah (vocals, percussion).
Recorded at Inner Space Studio, Weilerswist, Germany in 1977.
This is a Super Audio CD playable only on Super Audio CD players.
Bearing bar none the worst title pun of any Can album -- and with titles like Cannibalism, that's saying something -- 1977's Saw Delight was the German progressive group's farewell. Clearly, the core quartet had found themselves in a rut by the recording of this album, bringing in percussionist Reebop Kwaku Baah and bassist Rosko Gee from a late-era lineup of Traffic to add a sort of Afro-Cuban jazz feel to their sound. What's frustrating is that this idea could have worked brilliantly, but the execution is all wrong. Instead of the polyrhythmic fireworks expected from a drum duel between Baah and the African-influenced Jaki Liebezeit, Can's senior drummer basically rolls over, keeping time with simple beats while the percussionist takes on the hard work. Similarly, Rosko Gee's handling of the bass duties (which he performs superbly throughout, adding an almost Mingus-like rhythmic intensity to even the loosest songs) frees Holger Czukay to add electronics and sound effects to the proceedings, an opportunity he doesn't make much of. On the up side, the opening "Don't Say No" recalls the controlled fury of earlier tunes like "Moonshake," and side two, consisting of Gee's lengthy, jazz-based composition "Animal Waves" and the lovely instrumental "Fly by Night," is largely excellent, but the two lengthy tracks that close side one are melodically and rhythmically pale in comparison, and there's a tired, somewhat dispirited vibe to the whole album that makes it an unsatisfying send-off to Can's career. ~ Stewart Mason
This effort is a nice mix of trance/groove instrumentals, ethnic sampling, and silly vocals in En
| | Keith Frank Only The Strong Survive CD (1996)
Can
$13.79
Track Listing of songs: Let Me Be; Make My Hustle; Good Music; Reste Dans La Maison; Bayou Boogie; Everywhere I Be; Knee Cap Shuffle; Steppin' To The Rhythm; Good Old Days; Only The Strong Survive; There Goes My Baby; Day-O; Be Yourself;
| | Supreme Beings Of Leisure CD (2000)
Can
$12.35 
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Supreme Beings Of Leisure: Geri Soriano-Lightwood (vocals); Rick Torres (guitar, sitar, programming); Ramin Sakurai (keyboards, programming); Kiran Shahani (bass, programming).
Additional personnel: Joel Derouin, Michele Kikuchi-Richards (violin); Matt Funes (viola); Steve Richards (cello); Errick Clements (tenor saxophone); Luca Brandoli (percussion); DJ True (scratches).
Personnel: Rick Torres (guitar, programming); Joel Derouin (violin); Matt Funes (viola); Steve Richards (cello); Suzie Katayama (strings); Ramin Sakurai (keyboards, programming); Luca Brandoli (percussion); Carmen Rizzo (programming); DJ True (scratches).
Audio Mixers: Jimi Randolph; Rob Schnapf; Tom Rothrock; Krish Sharma.
Recording information: Hollywood Sound Recorders And T.
Photographer: Zoren Gold.
Arranger: Suzie Katayama.
The self-titled debut album from Supreme Beings of Leisure fuses sounds from the group's diverse heritage -- which includes Japan, Puerto Rico, Ireland, India, Iran, and the Dominican Republic -- with deft programming and accessible songwriting. The result is a very smooth collection of trip-hop-based pop songs with global touches, not unlike a multi-culti Morcheeba album. Swooning strings and sitars weave their way through most of the album's 11 songs, including "Golddigger," which recalls '60s spy-movie themes, and "Never the Same" (heard on the TV commercial for the Johnnie Walker Black Label whiskey) and "Last Girl on Earth," which showcase Geri Soriano-Lightwood's versatile, seductive vocals. The breakbeat-driven "Ain't Got Nothin'" and "Sublime" pick up the pace with a nod to drum'n'bass, while "Strangelove Addiction"'s club-friendly rhythm and lilting, Eastern-inspired melody make it the most accessible track on the album. Though many of the styles on Supreme Beings of Leisure have been done before, the group does a good job of updating the basic trip-hop sound enough to keep it fresh and enjoyable. ~ Heather Phares
This remarkable band are about combining cutting-edge programming, sultry and sexy vocals, with tubthumping beats. Their full-length debut album is a funky mixture of trip-hop, hip-hop, soul, jazz, electronica, and everything else that has musically influenced these four musically diverse individuals.
Take the Brand New Heavies, mix with Portishead, and throw in some Roni Size and Daft Punk. Forget trying to imagine what it's like--just jump in the pool. Songs like "Never The Same," "Last Girl On Earth," and "Nothin' Like Tomorrow" are trippy, cosmic blasts of cool. SUPREME BEINGS OF LEISURE are a kaleidoscope of musical elements; they contain multitudes..
| | Vitamin String Quartet String Quartet Tribute To Bon Jovi: Count Me In CD (2003)
Can
$15.19 
Compilation producers: Karl Preusser, Tom Tally.
