Can Live Music (Live 1971-1977)

Can was nothing if not surprising. It beggars belief though, that many of these recordings were more than a quarter of a century old before they ever saw light of day. In fact, what's most surprising of all, especially for a group who always thrived on experimentation and improvisation, is that LIVE 1971-1977 is the first collection of Can's concert performances.
Can studio albums involved a certain degree of editing and manipulation. LIVE preserves known works like "Dizzy Dizzy", "Spoon", and "Yoo Doo Right" in their rawest trance-like state, but sees them twisted into new rhythmic shapes. Then there are the spontaneous compositions. Inspired by the ambience of their surroundings (even they didn't know what they were going to do), Can would take off on flights of fancy, coming over harsher than on their studio work, but redefining themselves every time. Jaki Liebezeit, surely as imaginative, dextrous, and reliable as any drummer who ever worked in a rock format, lays down a hypnotic groove. Nothing else is ever certain though, whether he's accompanied by some aggregation of a pulsating, white-gloved Czukay bassline, piercing guitar riffing, or white-noise keyboard violence. While Can's archive holds such substantial, organic music, we've still much to discover.|

Although legions of enthusiasts worldwide will undoubtedly guarantee the legacy of German rockers Can, it is archival releases such as this two-disc collection that will stand as the most compelling evidence of the combos uncompromising live shows. Unlike many of the other so-called progressive European bands of the era, Can could easily depend on their improvisational skills in addition to razor-sharp technical chops, with equally edgy avant-garde and classically tinged musique concrete sensibilities. While this mirrored the ethos of Frank Zappas Mothers of Invention, the point of departure for Can was a far cry from the 40s and 50s R&B that drove much of the Mothers early music. The nine thoroughly extended performances included in this set are derived from decidedly lo-fi audience recordings, perfectly complementing their often brash and wonderfully erratic sonic experiments. Rather than presenting the works in a chronological fashion, there is an alternate underlying and subtle continuity. As well as the key catalog entries Dizzy Dizzy, Vernal Equinox, and the nearly quarter-hour rave-up Yoo Doo Right, there are also unique improv pieces such as the searing funk of the opening jam Jynx or the 37-minute Colchester Finale, which, as the title implies, is the culmination of a concert at the University of Essex in (where else?) Colchester. Longtime listeners will undoubtedly become immediately enamored with this rendering of Spoon. The side originated as a mini-masterpiece that only clocked in at three minutes and change on the Ege Bamyasi (1972) album. However, here the track is not only more than quadrupled in total spin time, but the driving intensity and perpetually throbbing rhythms boil and churn behind the rock-solid Holger Czukay (bass) with some breathtaking interaction between Irmin Schmidt (keyboards) and Jaki Liebezeit (drums). Cans influence on groups such as Ozric Tentacles or Ominous Seapods can likewise be directly traced back to unabashed and driving readings such as those captured here. While Can may only have a small cult-like following, the bands ideas and full-frontal approach have become bedrocks of the entire neo-progressive scene. ~ Lindsay Planer