CAN: LIVE MUSIC 1971-1977 (1999)
1) Jynx; 2) Dizzy Dizzy; 3)
Vernal Equinox; 4) Fizz; 5) Yoo Doo Right; 6) Cascade Waltz; 7) Colchester
Finale; 8) Kata Kong; 9) Spoon.
This one is somewhat more official. This double
CD compilation first came out as an integral part of the Can boxset in 1999,
but later on became generously available as a separate archival album in its
own rights — although, clearly, it should be not be a part of any collection
that does not already include all of the band's principal studio recordings.
As usual, the track listing is a bit of an
(intentional) mess. Even though the title says 1971 (probably to lure in ardent fans of Tago Mago), the earliest recordings here are from 1972, and the
entire first disc is assembled from performances in the UK and Germany in 1975
and 1977; additionally, the quality of the sound varies significantly from
track to track, predictably worsening for the early dates and improving for the
latter ones (an aggravating matter for Suzuki fans, but then Suzuki always
sounds like crap even on the studio recordings — seems like he regarded singing
directly into the mike as a way-too-binding procedure).
Still, the almost 40-minute long ʽColchester
Finaleʼ, a lengthy improvisation that was, indeed, recorded at Colchester
(University of Essex), is well worth any serious fan's money. Non-serious fans
will not find any major surprises, and some might even complain about a lack of
focus as reflected in the often chaotic rather than metronomic drumming on
Jaki's part, but my only complaint
is the acoustics at the University of Essex, which prevents me from savoring
all the tasty nuances of the band's guitar and bass players. The band is
totally in Tago Mago mode here, not
quite as ferocious as on ʽUp The Bakerlooʼ, but, fortunately, the last third of
the performance is nothing other than ʽHalleluhwahʼ, on which Liebezeit really
comes to life and the band culminates in a noisy, explosive climax that sounds
as if it might have been fatal for some of their equipment (though probably not
— Who-style destruction was not one of their trademarks).
On the other hand, the entire ʽColchester
Finaleʼ has nothing but its impressive length factor on the 14-minute version
ʽSpoonʼ from Cologne, with much
better sound quality and a throbbing intensity that just goes on and on — they almost
literally play it according it to the «stop when you drop» principle. The
original pseudo-pop three-minute single is taken here as merely a pretext, or,
rather, it is the single version that should be now regarded as a «taster» of
the real ritual to come, because no
self-respecting supernatural spirit is going to reply to a meager three-minute summon
— but the ruckus they raise with these 14 minutes, on the other hand, suffices
to make everybody who matters crawl out of their graves.
The real good news is that the 1975
performances, despite the lack of Suzuki and the general feel of the band having
already outlived its «peak period», are every bit as musically strong: the
non-album improv ʽJynxʼ, the extended version of ʽVernal Equinoxʼ from Landed, and the unexpected return of
the old Malcolm Mooney warhorse ʽYoo Doo Rightʼ, but with next to no vocals
this time, all qualify as powerful voodooistic rituals in their own right.
ʽJynxʼ is the more avantgarde of the three, with heavy emphasis on percussion
and psychedelic / industrial sound effects, but it still has enough funky
bottom to it to be considered a proper musical groove, and Karoli's blues /
funk / classically-influenced soloing on ʽYou Doo Rightʼ is just wonderful to
observe — an effortless flight of the imagination that shifts direction every
15 seconds or so.
Only the two tracks from 1977, with Rosko Gee
on bass, predictably pale next to everything else, but they are (a) short, (b)
well-recorded, and (c) still moody enough to act as breathers between all the
hard, hot stuff. Besides, ʽCascade Waltzʼ is actually from Flow Motion, and ʽFizzʼ is dark and spooky enough to fit on Saw Delight, so it's not as if they
didn't fit in here somehow. It might
have made more sense to correct the track listing and shift them towards the
end, but I guess the idea was to save the best for last — so that, once you
begin to think you can't have any more, ʽSpoonʼ would come up and bury you six
feet under.
Anyway, I am honestly not sure about just how
many live albums like these the band could shake out of its vaults —
considering the sheer amount of hours they spent playing with the recording
equipment on — but I do suppose that these tracks were not selected randomly,
and that they truly represent the band at its live best (questionable and vague
as that notion is when so much of your music is improvised), so there's hardly
an option here not to give it a major thumbs up. But do remember that, for the most
part, this is Can at their most extreme: a 40-minute long jam from these guys
is not the same thing as a 40-minute long prog-rock epic à la Thick As A Brick,
and unless you are a strong believer in the healing powers of long, repetitive,
hypnotic jamming with no post-production treatment, you'd better go back to the
«doctored» studio tracks, where momentary inspiration was always tempered with
symbolic reasoning, and a pair of scissors.
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