Tago Mago

5.0

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3,790

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フォーマット	CDアルバム
発売日	2020年12月上旬
国内/輸入	輸入
レーベル	Mute
構成数	1
パッケージ仕様	-
規格品番	CDSPOON67
SKU	5099970428421

構成数 : 1枚
合計収録時間 : 00:40:53
With the band in full artistic flower and Damo Suzuki's sometimes moody, sometimes frenetic speak/sing/shrieking in full effect, Can released not merely one of the best Krautrock albums of all time, but one of the best albums ever, period. Tago Mago is that rarity of the early '70s, a double album without a wasted note, ranging from sweetly gentle float to full-on monster grooves. "Paperhouse" starts things brilliantly, beginning with a low-key chime and beat, before amping up into a rumbling roll in the midsection, then calming down again before one last blast. Both "Mushroom" and "Oh Yeah," the latter with Schmidt filling out the quicker pace with nicely spooky keyboards, continue the fine vibe. After that, though, come the huge highlights -- three long examples of Can at its absolute best. "Halleluwah" -- featuring the Liebezeit/Czukay rhythm section pounding out a monster trance/funk beat; Karoli's and Schmidt's always impressive fills and leads; and Suzuki's slow-building ranting above everything -- is 19 minutes of pure genius. The near-rhythmless flow of "Aumgn" is equally mind-blowing, with swaths of sound from all the members floating from speaker to speaker in an ever-evolving wash, leading up to a final jam. "Peking O" continues that same sort of feeling, but with a touch more focus, throwing in everything from Chinese-inspired melodies and jazzy piano breaks to cheap organ rhythm boxes and near babbling from Suzuki along the way. "Bring Me Coffee or Tea" wraps things up as a fine, fun little coda to a landmark record. ~ Ned Raggett

1.[CDアルバム]
1. 1.
  
  Paperhouse
2. 2.
  
  Mushroom
3. 3.
  
  Oh Yeah
4. 4.
  
  Halleluwah
5. 5.
  
  Aumgn
6. 6.
  
  Peking O
7. 7.
  
  Bring Me Coffee or Tea

作品の情報

メイン

アーティスト： Can

オリジナル発売日：1971年

商品の紹介

これによりCANは全音楽史に消えない足跡をのこした。実験性とポピュラリティ、緊張と緩和、予測不可能性と反復性をあざやかに対比させながらこれほど緩急自在、構成にも目の行き届いたレコードはそうざらにあるものではない。絶対的代表作。

発売・販売元提供資料（2020/11/17）

Mojo - "Punctuated by bursts of thunder and disturbing silences...it encapsulates the band's ability to demonstrate musical freedom within strict bounds." Mojo - 5 stars out of 5 - "TAGO MAGO displays Can's psych-free and disciplined sides at their most ritually balanced." Spin - Included in Spin's "5 Essential Krautrock Records" - "...'Post-rock' starts right here....one tough, streamlined groove..." The Wire - "[With] one of the most dazzling set-pieces in early 70s music." Magnet - "[The band's] groove-centric art-rock masterpiece..." Q - "[A] mind-expanding double-album...whose most jaw-dropping item is the 18-minute 'Halleluhwah'..." Record Collector - 5 stars out of 5 -- "When Michael Karoli cuts loose with that stinging guitar solo near the end of 'Oh Yeah,' it's like setting the stone on archaeological perfection."

Rovi

With the band in full artistic flower and Damo Suzuki's sometimes moody, sometimes frenetic speak/sing/shrieking in full effect, Can released not merely one of the best Krautrock albums of all time, but one of the best albums ever, period. Tago Mago is that rarity of the early '70s, a double album without a wasted note, ranging from sweetly gentle float to full-on monster grooves. "Paperhouse" starts things brilliantly, beginning with a low-key chime and beat, before amping up into a rumbling roll in the midsection, then calming down again before one last blast. Both "Mushroom" and "Oh Yeah," the latter with Schmidt filling out the quicker pace with nicely spooky keyboards, continue the fine vibe. After that, though, come the huge highlights -- three long examples of Can at its absolute best. "Halleluwah" -- featuring the Liebezeit/Czukay rhythm section pounding out a monster trance/funk beat; Karoli's and Schmidt's always impressive fills and leads; and Suzuki's slow-building ranting above everything -- is 19 minutes of pure genius. The near-rhythmless flow of "Aumgn" is equally mind-blowing, with swaths of sound from all the members floating from speaker to speaker in an ever-evolving wash, leading up to a final jam. "Peking O" continues that same sort of feeling, but with a touch more focus, throwing in everything from Chinese-inspired melodies and jazzy piano breaks to cheap organ rhythm boxes and near babbling from Suzuki along the way. "Bring Me Coffee or Tea" wraps things up as a fine, fun little coda to a landmark record. ~ Ned Raggett|

Rovi