他们的音乐更多的受到20世纪古典音乐的影响，1969年乐队推出的首张专辑《怪物电影》，在当时的流行音乐界显得尤其不同：电子实验、重量感、震撼人心的节奏、匪夷所思的音响拼贴。他们噪音式的音响体验，被处理的毫无生气的演唱方式，独特的机械重型节拍及空旷冰冷的氛围营造，被当时的乐评人称之为“条顿节奏”或“空间摇滚”。“罐头”是70年代“先锋摇滚”的代表人物，虽然他们的专辑不太被人们接受，但他们的确影响了大批的后辈乐队，1978年乐队解散。
Can总是能够比同时代的流行音乐至少超前三步，他们是70年代先锋派摇滚乐队的领衔人物。从一开始，他们的音乐就跟任何一般人——甚至那些反传统的人所持的rock & roll观念不一样。他们的灵感来源更多是20世纪古典音乐而不是Chuck Berry，活跃年代和他们最接近的乐队有Frank Zappa，或者the Velvet Underground，不过相比而言，Can的音乐更严肃和难以亲近。Can并没有录制流行音乐或者讽刺小品，而是杂糅着噪音、电子合成器、非传统音乐、音响拼贴，以及最重要的电子音乐等技术；他们的每张专辑都是在别的摇滚乐队没有涉足过的领域探究，每一次都会比上一张迈出明显的一大步。
Can的成员并非固定，主唱先后有几个；他们的核心成员是键盘手Irmin Schmidt，鼓手Jaki Leibezeit，吉他手Michael Karoli，和贝司手Holger Czukay。在70年代，他们极端多产，在他们的创作高峰期，曾经一年就录制了三张专辑。除了1978年的《I Want More》奇迹的创造了英国排行榜前30的好成绩外，他们仅仅是一个cult乐队；评论界一度也很难给他们下定义。
Coming from backgrounds in the avant-garde and jazz, the members of Can blended elements of psychedelic rock, funk, and noise on influential albums such as Tago Mago (1971), Ege Bamyasi (1972) and Future Days (1973). Can also had occasional commercial success, with singles such as "Spoon" and "I Want More" reaching national singles charts. They have been widely hailed as pioneers of the German krautrock scene, and a considerable influence on subsequent rock, post-punk, ambient, and electronic music.
History
Origins: 1966–68
The roots of Can can be traced back to Irmin Schmidt and a trip that he made to New York City in 1966. While Schmidt initially spent his time with avant-garde musicians such as Steve Reich, La Monte Young and Terry Riley, he was also eventually exposed to the world of Andy Warhol and Hotel Chelsea. In his own words, the trip "corrupted" him, sparking a fascination with the possibilities of rock music. Upon his return to Cologne later that year, an inspired Schmidt formed a group with American avant-garde composer and flautist David C. Johnson and music teacher Holger Czukay with the intention of exploring his newly broadened horizons.
When I founded the group I was a classical composer and conductor and pianist making piano recitals, playing a lot of contemporary music but also Brahms, Chopin and Beethoven and everything. And when we got together I wanted to do something in which all contemporary music becomes one thing. Contemporary music in Europe especially, the new music was classical music was Boulez, Stockhausen and all that. I studied all that, I studied Stockhausen but nobody talked about rock music like Sly Stone, James Brown or the Velvet Underground as being contemporary music. Then there was jazz and all these elements were our contemporary music, it was new. It was, in a way, much newer than the new classical music which claimed to be 'the new music'.
— Schmidt, in a 2004 interview
Up to that point, the inclinations of all three musicians had been exclusively avant-garde classical. In fact, both Schmidt and Czukay had directly studied under the influential composer Karlheinz Stockhausen. Schmidt chose to play organ and piano, while Czukay played bass and was able to record their music with a basic two-track tape machine. The group was soon fleshed out by guitarist Michael Karoli, a 19-year-old pupil of Czukay, and drummer Jaki Liebezeit, who had grown disenchanted with his work in free jazz groups. As the group developed a more rock-oriented sound, a disappointed Johnson left the group at the end of 1968.
Band name
The band used the names "Inner Space" and "The Can" before finally settling on "CAN". Liebezeit later suggested the back-formation acronym "Communism, Anarchism, Nihilism" for the band's name, after an English music magazine claimed this was the intended meaning. However, Malcolm Mooney had originally suggested the name Can due to it having positive meanings in various languages. For example, in Turkish, a language much heard in Germany due to high numbers of Turkish speakers, "can" may mean, depending on the context, "life, soul, heart, spirit, beloved and vitality".