Tributee: Bon Jovi.
Audio Mixers: Tom Tally; Karl Preusser.
Arrangers: Tom Tally; Karl Preusser.
The String Quartet Tribute to Bon Jovi: Count Me In runs through 12 of Bon Jovi's most memorable hits, spanning their career with the songs performed instrumentally by violin, viola, cello and bass. It's a testament to the band's strength as songwriters that the material's structure never wavers from the original melodies and pacing, even when the histrionic guitar solos, soaring vocals, and voluminous amounts of hair spray are removed from the equation. ~ Johnny Loftus
The String Quartet Tribute to Bon Jovi: Count Me In runs through 12 of Bon Jovi's most memorable hits, spanning their career in the process. Unfortunately, the album never rises above the relative novelty of hearing pop songs performed instrumentally by violin, viola, cello, and bass. This isn't Bon Jovi's fault; in fact, it's a testament to the band's strength as songwriters that the material's structure never wavers from the original melodies and pacing, even when the histrionic guitar solos, soaring vocals, and voluminous amounts of hair spray are removed from the equation. But as solid as Bon Jovi's songs are, "Wanted Dead or Alive" and "Bad Medicine" don't fare well in chamber arrangements. Ballads like "Always" and "Bed of Roses" are predictably pretty, but ultimately unrewarding, while the string quartet's approximation of "Living on a Prayer"'s signature talk-box sound is just goofy. It's a low point for a tribute album that might appeal to hardcore Bon Jovi fans, but even then will likely not break out of novelty to become a tribute album that rewards on its own merits. ~ Johnny Loftus
| | Dead! The Grim Reaper's Greatest Hits CD (2006) (Import) United Kingdom
Can
$16.65
Not to be confused with a best-of celebrating the career of Grim Reaper, the famously fugly hair metal band so memorably eviscerated by Beavis and Butthead, Dead! The Grim Reaper's Greatest Hits instead compiles 24 early rock & roll classics exploring/exploiting death. Cataloging biker tragedies (Twinkle's "Terry"), pill-popper overdoses (Walter Jackson's "The Bed"), and watery graves (the Rivaires' "Death of a Surfer"), the disc embraces mortality and music in all its forms, spanning from girl group pop to trucker country and proving as indiscriminate as death itself. Sometimes sappy (Mark Dinning's "Teen Angel"), sometimes electrifying (Jack Kittel's "Psycho"), and sometimes eerily portentous (Jan & Dean's "Dead Man's Curve"), Dead! is above all well executed (pun intended), boasting the encyclopedic scope and attention to detail for which Ace is famed. L'chaim! ~ Jason Ankeny
This 24 track collection brings the fan who likes their black humor on the lighter side, the first of a planned 2-volume set of "Death Discs" from the classic era of the late '50s through to the end of the 60s. Included are huge pop hits like 'Terry' by
| | Ram Rider Tabihedeyou CD (2006)
$16.29 | | Georges Delerue L'Homme De Rio / Les Tribulations D'Un Chinois CD (2006)
Can
$16.29
Personnel: Bruno Le Roux (guitar); Alexandre Desplat (flute); Mauricio Einhorn (harmonica); Christian Martinez (trumpet); Frederic Gaillardet (piano); Philippe Macé (vibraphone).
Recording information: Studio Guillaume Tell, Paris, France.
Arranger: Alexandre Desplat.
| | Eating Crayons CD (2007)
Can
$12.69
Eating CrayonsA rock band is akin to a group of children simultaneously drawing a single picture. While one child may fail to draw inside the lines and another may apply clashing colors, the two are at least adding to the picture. However, at times one of the children will sit in the corner and eat his crayons, thereby wholly failing to contribute to the picture that is being drawn. Barrett O'Gorman came up with the name "Eating Crayons" in late 1994 after an experience with a prior band member who was never quite on the same page with the rest of the band. Eating Crayons is comprised of Barrett O'Gorman on vocal and guitar, Mark Weisgerber on drums and Marc Bobro on bass. What makes this alternative rock band unique is not only the diversity of the music played but the members comprising the band. Although each of the members has 25 years of playing experience, during the workday Barrett is an attorney, Mark is a title officer and Marc is a professor of philosophy. Prior to the formation of "Eating Crayons," the members played in other bands and performed extensively in the Sunset Strip clubs of Hollywood and in Tucson. The original incarnation of the band included Barrett and Mark. After having success playing in local Santa Barbara clubs, the band took a several year hiatus while Barrett began raising his children. With the addition of Marc the band has added an intricate and expressive bass to make the original music project complete. The band's musical style varies from the retro 60's song "Cross the Line," the pop song "Cabby" to "Silver Locket" which is a Doors-esque rambling collage to "Man from Idaho" which evokes comparison to Pearl Jam. The sound of Eating Crayons generates contagious enthusiasm wherever they perform. The band has just released its self-titled CD which is available on line on CD Baby and Digstation.com.
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