Can - Soundtracks
Жанр: Krautrock, Experimental, Prog Rock
Носитель: LP
Год выпуска: 1970 (reissue June 2014)
Лейбл: Spoon Records, XSPOON5
Страна-производитель: EU
Аудио кодек: FLAC
Тип рипа: image+.cue
Формат записи: 24/96
Формат раздачи: 24/96
Продолжительность: 35:29
Треклист:
A1. Deadlock [3:29]
A2. Tango Whiskyman [4:04]
A3. Deadlock [1:40]
A4. Don't Turn The Light On, Leave Me Alone [3:42]
A5. Soul Desert [3:50]
B1. Mother Sky [14:33]
B2. She Brings The Rain [4:10]
Credits
A1. Deadlock (from the movie Deadlock)
A2. Tango Whiskyman (from the movie Deadlock)
A3. Deadlock (Instrumental title melody from the movie Deadlock)
A4. Don't Turn The Light On, Leave Me Alone (from the movie Cream)
A5. Soul Desert (from the movie Madchen Mit Gewalt)
B1. Mother Sky (from the movie Deep End)
B2. She Brings The Rain (from the movie Bottom - Ein Grosser Graublauer Vogel)
All music & lyrics by Karoli, Czukay, Liebezeit, Schmidt, Suzuki
except for SI.5 & S2.2 by Karoli, Czukay, Liebezeit, Schmidt, Mooney
except for S1.3 by Karoli, Czukay, Liebezeit, Schmidt
Published by Spoon Music / Gema Messer Music / UK
Irmin Schmidt: keyboards
Holger Czukay: bass
Jaki Liebezeit: drums
Michael Karoli: guitar
Damo Suzuki: vocals on S1.1, S1.2, SI.4 & S2.1
Malcolm Mooney: vocals on SI.5 & S2.2
Recorded at Schloss Norvenich 1969/1970
Written and produced by CAN
Engineering and editing by Holger Czukay
All tracks remastered from the original stereo master tapes by Andreas Torkler at Sonopress, Germany,
attended by Irmin Schmidt, Holger Czukay and Jono Podmore
Vinyl cut by Kevin Metcalfe, Soundmasters,
www.soundmasters.co.uk
Jono Podmore vinyl mastering supervisor
Design by Intro based on the original sleeve by Albert Leuthenmayr
Photography from the personal Can archives
By 1970, Can's record company were demanding a second album from them. However, although Can had vivid notions of the shape and colour their second album would take, they were a long way from realising it. Siggi Loch from United Artists came up with an idea that would bridge the gap between such artistic idealism and the more pressing demands of the industry for product. Via keyboardist Irmin Schmidt, Can had already cut a good deal of film music, which had enabled them to stay financially afloat. Why not put some of it out?
Hence Soundtracks, often unjustly overlooked, perhaps because of the expediency of its release. Yet there are many reasons why it's more than merely of interest but indispensable to any Can fan. For a start, it contains both the last recording with Can of Malcolm Mooney (the harrowingly cathartic "Soul Desert", one of dramatic highpoints of Can's oeuvre) and the first recording with Damo Suzuki, "Don't Turn The Light On, Leave Me Alone". With this change of personnel, enforced by Mooney's breakdown which saw him packed off back to America, a subtle shift took place in Can. As well as ploughing a rhythmical furrow of repetition, they began to float, follow the lead taken by Suzuki and his airy grasping after the firefly of melody.
Soundtracks also marked a new way of music-making for Can. Only Irmin Schmidt actually saw the films for which the group provided the sound. These included "Ein Grosser Graublauer Vogel", "Deadlock" and "Deep End".
He was interested in the way the drama of the cinematic narrative could inform the direction of the music but also vice-versa. He would give the remaining Can members basic storyboard notions of the films, what he called "tales" from which they would collectively improvise/compose. Only when they strayed too far from the plot did he re-direct them. This "obliviousness" on the part of the band is perhaps the quality that enables these tracks to work as stand-alone pieces. Indeed, they have stood longer than the films, tentative arthouse projects which were only disinterred from obscurity when they were featured at a Can event in Cologne in 1977. Still, Soundtracks is less ambient and soundscape-y than you might expect. 1970 listeners were probably not ready for Schmidt's experiments with short wave signals on the soundtrack to "Ein Grosser Graublauger Vogel". Instead, we get "She Brings The Rain" from the same movie, strangely languid and lounge-y, with only Karoli's buzzing, hovering guitarline hinting at the power Can hold in reserve.
Many listeners head straight to what's regarded as the album's centrepiece, the glorious, near 15 minute long "Mother Sky". It's the ultimate demonstration that Can's "repetitive" rhythmical approach was not a case of going nowhere but taking you anywhere -Czukay's metronomic bass and Jaki Liebezeit's tightly patterned percussion were the vehicle for a long, long journey, crossing all emotional state lines, Schmidt's keyboards and Karoli's guitars engaging in a hysterically pitched dialogue, Damo's vocals drifting weightlessly in and out.
It's organic yet not in denial about the technology that gives rise to it (especially the editing suite).
Far out and way out of its time.
David Stubbs https://www.discogs.com/Can-Soundtracks/release/5819700
Технические данные оцифровки
[Источник оцифровки: выполнена автором раздачи
Код класса состояния винила: Mint
Устройство воспроизведения: Micro Seiki DD7
Головка звукоснимателя: Denon-103 (MC)
Повышающий трансформатор: Denon AU-320
Предварительный усилитель: Sander'Z tube / схема А.Торреса
АЦП: Tascam US-122mkII
Программа-оцифровщик: Audacity 2.1.0
Обработка: никакой
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发表于 2020-9-24 12:24:49
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