Early years: 1968–70
Around September 1968, the band enlisted the creative, highly rhythmic, but unstable and often confrontational American vocalist Malcolm Mooney, a New York-based sculptor, with whom they recorded the material for an album, Prepared to Meet Thy Pnoom. As "Inner Space", and with both Johnson and Mooney present, the band appeared briefly in the 1969 film Kamasutra: Vollendung der Liebe backing singer Margarete Juvan. Unable to find a recording company willing to release the album, the group continued their studio work until they had material for what became their first release, Monster Movie, released in 1969. This album contained new versions of two songs previously recorded for Prepared to Meet Thy Pnoom, "Father Cannot Yell" and "Outside My Door". Other material recorded around the same time was released in 1981 as Delay 1968. Mooney's bizarre ranting vocals emphasized the sheer strangeness and hypnotic quality of the music, which was influenced particularly by garage rock, psychedelic rock and funk. Repetition was stressed on bass and drums, particularly on the track "Yoo Doo Right", which had been edited down from a six-hour improvisation to take up a mere single side of vinyl. Liebezeit's tight but multifarious drumming was crucial in carrying the music.
Mooney made his last recordings with Can in December 1969 before returning to America around the end of the year on the advice of a psychiatrist, having been told that getting away from the chaotic music of Can would be better for his mental health. The liner notes of the CD reissue of Monster Movie claim that Mooney suffered a nervous breakdown ("caught in a Can groove"), shouting "upstairs, downstairs" repeatedly. He was replaced in May 1970 by the more understated Kenji "Damo" Suzuki, a young Japanese traveller found busking outside a Munich café by Czukay and Liebezeit. Though he only knew a handful of guitar chords and improvised the majority of his lyrics (as opposed to committing them to paper), Suzuki was asked to perform with the band that same night. The band's first record with Suzuki was Soundtracks, released in 1970, a compilation of music made for films that also contained two earlier tracks recorded with Mooney. Suzuki's lyrics were usually in English, though sometimes in Japanese (for example, in "Oh Yeah" and "Doko E").
Middle years: 1971–73
The next few years saw Can release their most acclaimed works. While their earlier recordings tended to be at least loosely based on traditional song structures, on their mid-career albums the band reverted to an extremely fluid improvisational style. The double album Tago Mago (1971) is often seen as a groundbreaking, influential and deeply unconventional record, based on intensely rhythmic jazz-inspired drumming, improvised guitar and keyboard soloing (frequently intertwining), tape edits as composition, and Suzuki's idiosyncratic vocalisms. Czukay: "(Tago Mago) was an attempt in achieving a mystery musical world from light to darkness and return."
In 1971 the band composed the music for the three-part German-language television crime mini-series Das Messer ("The Knife"), directed by Rolf von Sydow. The track "Spoon" was used as the theme song and, released as a single, reached number 6 in the German singles chart.
Tago Mago was followed in 1972 by Ege Bamyasi, a more accessible but still avant-garde record which featured the catchy "Vitamin C" and the Top 10 German hit "Spoon". Czukay: "We could achieve an excellent dry and ambient sound... e Bamyasi reflects the group being in a lighter mood."
It was followed by Future Days in 1973, which represents an early example of ambient music, as well as including the pop song "Moonshake". Czukay: "'Bel Air' e 20 minute-long track which took up the whole of side two on the Future Days original vinyl LP showed Can in a state of being an electric symphony group performing a peaceful though sometimes dramatic landscape painting."
Suzuki left soon after the recording of Future Days to marry his German girlfriend, and become a Jehovah's Witness. Vocals were taken over by Karoli and Schmidt; however, after the departure of Suzuki, fewer of their tracks featured vocals, as Can found themselves experimenting with the ambient music they had begun with Future Days.
Later years: 1974–79
Soon Over Babaluma from 1974 continued in the ambient style of Future Days, yet it regained some of the abrasive edge of Tago Mago and Ege Bamyasi. In 1975, Can signed to Virgin Records in the UK and EMI/Harvest in Germany, appearing the same year on BBC's Old Grey Whistle Test where a memorable performance of Vernal Equinox involved Schmidt playing one keyboard section with a series of rapid karate chops. Shortly after the appearance Schmidt suffered a broken leg which led to cancellation of the band's UK tour.
