Cosmic Dreams at Play - Stoned Circus radio show - Free

(D)"Future Days" (United Artists UAS 29505) 1973
(E)"Soon Over Babaluma" (United Artists UAS 29673) 1973
(E)"Landed" (Harvest 1C064-29600) 1975
(E)"Flow Motion" (Harvest 1C062-31837) 1976
NB: A Liberty sampler named Electric Rock featured the Can track "Thief", not released elsewhere until 1981's Delay 1968.
1 was re-issued on Liberty LBS 83342 (1969). Some of the original Music Factory copies had a rear sticker with the Liberty order
number. A second re-issue appeared on Spoon (004) in 1981. All Liberty and United Artists albums were re-issued on Spoon in 1981
(005-010).
All albums are now available on CD.
This very important and legendary group was formed in Cologne in July 1968, on the initiative of
Irmin Schmidt (keyboards) and David Johnson (flute). They aimed to make a totally new music
by merging very different musical styles. Irmin Schroldt and Holger Czukay had both studied
under Karl-Heinz Stockhausen and had some background in jazz ensembles. In addition to this,
Schmidt had been educated at the Dortmund Academy, studying walthorn and orchestral
direction. Jaki Liebezeit had since his early schooldays played trumpet, flute and percussion, but
he eventually settled behind the drum kit in a free jazz band. Michael Karoli was ten years
younger than the other members, and the only one not to have an academic background. His
musical training came from several unknown jazz-rock groups. It was Jimi Hendrix who inspired
him to play in a rock band. David Johnson was an American avant-garde composer. At the end of
1968 he left the new-founded group and returned to his homeland. Just before that, another
American citizen had joined the group to complete the line-up, a black vocalist named Malcolm
Mooney. The only recording of these six musicians playing together is the very obscure single
"Kama Sutra Parts I & 2" (Metronome M25-128), which for some unknown reason was only
credited to Irmin Schmidt! In 1984 one had the opportunity to hear Can's first ever concert (as a
five piece featuring Johnson) on the cassette release Prehistoric Future (Tago Mago TM 4755,
limited edition of 2,000 copies released in France).
Can finished their own primitive studio and dubbed it Schloss Norvenich in January 1969. For
most of their career, all their recordings were made there. In spite of just having a four track tape
machine at their disposal, the recordings were of a high technical quality, partly due to the great
technical ability of Holger Czukay (acting as their engineer and tape editor). Their first set of
finished tapes were circulated to several record companies. It is possible that the Delay 1968
album (1981) was compiled from these tapes. As Can didn't get an initial response, they wasted
no more time approaching record companies but made further recordings, resulting in Monster
Movie (1969), being released by themselves as a private pressing of 600 copies.
This was indeed one of the rock history's most radical and inventive debut albums! In December
the same year, a recording contract with Liberty / United Artists was signed, and Monster Movie
was repackaged and released again. If inspired by a number of avant-garde composers as well as
Jimi Hendrix, Pink Floyd and Velvet Underground, Can definitively managed to create their very
own, unique style. This was characterised by gasping, repeated and spoken vocals, heavily
distorted guitars, shimmering organ, a simple and ritualistic bass and sensitive rhythms. Indeed
this album was the reference point for most of their subsequent albums, particularly the classic
tracks "Father Cannot Yell" and "You Doo Right". Can usually recorded their music live in the
studio - playing, toying and improvising to great effect! Amon Duul II's first album Phallus Dei
(1969) was the result of a similar process, resulting in a handful of reasonably structured "songs"
and one lengthy full blown improvisation as a conclusion to the album.
If Monster Movie had been the soundtrack to Can's very own, imaginary headmovie, they were