Nov 07, 2014 Besides this staggering work of genius, some of my favorite Can tracks/albums are from the Malcom Mooney-era: Delay 1968 and Monster Movie; but Tago Mago stands alone for simply heart-achingly sublime musical moments. CAN - 'Tago Mago' 1971 Drifting just 900 meters off the northwest coast of Ibiza is. There maybe something in the fact that CAN have been quoted as taking an.
With the band in full artistic flower and Damo Suzuki's sometimes moody, sometimes frenetic speak/sing/shrieking in full effect, Can released not merely one of the best Krautrock albums of all time, but one of the best albums ever, period. Tago Mago is that rarity of the early '70s, a double album without a wasted note, ranging from sweetly gentle float to full-on monster grooves. 'Paperhouse' starts things brilliantly, beginning with a low-key chime and beat, before amping up into a rumbling roll in the midsection, then calming down again before one last blast. Both 'Mushroom' and 'Oh Yeah,' the latter with Schmidt filling out the quicker pace with nicely spooky keyboards, continue the fine vibe. After that, though, come the huge highlights -- three long examples of Can at its absolute best. 'Halleluwah' -- featuring the Liebezeit/Czukay rhythm section pounding out a monster trance/funk beat; Karoli's and Schmidt's always impressive fills and leads; and Suzuki's slow-building ranting above everything -- is 19 minutes of pure genius. The near-rhythmless flow of 'Aumgn' is equally mind-blowing, with swaths of sound from all the members floating from speaker to speaker in an ever-evolving wash, leading up to a final jam. 'Peking O' continues that same sort of feeling, but with a touch more focus, throwing in everything from Chinese-inspired melodies and jazzy piano breaks to cheap organ rhythm boxes and near babbling from Suzuki along the way. 'Bring Me Coffee or Tea' wraps things up as a fine, fun little coda to a landmark record.
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Sample | Title/Composer | Performer | Time | Stream |
---|---|---|---|---|
1 | 07:28 | |||
2 | 04:03 | |||
3 | 07:22 | |||
4 | 18:32 | |||
5 | 17:36 | |||
6 | 11:37 | |||
7 | 06:46 |
Monster Movie | |||
---|---|---|---|
Studio album by | |||
Released | August 1969 | ||
Recorded | July 1969 at Schloss Nörvenich, Germany | ||
Genre | |||
Length | 38:05 | ||
Label | Music Factory Liberty | ||
Producer | Can | ||
Can chronology | |||
| |||
Original cover |
Professional ratings | |
---|---|
Review scores | |
Source | Rating |
AllMusic | [1] |
BBC | very favorable[2] |
Encyclopedia of Popular Music | [3] |
Pitchfork | 8.7/10[4] |
Rolling Stone | [5] |
Stylus Magazine | A[6] |
Sound sample of the opening track of the album. | |
Problems playing this file? See media help. |
Monster Movie is the debut studio album by German rock band Can, released in August 1969 by Music Factory and Liberty Records.
Background and recording[edit]
In 1968 Can had produced an album entitled Prepared to Meet Thy Pnoom, which no record company agreed to release (recordings were eventually released on LP in 1981 as part of Delay 1968). Monster Movie was Can's attempt at a more accessible record.[7] The album is credited to 'The Can', a name suggested by vocalist Malcolm Mooney and adopted by democratic vote. Previously the band had been known as 'Inner Space', which later became the name of their purpose-built recording studio. Some copies of the LP bore the subtitle 'Made in a castle with better equipment',[8] referring to Schloss Nörvenich, the 14th-century castle in North Rhine-Westphalia where the band recorded from 1968-69.[9]
The image on the cover is a faceless Galactus, a comics character from the Silver Surfer series.[10]
Content[edit]
Monster Movie brings together elements of psychedelic rock, blues, free jazz, world music and other styles, the influence of the Velvet Underground[11][12] being particularly obvious on the opening track 'Father Cannot Yell'. The use of improvisation, experimentation, editing and layering of sounds set a standard for Can's subsequent albums in the early 1970s, which were seminal to the freewheeling avant-garde style dubbed 'krautrock' by the British music press. The 20-minute jam 'Yoo Doo Right' was pared down from 6 hours' taping,[11] while the lyrics of 'Mary, Mary So Contrary' riff off of Mary, Mary, Quite Contrary, a popular English nursery rhyme.
Monster Movie was the last Can album on which Malcolm Mooney performed all of the vocals until Rite Time, recorded in late 1986[13] and issued in 1989.[14]
Track listing[edit]
All tracks are written by Holger Czukay, Michael Karoli, Jaki Liebezeit, Irmin Schmidt, Malcolm Mooney.
Side one | ||
---|---|---|
No. | Title | Length |
1. | 'Father Cannot Yell' | 7:06 |
2. | 'Mary, Mary So Contrary' | 6:21 |
3. | 'Outside My Door' | 4:11 |
Side two | ||
---|---|---|
No. | Title | Length |
4. | 'Yoo Doo Right' | 20:27 |
Total length: | 38:05 |
Personnel[edit]
- Irmin Schmidt – keyboards
- Jaki Liebezeit – drums
- Holger Czukay – bass
- Michael Karoli – guitar
- Malcolm Mooney – vocals, harmonica
References[edit]
- ^Ankeny, Jason. 'Can: Monster Movie > Review' at AllMusic. Retrieved 1 November 2011.
- ^[1]
- ^Larkin, Colin (2011). 'Can'. Encyclopedia of Popular Music (5th ed.). Omnibus Press. ISBN0857125958.
- ^Leone, Dominique (10 November 2004). 'Can: Monster Movie'. Pitchfork Media. Retrieved 1 November 2011.
- ^[2]
- ^Southall, Nick (7 January 2005). 'Can: Monster Movie / Soundtracks'. Stylus Magazine. Retrieved 1 November 2011.
- ^Czukay, Holger (May 1997). 'Short History of the Can - Discography'. Perfect Sound Forever. furious.com. Retrieved 1 November 2011.
- ^Warner, Alan (2014). TAGO MAGO, London, UK; Bloomsbury Academic ISBN978-1628921083, page 79
- ^Cavanaugh, David. 'Can – Tago Mago R1971'. Uncut. Retrieved 28 July 2012.
- ^https://www.lambiek.net/artists/l/lee_s.htm
- ^ abMcGurk, Mike. 'Monster Movie'. Rhapsody. Archived from the original on 2 April 2013. Retrieved 28 July 2012.
- ^Stubbs, Peter. 'Album by Album: Can'. Uncut. Retrieved 28 July 2012.
- ^Young & Schmidt 2018, p. 311.
- ^Young & Schmidt 2018, p. 313.
Works cited[edit]
- Young, Rob; Schmidt, Irmin (2018). All Gates Open: The Story of Can. London: Faber and Faber. ISBN978-0571311491.
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