The later albums Landed (1975) and Flow Motion (1976) saw Can moving towards a somewhat more conventional style as their recording technology improved. Accordingly, the disco single "I Want More" from Flow Motion became their only hit record outside Germany. Co-written by their live sound mixer Peter Gilmour, it reached No 26 in the UK charts in October 1976, which prompted an appearance on Top of the Pops, where Czukay performed with a double bass. In 1977 Can were joined by former Traffic bassist Rosko Gee and percussionist Rebop Kwaku Baah, both of whom provided vocals to Can's music, appearing on the albums Saw Delight (1977), Out of Reach (1978) and Can (1979).
During this period Czukay was pushed to the fringes of the group's activity due to disagreements about the band's creative direction and his failure as a bass guitarist to keep up with the growth of the other musicians. Bass guitar was something Czukay had "taken up almost by default" and he readily admitted his limitations on the instrument. After Gee joined Can, Czukay made sounds using shortwave radios, Morse code keys, tape recorders and other sundry objects. He left Can in late 1977 and did not appear on the albums Out of Reach or Can, although he was involved with production work for the latter album. The band seemed to be in a hiatus shortly afterwards, but reunions have taken place on several occasions since.
After the split and reunion
Since the split, all the former members have been involved in musical projects, often as session musicians for other artists. In 1986 they briefly reformed, with original vocalist Mooney, to record Rite Time (released in 1989). There was a further reunion in 1991 by Karoli, Liebezeit, Mooney and Schmidt to record a track for the Wim Wenders film Until the End of the World and in August 1999 by Karoli, Liebezeit and Schmidt with Jono Podmore to record a cover of "The Third Man Theme" for Grönland Records' compilation album Pop 2000. In 1999 the four core members of Can, Karoli, Liebezeit, Schmidt and Czukay, performed live at the same show, although playing separately with their current solo projects (Sofortkontakt, Club Off Chaos, Kumo and U-She respectively). Can have since been the subject of numerous compilations, live albums and samples. In 2004, the band began a series of Super Audio CD remasters of its back catalog, which were finished in 2006.
Michael Karoli died of cancer on 17 November 2001; Jaki Liebezeit died of pneumonia on 22 January 2017, and Holger Czukay died of natural causes on 5 September 2017, thus leaving Irmin Schmidt as the sole surviving consistent member of the group.
Solo works
Holger Czukay recorded several ambient albums and collaborated with David Sylvian among others. Jaki Liebezeit played extensively with bassists Jah Wobble and Bill Laswell, with a drum ensemble called Drums of Chaos and in 2005 with Datenverarbeiter on the online album Givt. Michael Karoli recorded a reggae album with Polly Eltes before his death, and Irmin Schmidt has begun working with the acclaimed drummer Martin Atkins, producing a remix for the industrial band The Damage Manual and a cover of "Banging the Door" for a Public Image Ltd tribute album, both released on Atkins' label, Invisible Records. Karoli formed Sofortkontakt! for the Can reunion shows in 1999 with Mark Spybey, who had previously been associated with Dead Voices on Air, Zoviet France, Reformed Faction and Download. The band also featured Alexander Schoenert, Felix Guttierez of Jelly Planet, Thomas Hopf and Mandjao Fati. Karoli also performed on numerous occasions with Damo Suzuki's Network. Damo Suzuki returned to music in 1983 and since then he has been playing live improvisational shows around the world with local musicians and members of touring bands at various points, sometimes issuing live albums. Malcolm Mooney recorded an album as singer for the band Tenth Planet in 1998. Rosko Gee has been the bassist in the live band on Harald Schmidt's TV show in Germany since 1995. Rebop Kwaku Baah died in 1983 following a brain hemorrhage.
Archive releases
Can released a compilation album Limited Edition in 1974, and expanded it to a double album Unlimited Edition in 1976 from their unreleased studio recordings. Delay 1968, released in 1981, was a compilation of unreleased 1968–1969 recordings. Cannibalism 2, a compilation album of album and single material, also included one unreleased song, "Melting Away", from the 1960s.
In 1995 The Peel Sessions was released, a compilation of Can recordings at the BBC. In 1999 Can Box was released, with a Can video documentary, a concert recording from 1972 and a double live CD compiled by Michael Karoli and later released separately as Can Live Music (Live 1971–1977). Unreleased live music of Can have been also released on the 40th Anniversary Edition of Tago Mago in 2004 and 17 LP collection box Can in 2014.
