• Kaoma Tago Mago

May 19, 2017 Tago Mago is the third album by the German krautrock band Can, and was originally released as a double LP in 1971 by United Artists. It was the band's.

Original UK cover and 40th anniversary edition Tago Mago is the third album by the German band, originally released as a in 1971. It was the band's second studio album and the first to feature after the 1970 departure of previous vocalist. Recorded in a rented castle near, the album features longer experimental tracks blending rhythms, improvisation, and techniques. Tago Mago has been described as Can's best and most extreme record in sound and structure. The album has received much critical acclaim since its release and has been cited as an influence by various artists. Called it 'arguably the most influential rock album ever recorded.'

Contents. Recording and production After left Can in 1970 the remaining members were left without a vocalist. Bassist happened to meet when the latter was outside a cafe in. He introduced himself as a member of an experimental rock band and invited Suzuki to join them. That evening, Suzuki performed with the band at the 'Blow Up Club' and subsequently became a member of Can.

Tago Mago was recorded in 1971 by Czukay in, a castle near. The band was allowed to stay there for a year without paying any rent by the owner, an art collector named Mr. This was the first of Can's albums to be made from not only regularly recorded music, but combined 'in-between-recordings', where Czukay secretly recorded the musicians during pre-production sessions.

Czukay would edit these long, disorganized jams into structured songs. According to Czukay, the album was named after, an island off the east coast of. Recording was completed in three months. It was originally released as a double LP in 1971. In September 2004, the album, along with the majority of, was and released as a hybrid. The rerelease includes a booklet with commentary on the album by of and, as well as previously unreleased photos of the band.

In 2011, for the 40th anniversary of its release, the 2004 remaster was released again with an extra disc of previously unreleased 1972 live performances. ^ Raggett, Ned. Allmusic Guide. Retrieved 2008-04-04.

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Stubbs, David. 'CAN - Tago Mago'. CAN remastered - Tago Mago (CD liner notes). September 2004. ^ DeRogatis, Jim.

Retrieved 2008-04-04. ^ Czukay, Holger. Perfect Sound Forever. Retrieved 2008-04-04. Smith, Gary.

Spoon Records. Archived from on 2011-10-30.

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Kaoma Tago Mago

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Ground & Sky. Archived from on 2003-01-30. Retrieved 2008-04-04. Unterberger, Ritchie (1998). Unknown Legends of Rock 'n' Roll: Psychederic Unknowns, Mad Geniuses, Punk Pioneers, Lo-Fi Mavericks, and More.

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Lydon, John (1995). Finale 2014 torrent. Rotten: No Irish, No Blacks, No Dogs. Gillespie, Bobby. 'CAN - Tago Mago'. CAN remastered - Tago Mago (CD liner notes). September 2004. Stubbs, David (February 1998).

'Talking Liberties'. Bolan, Marc. Interview by Russell Harty. London Weekend Television.

1972. Griffiths, Dai (2004). OK Computer (33​ 1⁄ 3 series). Continuum International Publishing Group. Album notes for by, CD booklet. Further reading. (1995).

Head Heritage. Tago Mago: Permission to Dream. Bloomsbury Academic. EPDF and ePub editions are also available.

External links. at. at.

Can is one of those bands that always lurked on the periphery of my musical awareness, but never received my undivided focus. I knew they were early innovators of experimental rock music. I knew that bassist Holger Czukay recorded some beautiful instrumental albums with.

I knew I should listen to them, but I just never got around to it. Now that I've checked out Tago Mago from EPFL, I know what I've been missing.

This is a difficult album, but it is completely unique and undeniably awesome. Music: On first listen, I guessed that Tago Mago came out somewhere in the mid 1970s, when punk innovators like Wire and Television were proving that you didn't need mad technical chops to create vital and relevant musical experimentation. I was way off. Can's first album came out in '69, and Tago Mago was released in 1971. I can't even begin to describe what this sounds like. It's rock music, but it embodies the spirit of punk and the spontaneity of jazz.

It's adventurous and experimental, even for a time when the musical world was filled with the adventurous experiments of artists like Pink Floyd and Frank Zappa and the Velvet Underground. It's chaotic, but it holds together without ever exploding. This is punk before punk existed. This is jazz without the stodgy elitism. This is rock without the constraints that normally define rock.

This is, quite simply, everything that makes the greatest punk and jazz and rock so damned exciting. Packaging: I haven't read much of British rock critic David Stubbs' writing, but if his essay here is typical of his style, he should be banished to the dark recesses of romance novels and open-mic poetry. His words epitomize the pseudo-intellectualism that makes people despise music journalists. For example: 'There's a moment here when, so in synch are the band that the song actually levitates.'

No, jackass, the song did not actually levitate. Your inability to use proper punctuation or sentence structure, however, did make my blood pressure rise. Stubbs' commentary on the album is rotten, but the essay by Primal Scream vocalist Bobby Gillespie clearly demonstrates a love for Can's music, and his story about jamming with 2/5 of Can is genuinely exciting. Best of all, he doesn't resort to any Stubbs-isms like 'beetling basslines' or 'impassioned vocals creating a mist of condensation.'

(Here's some obscure music trivia I figured out from reading the liner notes: The name of the band The Mooney Suzuki comes from the surnames of original Can vocalist Malcolm Mooney and his replacement, Damo Suzuki.) Listen if you like: Kraftwerk, Sonic Youth, Miles Davis' fusion experiments from the late '60s and early '70s, Zappa, Pink Floyd's early records, Wire, Television. If it were food, it'd be: One of my co-workers turned me on to the fact that Huy Fong's hot sauce is delicious with pretty much everything, including pizza, popcorn, veggie dogs, mac & cheese, and even peanut butter sandwiches. Tago Mago is like the unholy combination of Sriracha and peanut butter: it shouldn't make any sense, but it's utterly fantastic. Hello very interesting blog here. Wonder if Enoch Pratt was a great-uncle.was he from the Standard Oil Pratts? Anyway.I'm a singer/songwriter trying to get a bigger audience again, I could easily send some cds to your library.here are some web sites for your perusal. Happy days to all.

Andy Pratt http:andyprattmusic.tripod.com. Cianan, yea, you MUST hear Can, or at least this album.

(I've got a review of another of their albums, Ege Bamyasi, going up soon, but it didn't fare nearly as well on the ol' library card rating system.) I'll scope out the other Huy Fong sauce, but methinks you are insane for dismissing the beauty of Sriracha. Andy, welcome to the blog. I believe made his fortune on iron and railroads, but honestly, I've never really looked into the history of the man.

But yowzah, he sure did leave an awesome library system in his wake!