CAN Vinilo y CD

Review: Recorded for BBC Radio In Concert during Can's 1973 UK tour, this exceptional live performance showcases the cult favourite band at their peak. The five-piece group did their usual trick of expertly weaving together repeating themes and riffs while responding to each other in real-time. The dynamic interplay between keyboards from Schmidt, guitar from Karoli and Suzuki's vocals is driven by the powerful Czukay and Liebezeit rhythm section. Featuring comprehensive sleeve notes and full recording details, this release includes all tracks written by Can members Czukay, Karoli, Liebezeit, Schmidt and Suzuki, all of which were captured live at The Paris Theatre, London on February 19th. A great bit of Can history.

Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***


Can Live in Keele 1977 captures a key performance from one of the most innovative bands of all time. This long remoured album features Can's late-period lineup: Irmin Schmidt, Jaki Liebezeit, Michael Karoli, and Holger Czukay, joined by Rosko Gee on bass. Czukay's shift to "waveform radio and spec. sounds" adds an otherworldly layer to the band's hypnotic, avant-garde textures. Pieced together from archival and fan recordings, the album highlights the unpredictable and experimental nature of Can's live performances during their 1976-77 peak. The inclusion of tracks that fans have long considered the best of their live work brings a raw, dynamic energy. Fans of Can's legendary improvisations will appreciate the diversity of sound, from ambient passages to intense, chaotic jams. Live in Keele 1977 stands as a crucial document of the band's legacy as they explore "inner space rock" and live sonic exploration.

Review: Can Live in Keele 1977 is the latest installment in a series of live albums carefully curated from Spoon Records' vaults and fan recordings by founding member Irmin Schmidt and producer Rene Tinner. This much-anticipated release, captures a dynamic performance from March 1977, featuring the core lineup of Schmidt, Jaki Liebezeit, Michael Karoli and Holger Czukay, enhanced by the addition of bassist Rosko Gee (Traffic). During a challenging period following the lukewarm reception of their eighth studio album, Saw Delight, this concert exemplifies Can's late-period vibrancy. Gee's presence allowed Czukay to focus on "waveform radio and spec. sounds", creating an ethereal atmosphere filled with otherworldly textures. This release concludes the series that began with Can Live in Stuttgart 1975 and includes acclaimed recordings from their live performances throughout Europe from 1973 to 1977. Each album reveals the band's unique ability to blend hypnotic grooves with avant-garde improvisation, offering listeners a fresh perspective on Can's innovative artistry. Fans can expect an exhilarating journey through their expansive musical landscape, filled with both familiar motifs and new explorations.

Review: Can Live in Keele 1977 captures a key performance from one of the most innovative bands of all time. This long remoured album features Can's late-period lineup: Irmin Schmidt, Jaki Liebezeit, Michael Karoli, and Holger Czukay, joined by Rosko Gee on bass. Czukay's shift to "waveform radio and spec. sounds" adds an otherworldly layer to the band's hypnotic, avant-garde textures. Pieced together from archival and fan recordings, the album highlights the unpredictable and experimental nature of Can's live performances during their 1976-77 peak. The inclusion of tracks that fans have long considered the best of their live work brings a raw, dynamic energy. Fans of Can's legendary improvisations will appreciate the diversity of sound, from ambient passages to intense, chaotic jams. Live in Keele 1977 stands as a crucial document of the band's legacy as they explore "inner space rock" and live sonic exploration.

Review: Live in Aston 1977, the latest installment in Can's series of live album releases, offers a fresh perspective on the band's dynamic stage presence. Released via Mute and Future Days, this release provides a glimpse into a challenging period for Can, following the mixed reception their eighth studio album, Saw Delight, elicited. Despite any expectations of a decline in energy or creativity, the live performances captured on this album defy such notions. Instead, they showcase Can's enduring vitality and adaptability, reaffirming their reputation as a band capable of captivating audiences with their unpredictable live shows. Notably, Live in Aston 1977 marks the debut of bassist Rosko Gee (Traffic) within the Can Live series. His addition to the lineup injects a fresh energy into the band's sound, complementing the innovative contributions of Irmin Schmidt, Jaki Liebezeit, Michael Karoli and Holger Czukay. Accompanied by a booklet, this release offers fans a deeper insight into Can's live performances during this period. It serves as a reminder of the band's relentless pursuit of sonic exploration and improvisation, making it a valuable addition to the Can discography for both longtime fans and newcomers alike.

Review: An unwitting, but perhaps perfectly fitting tribute to the recent passing of Japanese improviser and vocalist, Damo Suzuki, Mute and Spoon Records have collaborated on a series of Can live albums, overseen by founding member, Irmin Schmidt, and 'Live In Paris 1973' is the first to feature Suzuki. Recorded at L'Olympia on 12th May 1973, this is an important, liminal moment in the band's history, following totemic albums, 'Tago Mago' (1971) and 'Ege Bamyasi' (1972), and echoes of the latter can be heard in the Paris performance. The show also came three months before the release of 'Future Days', the final Can album with Suzuki, before he left the group and temporarily abandoned music altogether. 'Live In Paris 1973' follows 'Brighton 1975', 'Stuttgart 1975' and 'Cuxhaven 1976', all of which were critically lauded and appeared widely in Reissue Of The Year polls.

Review: Those who were lucky enough to have seen Can live in their 1970s pomp will happily tell you that it was a mind-blowing experience, in part because the pioneering Krautrock outfit improvised as much during live performances as they did during studio sessions. That commitment to artistic freedom and expression is much in evidence on 'Live in Cuxhaven 1976', the latest in an ongoing series of remastered live albums based on infamous bootleg records. The concert was relatively short by their standards, and is split into four parts here, each of which shows the band brilliantly working around a groove, drawing great influence from jazz, dub sonics, art-rock and their love of crafting hypnotic, blazed epics.

Review: Live in Cuxhaven 1976 is the third release in Can's special series of live album reissues. It follows Can Live in Brighton 1975, which came out in December 2021. As with a good chunk of Can's latest releases documenting the bulk of their live appearances (which were inarguably their best performances, often outmatching their recorded material), the album consists of four instrumental pieces Eins, Zwei, Drei and Vier.