CAN
The Singles
(Mute/Spoon)
5/5 stars
Think of how many rock bands have existed on Earth. Millions, right? In my lengthy tenure on the planet, I've heard tens of thousandsâat least. And after careful consideration, I confidently conclude that CAN is the best. I am certainly not alone in this sentiment. The Singles, a new 23-track collection (out today), reminds us all over again why these krautrock paragons are worth all the hyperventilating praise.
Hardcore CAN fans (are there any casual onesâI mean, besides Kanye West?) will know most of these songs, as many have appeared on albums that have been reissued several times over the decades and have long been part of the krautrock canon. So, in a sense, The Singles may best serve as a basic intro for newcomers to the multifaceted splendors of CANâs catalog, while containing just enough rarities to snag longtime aficionados who may have missed some limited-edition 7-inches over the years. One caveat, however: Eight songs appear in edited form (the time/space limitations of singles and all that), but most of them deserve to be heard in their entirety, especially âHalleluwah,â âFuture Days,â and âDonât Say No.â
Nevertheless, The Singles amply reveals why CAN have garnered such a fervent cult following and inspired so many musicians; itâs no exaggeration to say that their impact has been nearly as far-reaching as the Velvet Undergroundâs. While many hundreds of bands have imitated CAN, none have surpassed them in sheer quality of composition and improvisation, rhythmic inventiveness, and mastery of a diversity of styles.
From 1969 to 1974, CAN maintained a torrid streak of creativity that is practically unparalleled. Even later LPs like 1976âs Flow Motion, 1977âs Saw Delight, and 1978âs Can (aka Inner Space) possess several excellent tracks, tracks that any adventurous DJ should proudly spin in clubs or on the radio.
One thing that makes CAN special is that they had no definitive sound, yet no matter in which mode they created, they stamped the studio air with an unmistakable CAN-iness. Much like The Velvet Underground & Nico encompasses vast sonic universes, so does CAN's discography.
For example, the first two songs on the chronologically sequenced The SinglesââSoul Desertâ and âShe Brings the Rainââfind these brainy Germans (guitarist Michael Karoli, drummer Jaki Liebezeit, bassist Holger Czukay, and keyboardist Irmin Schmidt) accommodating the percussive, soulful voice of American vocalist Malcolm Mooney to spine-tingling effect. âSoul Desertâ presents some of the tensest funk youâll ever clench your musculature to, while âShe Brings the Rainâ lends a creepiness to lounge-ballad tropes with poise. These songs ainât krautrock as the world commonly perceives it, but they sure rivet you, and they reflect CANâs impressive range.
Another thing that elevated CAN from most of their German rock contemporaries was their extraordinary funkiness. No, this wasnât funk in the James Brown or Meters sense, but skittery cuts like âIâm So Green,â âHalleluwah,â and âVitamin Câ (the latterâs a breakdance staple) shifted funkâs center of gravity to places itâs rarely gone. Further, the loony anomaly âTurtles Have Short Legsââwhich rapper Busdriver fortuitously sampled for âAvantcoreââtakes funk to a Dadaist circus and proves that CAN can rock a party raucously, even though their members had studied under Karlheinz Stockhausen and played free jazz. Throw in the wild-card vocals of Damo Suzuki, and you have another weapon to subvert musical conventions.
The Singles also proves that CANâs rock tunes rarely hewed to traditional specs. âMushroomââwhich Jesus & Mary Chain reverently coveredâsummons a novel way to make impending nuclear war seem unbearably thrilling. âMoonshakeâ and its near twin âDonât Say Noâ cast surf rock in an alien haze, while also hitting upon incredible, trance-inducing grooves. âFuture Daysâ invents the seldom-explored subgenre kosmische cha cha; it enchants even its radically truncated 3:25 version here.
In the mid â70s, CAN began to branch out into dub/reggae (âDizzyâ) and a strain of complex proto-techno on Soon Over Babaluma (âSplashâ) while dipping an obligatory toe into disco (âI Want More,â ââŚAnd Moreâ) on Flow Motion, the latter move gaining them chart success in the UK. While they may have been half-heartedly chasing trendy styles, CAN never failed to imbue them with their superior ingenuity, never failed to lose their peculiar je ne sais quoi.
Then there are the tracks that could only be described as CAN musik: âVernal Equinoxâ exists in its own lane, a bizarre hybrid of freak rock and oblong disco, while âReturnââa close relative of the godlike 1978 jam âAspectacleââis a hyperkinetic fusion of funk and post-punky dub that makes similar efforts by later bands like the Pop Group and A Certain Ratio (both of whom are great, by the way) seem a bit lackadaisical.
Finally, letâs admit that CANâwho are taken very seriously by very serious peopleâhad a goofy side. It may not have always yielded great material, but even legends deserve to indulge in studio shenanigans once in a while. Hence, tracks like the sped-up classical spoof âCan-Canâ (these guys loved their self-referentiality), âSilent Nightâ (xmas music sucks just a little less when CAN do it), and the self-explanatory âCascade Waltzâ speckle their catalog. They, too, are fascinating for the glimpses into playfulness that these world-class experimental rockers could flaunt, just for the sheer hell of it. If the Beatles could drop a âRocky Raccoonâ or âYellow Submarine,â CAN could certainly offload a gimmicky club-music trifle like âHoolah Hoolah.â Genius has its prerogatives.
As with Walt Whitman, CAN sometimes contradicted themselves; they were large and contained multitudes. And you can experience some of them on The Singles. But it would be a grave mistake not to obtain everything else CAN did, tooâexcept for Out of Reach. You can probably live without that one.
The Singles tracklist
Soul Desert 1969
She Brings The Rain 1969
Spoon 1972
Shikako Maru Ten 1972
Turtles Have Short Legs 1971
Halleluwah (Edit) 1971
Vitamin C 1972
Iâm So Green 1972
Mushroom 1971
Moonshake 1973
Future Days (Edit) 1973
Dizzy Dizzy (Edit) 1974
Splash (Edit) 1974
Hunters And Collectors (Edit) 1975
Vernal Equinox (Edit) 1975
I Want More 1976
âŚAnd More 1976
Silent Night 1976
Cascade Waltz 1976
Donât Say No (Edit) 1977
Return 1977
Can Can 1978
Hoolah Hoolah (Edit) 1990