The Lost Tapes, released in 2012, was overseen by Irmin Schmidt and Daniel Miller, compiled by Schmidt and Jono Podmore, and edited by Podmore.
他们的音乐更多的受到20世纪古典音乐的影响，1969年乐队推出的首张专辑《怪物电影》，在当时的流行音乐界显得尤其不同：电子实验、重量感、震撼人心的节奏、匪夷所思的音响拼贴。他们噪音式的音响体验，被处理的毫无生气的演唱方式，独特的机械重型节拍及空旷冰冷的氛围营造，被当时的乐评人称之为“条顿节奏”或“空间摇滚”。“罐头”是70年代“先锋摇滚”的代表人物，虽然他们的专辑不太被人们接受，但他们的确影响了大批的后辈乐队，1978年乐队解散。
Can总是能够比同时代的流行音乐至少超前三步，他们是70年代先锋派摇滚乐队的领衔人物。从一开始，他们的音乐就跟任何一般人——甚至那些反传统的人所持的rock & roll观念不一样。他们的灵感来源更多是20世纪古典音乐而不是Chuck Berry，活跃年代和他们最接近的乐队有Frank Zappa，或者the Velvet Underground，不过相比而言，Can的音乐更严肃和难以亲近。Can并没有录制流行音乐或者讽刺小品，而是杂糅着噪音、电子合成器、非传统音乐、音响拼贴，以及最重要的电子音乐等技术；他们的每张专辑都是在别的摇滚乐队没有涉足过的领域探究，每一次都会比上一张迈出明显的一大步。
Can的成员并非固定，主唱先后有几个；他们的核心成员是键盘手Irmin Schmidt，鼓手Jaki Leibezeit，吉他手Michael Karoli，和贝司手Holger Czukay。在70年代，他们极端多产，在他们的创作高峰期，曾经一年就录制了三张专辑。除了1978年的《I Want More》奇迹的创造了英国排行榜前30的好成绩外，他们仅仅是一个cult乐队；评论界一度也很难给他们下定义。
Coming from backgrounds in the avant-garde and jazz, the members of Can blended elements of psychedelic rock, funk, and noise on influential albums such as Tago Mago (1971), Ege Bamyasi (1972) and Future Days (1973). Can also had occasional commercial success, with singles such as "Spoon" and "I Want More" reaching national singles charts. They have been widely hailed as pioneers of the German krautrock scene, and a considerable influence on subsequent rock, post-punk, ambient, and electronic music.
History
Origins: 1966–68
The roots of Can can be traced back to Irmin Schmidt and a trip that he made to New York City in 1966. While Schmidt initially spent his time with avant-garde musicians such as Steve Reich, La Monte Young and Terry Riley, he was also eventually exposed to the world of Andy Warhol and Hotel Chelsea. In his own words, the trip "corrupted" him, sparking a fascination with the possibilities of rock music. Upon his return to Cologne later that year, an inspired Schmidt formed a group with American avant-garde composer and flautist David C. Johnson and music teacher Holger Czukay with the intention of exploring his newly broadened horizons.
When I founded the group I was a classical composer and conductor and pianist making piano recitals, playing a lot of contemporary music but also Brahms, Chopin and Beethoven and everything. And when we got together I wanted to do something in which all contemporary music becomes one thing. Contemporary music in Europe especially, the new music was classical music was Boulez, Stockhausen and all that. I studied all that, I studied Stockhausen but nobody talked about rock music like Sly Stone, James Brown or the Velvet Underground as being contemporary music. Then there was jazz and all these elements were our contemporary music, it was new. It was, in a way, much newer than the new classical music which claimed to be 'the new music'.
— Schmidt, in a 2004 interview
Up to that point, the inclinations of all three musicians had been exclusively avant-garde classical. In fact, both Schmidt and Czukay had directly studied under the influential composer Karlheinz Stockhausen. Schmidt chose to play organ and piano, while Czukay played bass and was able to record their music with a basic two-track tape machine. The group was soon fleshed out by guitarist Michael Karoli, a 19-year-old pupil of Czukay, and drummer Jaki Liebezeit, who had grown disenchanted with his work in free jazz groups. As the group developed a more rock-oriented sound, a disappointed Johnson left the group at the end of 1968.
