Can was the leading avant-garde rock group of the 70s. Can experimented with noise, synthesizers, non-traditional music, cut-and-paste techniques, and, most importantly, electronic music.
"SOON OVER BABALUMA" was Can's last album which was recorded straight onto stereo without a multi-tracking machine. An era came to an end
|
Summary: |
Can was the leading avant-garde rock group of the 70s. Can experimented with noise, synthesizers, non-traditional music, cut-and-paste techniques, and, most importantly, electronic music. SOON OVER BABALUMA was Can's last album which was recorded straight onto stereo without a multi-tracking machine. An era came to an end |
|
Music Genre: |
Psych, Acid, Krautrock, Indie, Chill-Out |
|
Album Packaging / Information: |
Written And Produced By Can At Inner Space 1974 Lyrics For Dizzy Dizzy By Duncan Fallowell Engineering And Editing By Holger Czukay |
|
Record Label Information: |
SPOON Records 010 |
|
Media Format: |
12" LP Vinyl Gramophone Record |
|
Year & Country: |
1974 Made in Germany |
Note: The photos on this page are taken from albums in my personal collection. Slight differences in color may exist due to the use of the camera's flash. Images can be zoomed in/out ( eg pinch with your fingers on a tablet or smartphone ).
Portrait photos of the CAN band-members
"Soon Over Babaluma" Record Label Details: White Colour Label SPOON-Recirds Spoon 010, 66.22 235-01-1, LC 7395 ℗ 1974 Sound Copyright
Mini-biographies of CAN's band-members
Holger Czukay was a German musician and co-founder of the experimental rock band Can. He was born in 1938 and passed away in 2017. He was a bassist, guitarist, and multi-instrumentalist, and was known for his use of tape loops and electronic techniques in his music. He was also a pioneer in the use of sampling in music.
Czukay was one of the main songwriters and producers in Can and played a crucial role in the band's development of the krautrock genre. He also released several solo albums, which often featured collaborations with other artists and showcased his unique experimental approach to music.
Czukay's work with Can and his solo albums have been cited as major influences by many musicians and bands in various genres, including electronic, experimental, industrial, and alternative.
was a German musician, and guitarist for the experimental rock band Can. He was born in 1948 and passed away in 2001. He was a versatile musician and was known for his use of unconventional guitar techniques and electronic sounds in his music.
Karoli was a founding member of Can, and played a major role in the band's development of the krautrock genre. Along with Holger Czukay and Irmin Schmidt, he was one of the band's main songwriters, and his guitar playing was a key part of Can's sound. He also played violin, bass guitar and sang on some of the band's songs.
Karoli's work with Can has been cited as a major influence by many musicians and bands in various genres, including electronic, experimental, industrial, and alternative. His guitar playing was kno
Jaki Liebezeit was a German drummer and percussionist, and the drummer for the experimental rock band Can. He was born in 1938 and passed away in 2017. He was known for his precise, minimalistic drumming style and his use of electronic drums.
Liebezeit was a founding member of Can and played a major role in the band's development of the krautrock genre. He was known for his unique drumming style, which often involved using a minimalistic approach to create a hypnotic, repetitive rhythm. His style was heavily influenced by African and Middle Eastern rhythms and he was considered one of the most innovative drummers of his time.
Liebezeit's work with Can has been cited as a major influence by many musicians and bands in various genres, including electronic, experimental, industrial, and alternative. He was known for his precise, minimalistic drumming style and his use of electronic drums. His drumming technique and style was considered as one of the most original in rock history.
Irmin Schmidt a German musician and composer, keyboardist and founding member of the experimental rock band Can. He was born in 1937. He is also known for his work as a solo artist and composer for film and theater.
Schmidt was one of the main songwriters and producers in Can, and his keyboard playing was a key part of the band's sound. He was also known for his use of electronic sounds and unconventional techniques in his music. He was heavily influenced by avant-garde, classical, and world music. He formed Can with Holger Czukay and Michael Karoli in 1968, and the band went on to become one of the leading bands in the genre of krautrock.
After the band's dissolved, Schmidt has released several solo albums, collaborated with various artists and composed music for films and theater. He has also been involved in various other musical projects. His work with Can and his solo albums have been cited as major influences by many musicians and bands in various genres, including electronic, experimental, industrial, and alternative.
Damo Suzuki a Japanese musician, the vocalist for the experimental rock band Can during their most productive period in the 1970s. Suzuki joined the band in 1970, after the departure of the band's original vocalist Malcolm Mooney. He sang on several of the band's most well-known albums, including "Tago Mago," "Ege Bamyasi," and "Future Days".
Suzuki's style of singing was characterized by his use of free-form, improvisational vocals, often in a falsetto register, and was considered as one of the most original and avant-garde in rock music. His live performances with Can were known for their intensity and unpredictability, and he was a major contributor to the band's development of the krautrock genre.
After leaving Can in 1973, Suzuki went on to perform with various other bands and musicians, and he continues to perform and record to this day. His work with Can has been cited as a major influence by many musicians and bands in various genres, including electronic, experimental, industrial, and alternative. He is also known for his unique approach to live performances, often singing without a microphone and using the audience's space to create a unique atmosphere.