CAN EGE BAMYASI US ORIG on UNITED ARTISTS LABEL KRAUT ROCK PROG NM 1973
$
56
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Description
Here is a NEAR MINT! copy of the LP from CAN titled EGE BAMYASI. It is an ORIGINAL US pressing on the UNITED ARTISTS label, catalog #UA-LA063-F in STEREO sound. This ORIGINAL LP was released in 1973. The vinyl is in NEAR MINT condition, shiny and black and should have excellent playback. The original cardboard cover is in NEAR MINT condition with a cut corner and very light wear. It is a NEAR MINT! copy of this CAN LP for you to own. It is an opportunity to purchase this LP in this condition! It’s a true gem for the AVANT-GARDE / PROG / KRAUT ROCK collector!! Email me with any questions and be sure to look at the pic’s. I DO NOT ACCEPT BIDS FROM OR MAIL TO SOUTH AMERICA, SOUTH AFRICA, ITALY & OTHER COUNTRIES. IF YOU ARE NOT FROM THE USA CONTACT ME BEFORE BIDDING! International bidders can email me for shipping rates. Thanks for Looking & Good Luck!
Music Review from AllMusic.com by Ned Raggett
The follow-up to Tago Mago is only lesser in terms of being shorter; otherwise the Can collective delivers its expected musical recombination act with the usual power and ability. Liebezeit, at once minimalist and utterly funky, provides another base of key beat action for everyone to go off on -- from the buried, lengthy solos by Karoli on "Pinch" to the rhythm box/keyboard action on "Spoon." The latter song, which closes the album, is particularly fine, its sound hinting at an influence on everything from early Ultravox songs like "Hiroshima Mon Amour" to the hollower rhythms on many of Gary Numan's first efforts. Liebezeit and Czukay's groove on "One More Night," calling to mind a particularly cool nightclub at the end of the evening, shows that Stereolab didn't just take the brain-melting crunch side of Can as inspiration. The longest track, "Soup," lets the band take off on another one of its trademark lengthy rhythm explorations, though not without some tweaks to the expected sound. About four minutes in, nearly everything drops away, with Schmidt and Liebezeit doing the most prominent work; after that, it shifts into some wonderfully grating and crumbling keyboards combined with Suzuki's strange pronouncements, before ending with a series of random interjections from all the members. Playfulness abounds as much as skill: Slide whistles trade off with Suzuki on "Pinch"; squiggly keyboards end "Vitamin C"; and rollicking guitar highlights "I'm So Green." The underrated and equally intriguing sense of drift that the band brings to its recordings continues as always. "Sing Swan Song" is particularly fine, a gentle float with Schmidt's keyboards and Czukay's bass taking the fore to support Suzuki's sing-song vocal.
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