Band name
The band used the names "Inner Space" and "The Can" before finally settling on "CAN". Liebezeit later suggested the back-formation acronym "Communism, Anarchism, Nihilism" for the band's name, after an English music magazine claimed this was the intended meaning. However, Malcolm Mooney had originally suggested the name Can due to it having positive meanings in various languages. For example, in Turkish, a language much heard in Germany due to high numbers of Turkish speakers, "can" may mean, depending on the context, "life, soul, heart, spirit, beloved and vitality".
Early years: 1968–70
Around September 1968, the band enlisted the creative, highly rhythmic, but unstable and often confrontational American vocalist Malcolm Mooney, a New York-based sculptor, with whom they recorded the material for an album, Prepared to Meet Thy Pnoom. As "Inner Space", and with both Johnson and Mooney present, the band appeared briefly in the 1969 film Kamasutra: Vollendung der Liebe backing singer Margarete Juvan. Unable to find a recording company willing to release the album, the group continued their studio work until they had material for what became their first release, Monster Movie, released in 1969. This album contained new versions of two songs previously recorded for Prepared to Meet Thy Pnoom, "Father Cannot Yell" and "Outside My Door". Other material recorded around the same time was released in 1981 as Delay 1968. Mooney's bizarre ranting vocals emphasized the sheer strangeness and hypnotic quality of the music, which was influenced particularly by garage rock, psychedelic rock and funk. Repetition was stressed on bass and drums, particularly on the track "Yoo Doo Right", which had been edited down from a six-hour improvisation to take up a mere single side of vinyl. Liebezeit's tight but multifarious drumming was crucial in carrying the music.
Mooney made his last recordings with Can in December 1969 before returning to America around the end of the year on the advice of a psychiatrist, having been told that getting away from the chaotic music of Can would be better for his mental health. The liner notes of the CD reissue of Monster Movie claim that Mooney suffered a nervous breakdown ("caught in a Can groove"), shouting "upstairs, downstairs" repeatedly. He was replaced in May 1970 by the more understated Kenji "Damo" Suzuki, a young Japanese traveller found busking outside a Munich café by Czukay and Liebezeit. Though he only knew a handful of guitar chords and improvised the majority of his lyrics (as opposed to committing them to paper), Suzuki was asked to perform with the band that same night. The band's first record with Suzuki was Soundtracks, released in 1970, a compilation of music made for films that also contained two earlier tracks recorded with Mooney. Suzuki's lyrics were usually in English, though sometimes in Japanese (for example, in "Oh Yeah" and "Doko E").
Middle years: 1971–73
The next few years saw Can release their most acclaimed works. While their earlier recordings tended to be at least loosely based on traditional song structures, on their mid-career albums the band reverted to an extremely fluid improvisational style. The double album Tago Mago (1971) is often seen as a groundbreaking, influential and deeply unconventional record, based on intensely rhythmic jazz-inspired drumming, improvised guitar and keyboard soloing (frequently intertwining), tape edits as composition, and Suzuki's idiosyncratic vocalisms. Czukay: "(Tago Mago) was an attempt in achieving a mystery musical world from light to darkness and return."
In 1971 the band composed the music for the three-part German-language television crime mini-series Das Messer ("The Knife"), directed by Rolf von Sydow. The track "Spoon" was used as the theme song and, released as a single, reached number 6 in the German singles chart.
Tago Mago was followed in 1972 by Ege Bamyasi, a more accessible but still avant-garde record which featured the catchy "Vitamin C" and the Top 10 German hit "Spoon". Czukay: "We could achieve an excellent dry and ambient sound... e Bamyasi reflects the group being in a lighter mood."
It was followed by Future Days in 1973, which represents an early example of ambient music, as well as including the pop song "Moonshake". Czukay: "'Bel Air' e 20 minute-long track which took up the whole of side two on the Future Days original vinyl LP showed Can in a state of being an electric symphony group performing a peaceful though sometimes dramatic landscape painting."
Suzuki left soon after the recording of Future Days to marry his German girlfriend, and become a Jehovah's Witness. Vocals were taken over by Karoli and Schmidt; however, after the departure of Suzuki, fewer of their tracks featured vocals, as Can found themselves experimenting with the ambient music they had begun with Future Days.
Later years: 1974–79
Soon Over Babaluma from 1974 continued in the ambient style of Future Days, yet it regained some of the abrasive edge of Tago Mago and Ege Bamyasi. In 1975, Can signed to Virgin Records in the UK and EMI/Harvest in Germany, appearing the same year on BBC's Old Grey Whistle Test where a memorable performance of Vernal Equinox involved Schmidt playing one keyboard section with a series of rapid karate chops. Shortly after the appearance Schmidt suffered a broken leg which led to cancellation of the band's UK tour.
