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7 Jun 2017

Can “Lyon France January 1976” Germany Kraut Rock bootleg

Can “Lyon France January 1976” Germany  Kraut Rock bootleg
The point is that I thought "he loses them", and I forgot the subject. Because ignoring jewelry like this bootleg of Can, is self-limiting, and lose another of those pleasures that life offers us. They were never an electronic band per se. The sum of their members made them the largest surrealist machine in the kraut universe. In addition, with Irmin Schmidt (organ mostly, other junk) and Holger Czukay (bass and what do I know!) As students of Karl-Heinz Stockhausen, few references are needed to include them here. Jaki Libezeit, the human metronome, came from the wild field of free jazz, and not only with the drums, also with the trumpet and flute. Finally Michael Karoli was the guitarist, the most rocker, in love with psych bands West Coast and Jimi Hendrix. The four formed a perfectly perfect tandem. They had eccentric singers (or so) like Malcolm Mooney or the alien Damo Suzuki. And later, with its stylistic opening led to something resembling world music, even a couple of members of Traffic.

This pirate belongs to the Japanese specialist in these tasks, BB Records. Which is characterized by editing all its releases in limited editions of 500 vinyl copies and transparent covers. Edited in 2012 in double format, it is a recording of the 76.

They told the voices with the Indonesian Thaiga Raj Raja Ratman. Little is done, as it is essentially instrumental music, where improvisation takes possession of the listener since the beginning of "Citrus" (9'31). The magic of Can is that nobody would say that they improvise. The difficult thing makes it very easy, And with amazing naturalness. Then there is its timelessness. Listening to "Red Hot Indians" (12'28) would seem to be recorded yesterday. Time does not pass for its cyclical progressions, of incandescent motorik, and flirtatious rock-vaulters. Here, the order of the factors YES alters the product.
B-side begins with "Dizzy Dizzy" (7'34), in a rhythmic vortex that hypnotizes, zombifying the unwary to be caught in its sonic tangle. Each instrument is a world by itself. In "Chain Reaction" (13 '05), Schmidt proves that he never needed a lot of electronics to teleport to his impossible worlds. Your sense of environment is scary. And the jam becomes a black hole where to enter placidly. Tasting each of its countless resources.

We started the face with "One More Saturday Night" (9'14), where we hear a sudden rebound of the audience. One wonders if it is due to an unexpected visit of the uniformed ones, something very habitual at that time. Then everything returns to the abnormality, because in a concert of Can is what proceeds.

"Vernal Equinox" closes the face. It is part of the macro jam composed by that theme, and those that make up the face d, "More Spree" and "Vitamin C". In total 33'08 meters of mental drilling based on cosmic mantra. Karoli brings out her ferocity inherited from San Francisco guitar deities, told of John Cipollina or Randy California. A bliss. The sound, like all editions of this label, is spectacular. Before Can became a benchmark of hypsterian gafapastismo, I do not know why, they were a serious group where all his albums have a role. Phases highlighted in its evolution. For these "wise" savages, his 1976 album, "Flow Motion" already belongs to its "decline." Listen to this and tell me where it is. Wonderful document of obligada listens. That if you do not make disgust to the bootleg, that there are out there every freak that flipas !!!

P.D. - "If being a politician is to be against a hierarchy, we are a political group because we do not have a hierarchy of values". by  IRMIN SCHMIDT.........

Holger Czukay - bass
Michael Karoli - guitar
Jaki Liebezeit - drums
Irmin Schmidt - Keyboards
Thaiga Raj Raja Ratnam - voice

A1 Intro
A2 Citrus
A3 Red Hot Indians
B1 Dizzy Dizzy
B2 Annoucement/Entr`acte
B3 Chain Reaction
C1 One More Night
C2 Vernal Equinox
D1 More Spree
D2 Vitamin C 

johnkatsmc5, welcome music..