CAN - Spoon b/w Shikako Maru Ten 7" Picture Sleeve Single vinyl 

CAN's "Spoon b/w Shikako Maru Ten" 7" single vinyl, a product of the late 1960s-early 1970s, epitomizes the era's avant-garde music scene. The vinyl's analog warmth, experimental sound, and unconventional structures mirror CAN's innovative approach. The accompanying picture sleeve reflects the graphic design trends of its time. This release stands as a cultural and sonic time capsule, capturing the essence of a transformative period in music history.

Large Hires Photo of AN - Spoon / Shikako Maru Ten 7" Picture Sleeve Single vinyl

"Spoon b/w Shikako Maru Ten" Album Description:

The release of the 7" single vinyl "Spoon b/w Shikako Maru Ten" by CAN is a notable piece in the history of music, specifically within the time period it emerged. The single, with its distinctive picture sleeve, reflects the production aesthetics of its era, capturing the essence of the band's creative prowess and the broader musical landscape.

This vinyl record, released during the heyday of the 7" format, aligns with the period when vinyl singles were a primary medium for the distribution of music. The significance of the format is deeply rooted in the mid to late 20th century, where vinyl records dominated the music industry. This was an era marked by the analog warmth and rich sound that vinyl offered, a characteristic that enthusiasts still appreciate today.

CAN, a pioneering German experimental rock band formed in the late 1960s, was known for pushing the boundaries of conventional rock music. The release of "Spoon b/w Shikako Maru Ten" showcases the band's innovative approach to sound and production. The use of unconventional structures, layered instrumentation, and experimental techniques reflects the avant-garde spirit of the time.

The picture sleeve accompanying the single is a visual representation of the artistic and design trends prevalent during that era. The cover art, typography, and overall aesthetic are likely to resonate with the graphic design styles of the time, contributing to the overall cultural milieu.

Production-wise, the recording technology and studio equipment available during the release of this single played a crucial role in shaping its sonic character. Analog recording equipment, tape machines, and the mastering process of that time all influenced the final sound of the record. The imperfections inherent in analog recording, such as subtle hiss and warmth, contribute to the charm of this vintage release.

Furthermore, the cultural and social context of the period plays a significant role in understanding the production choices of this single. The late 1960s and early 1970s were a time of cultural upheaval and experimentation, with music acting as a powerful medium for expression and exploration.

Music Genre:  Krautrock Psych Acid Music
 Tracks side 1:  Spoon
 Tracks side 2:  Shikako Maru Ten

Record Label Information:

United Artists Records 35 304 (35304)
Media Format:  7" Record, PS Picture Sleeve  

Index of CAN Band with Holger Czukay Vinyl Album Discography & Album Cover Gallery

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.