As many enthusiasts have pointed out, many of these musicians
were actively rebelling against anything associated with the previous
generations who were held in contempt for the role they played in causing two
world wars and, in seeking to redefine music in their own image, were
attempting to prove their country can be an agent of positive change. Certainly, the movement won more than their fair share
of adherents. Brian Eno was an early
collaborator. Julian Cope was so
enamoured with the scene that he wrote Krautrocksampler, a book viewed by many
as the definitive word on the subject and
John Lydon has often expressed his love for Can’s music over the journey, its
influence clearly audible in the early work of Public Image Limited.
Which brings as to Can which, along with Kraftwerk, were
viewed as the scene’s dominant force.
The first couple of Can albums I heard were their final album, 1989’s
Rite Time and 1975’s Landed. I thought both were fine intriguing albums, but it
was only in the last 10 years that I was
introduced to their masterworks, the first two on today’s list coming from a
stall holder at a weekend market “M” took me to near her family home. All three albums on today’s playlist are in a
word, indispensable starting with;
(# 664) Can – Tago Mago
(1971)
Originally a double album on vinyl which today fits neatly
onto a single CD, this is regarded as their masterpiece. It is experimental music of the highest
order, the product of relentless jamming and subsequent editing, which effectively
highlighted as songs mostly long tracks where the band seemed to arrive at the
one point, establishes a groove and rides it through to the point of
exhaustion. The first vinyl disc,
consists of tracks that could almost pass as an experimental jazz (?)suite but are
highlighted by unorthodox guitars, booming bass and free form lyrics sung by Japanese singer Damo Suzuki which
somehow seem appropriate sung. Opening track Paperhouse rises and falls in intensity
like the best of Sonic Youth and on the 18 minute Halleluhwah the ride the
mightiest groove they ever hit characterised by a relentless percussion heavy
attack. But ultimately how one responds
to the album depends on how they view the second disc which is experimental
even by their standards. The 17 minute
Aumgn almost defies description with tape and radio recordings thrown into the
mix; think of what would happen if you decided to take a band and improvise
around The Beatles Revolution 9 and you still wouldn’t come close to describing
this. Bring Me Coffee Or Tea that ends the
album seems to add Eastern influences.
(# 665) Can – Future Days
(1973)
The early tracks on this album, sound like the band had
decided to create an album using the end point of Tago Mago as its starting
point. The title track again deploys an Eastern influence and one can hear in
it and the tracks Spray and Moonshake that follows all sorts of little bits and
pieces that were to inform the work of David Bowie, later period Roxy Music and
a host of other acts, But this album’s
standout piece is the 20 minute closer Bel Air a track bordering on ambient
territory courtesy of clear of distinct lines of keyboards, percussion and
guitars that you can feel snake around you and each other to mesmerising effect.
(# 666) Can – Ege Bamyasi
(1972)
The 9 minute opener Pinch harks back to Tago Mago by
maintaining a strong rhythmic emphasis which basically doesn’t let up for the rest
of the album. Vitamin C is an appealing up
tempo number which contains elements that could lend themselves to hit singles
and the final track Spoon was actually a hit single in Germany. The ten minute Soup contains controlled chaos
of the sort that would bring a smile to the faces of Frank Zappa fans. 
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