Unleashed vibes from the archives, shelling 30 prime minutes of Can taken from Andrew Hall’s bootleg recordings, made legit by Irmin Schmidt and René Tinner as the latest in a series of live albums.
Chasing up their Stuttgart 1975 testimony, ‘Live in Cuxhaven 1976’ gives up the pioneering band in full flight during their first, inspirational phase, a few years before disbanding. Newly restored from Andrew Hall’s bootleg tapes with the aid of 21st century technology, the session depicts them in lithe form at a peak of their powers, meshing supple groove and wigged out avant tekkerz in a driving funky rock way that would catalyse so many other band in their wake.
Can’s live shows were an extension of their adventurous studio work, stretching out to new horizons in-the-moment with an innovative approach adapted to performance. The four cuts here move from cantering groove and organ swirl tucked tight in-the-pocket, to more sultry and languid echoes of Afrobeat and psychedelic rock freedom in the second part, arriving at a heads-down bluesy drive and rapturous, sky-licking riffs in the third, with a fourth part yoked back to needlepoint, groovesome intricacy that swaggers in the gaps between all the Afro-indebted US-via-UK rock styles of the time with a knowing budge.
View more
Unleashed vibes from the archives, shelling 30 prime minutes of Can taken from Andrew Hall’s bootleg recordings, made legit by Irmin Schmidt and René Tinner as the latest in a series of live albums.
Chasing up their Stuttgart 1975 testimony, ‘Live in Cuxhaven 1976’ gives up the pioneering band in full flight during their first, inspirational phase, a few years before disbanding. Newly restored from Andrew Hall’s bootleg tapes with the aid of 21st century technology, the session depicts them in lithe form at a peak of their powers, meshing supple groove and wigged out avant tekkerz in a driving funky rock way that would catalyse so many other band in their wake.
Can’s live shows were an extension of their adventurous studio work, stretching out to new horizons in-the-moment with an innovative approach adapted to performance. The four cuts here move from cantering groove and organ swirl tucked tight in-the-pocket, to more sultry and languid echoes of Afrobeat and psychedelic rock freedom in the second part, arriving at a heads-down bluesy drive and rapturous, sky-licking riffs in the third, with a fourth part yoked back to needlepoint, groovesome intricacy that swaggers in the gaps between all the Afro-indebted US-via-UK rock styles of the time with a knowing budge.
Unleashed vibes from the archives, shelling 30 prime minutes of Can taken from Andrew Hall’s bootleg recordings, made legit by Irmin Schmidt and René Tinner as the latest in a series of live albums.
Chasing up their Stuttgart 1975 testimony, ‘Live in Cuxhaven 1976’ gives up the pioneering band in full flight during their first, inspirational phase, a few years before disbanding. Newly restored from Andrew Hall’s bootleg tapes with the aid of 21st century technology, the session depicts them in lithe form at a peak of their powers, meshing supple groove and wigged out avant tekkerz in a driving funky rock way that would catalyse so many other band in their wake.
Can’s live shows were an extension of their adventurous studio work, stretching out to new horizons in-the-moment with an innovative approach adapted to performance. The four cuts here move from cantering groove and organ swirl tucked tight in-the-pocket, to more sultry and languid echoes of Afrobeat and psychedelic rock freedom in the second part, arriving at a heads-down bluesy drive and rapturous, sky-licking riffs in the third, with a fourth part yoked back to needlepoint, groovesome intricacy that swaggers in the gaps between all the Afro-indebted US-via-UK rock styles of the time with a knowing budge.
Unleashed vibes from the archives, shelling 30 prime minutes of Can taken from Andrew Hall’s bootleg recordings, made legit by Irmin Schmidt and René Tinner as the latest in a series of live albums.
Chasing up their Stuttgart 1975 testimony, ‘Live in Cuxhaven 1976’ gives up the pioneering band in full flight during their first, inspirational phase, a few years before disbanding. Newly restored from Andrew Hall’s bootleg tapes with the aid of 21st century technology, the session depicts them in lithe form at a peak of their powers, meshing supple groove and wigged out avant tekkerz in a driving funky rock way that would catalyse so many other band in their wake.
Can’s live shows were an extension of their adventurous studio work, stretching out to new horizons in-the-moment with an innovative approach adapted to performance. The four cuts here move from cantering groove and organ swirl tucked tight in-the-pocket, to more sultry and languid echoes of Afrobeat and psychedelic rock freedom in the second part, arriving at a heads-down bluesy drive and rapturous, sky-licking riffs in the third, with a fourth part yoked back to needlepoint, groovesome intricacy that swaggers in the gaps between all the Afro-indebted US-via-UK rock styles of the time with a knowing budge.
Limited edition first pressing on Curacao blue vinyl. Includes booklet and sleeve notes.
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Unleashed vibes from the archives, shelling 30 prime minutes of Can taken from Andrew Hall’s bootleg recordings, made legit by Irmin Schmidt and René Tinner as the latest in a series of live albums.
Chasing up their Stuttgart 1975 testimony, ‘Live in Cuxhaven 1976’ gives up the pioneering band in full flight during their first, inspirational phase, a few years before disbanding. Newly restored from Andrew Hall’s bootleg tapes with the aid of 21st century technology, the session depicts them in lithe form at a peak of their powers, meshing supple groove and wigged out avant tekkerz in a driving funky rock way that would catalyse so many other band in their wake.
Can’s live shows were an extension of their adventurous studio work, stretching out to new horizons in-the-moment with an innovative approach adapted to performance. The four cuts here move from cantering groove and organ swirl tucked tight in-the-pocket, to more sultry and languid echoes of Afrobeat and psychedelic rock freedom in the second part, arriving at a heads-down bluesy drive and rapturous, sky-licking riffs in the third, with a fourth part yoked back to needlepoint, groovesome intricacy that swaggers in the gaps between all the Afro-indebted US-via-UK rock styles of the time with a knowing budge.
Card eco pac with booklet.
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Unleashed vibes from the archives, shelling 30 prime minutes of Can taken from Andrew Hall’s bootleg recordings, made legit by Irmin Schmidt and René Tinner as the latest in a series of live albums.
Chasing up their Stuttgart 1975 testimony, ‘Live in Cuxhaven 1976’ gives up the pioneering band in full flight during their first, inspirational phase, a few years before disbanding. Newly restored from Andrew Hall’s bootleg tapes with the aid of 21st century technology, the session depicts them in lithe form at a peak of their powers, meshing supple groove and wigged out avant tekkerz in a driving funky rock way that would catalyse so many other band in their wake.
Can’s live shows were an extension of their adventurous studio work, stretching out to new horizons in-the-moment with an innovative approach adapted to performance. The four cuts here move from cantering groove and organ swirl tucked tight in-the-pocket, to more sultry and languid echoes of Afrobeat and psychedelic rock freedom in the second part, arriving at a heads-down bluesy drive and rapturous, sky-licking riffs in the third, with a fourth part yoked back to needlepoint, groovesome intricacy that swaggers in the gaps between all the Afro-indebted US-via-UK rock styles of the time with a knowing budge.