The later albums Landed (1975) and Flow Motion (1976) saw Can moving towards a somewhat more conventional style as their recording technology improved. Accordingly, the disco single "I Want More" from Flow Motion became their only hit record outside Germany. Co-written by their live sound mixer Peter Gilmour, it reached No 26 in the UK charts in October 1976, which prompted an appearance on Top of the Pops, where Czukay performed with a double bass. In 1977 Can were joined by former Traffic bassist Rosko Gee and percussionist Rebop Kwaku Baah, both of whom provided vocals to Can's music, appearing on the albums Saw Delight (1977), Out of Reach (1978) and Can (1979).
During this period Czukay was pushed to the fringes of the group's activity due to disagreements about the band's creative direction and his failure as a bass guitarist to keep up with the growth of the other musicians. Bass guitar was something Czukay had "taken up almost by default" and he readily admitted his limitations on the instrument. After Gee joined Can, Czukay made sounds using shortwave radios, Morse code keys, tape recorders and other sundry objects. He left Can in late 1977 and did not appear on the albums Out of Reach or Can, although he was involved with production work for the latter album. The band seemed to be in a hiatus shortly afterwards, but reunions have taken place on several occasions since.
After the split and reunion
Since the split, all the former members have been involved in musical projects, often as session musicians for other artists. In 1986 they briefly reformed, with original vocalist Mooney, to record Rite Time (released in 1989). There was a further reunion in 1991 by Karoli, Liebezeit, Mooney and Schmidt to record a track for the Wim Wenders film Until the End of the World and in August 1999 by Karoli, Liebezeit and Schmidt with Jono Podmore to record a cover of "The Third Man Theme" for Grönland Records' compilation album Pop 2000. In 1999 the four core members of Can, Karoli, Liebezeit, Schmidt and Czukay, performed live at the same show, although playing separately with their current solo projects (Sofortkontakt, Club Off Chaos, Kumo and U-She respectively). Can have since been the subject of numerous compilations, live albums and samples. In 2004, the band began a series of Super Audio CD remasters of its back catalog, which were finished in 2006.
Michael Karoli died of cancer on 17 November 2001; Jaki Liebezeit died of pneumonia on 22 January 2017, and Holger Czukay died of natural causes on 5 September 2017, thus leaving Irmin Schmidt as the sole surviving consistent member of the group.
Solo works
Holger Czukay recorded several ambient albums and collaborated with David Sylvian among others. Jaki Liebezeit played extensively with bassists Jah Wobble and Bill Laswell, with a drum ensemble called Drums of Chaos and in 2005 with Datenverarbeiter on the online album Givt. Michael Karoli recorded a reggae album with Polly Eltes before his death, and Irmin Schmidt has begun working with the acclaimed drummer Martin Atkins, producing a remix for the industrial band The Damage Manual and a cover of "Banging the Door" for a Public Image Ltd tribute album, both released on Atkins' label, Invisible Records. Karoli formed Sofortkontakt! for the Can reunion shows in 1999 with Mark Spybey, who had previously been associated with Dead Voices on Air, Zoviet France, Reformed Faction and Download. The band also featured Alexander Schoenert, Felix Guttierez of Jelly Planet, Thomas Hopf and Mandjao Fati. Karoli also performed on numerous occasions with Damo Suzuki's Network. Damo Suzuki returned to music in 1983 and since then he has been playing live improvisational shows around the world with local musicians and members of touring bands at various points, sometimes issuing live albums. Malcolm Mooney recorded an album as singer for the band Tenth Planet in 1998. Rosko Gee has been the bassist in the live band on Harald Schmidt's TV show in Germany since 1995. Rebop Kwaku Baah died in 1983 following a brain hemorrhage.
Archive releases
Can released a compilation album Limited Edition in 1974, and expanded it to a double album Unlimited Edition in 1976 from their unreleased studio recordings. Delay 1968, released in 1981, was a compilation of unreleased 1968–1969 recordings. Cannibalism 2, a compilation album of album and single material, also included one unreleased song, "Melting Away", from the 1960s.
In 1995 The Peel Sessions was released, a compilation of Can recordings at the BBC. In 1999 Can Box was released, with a Can video documentary, a concert recording from 1972 and a double live CD compiled by Michael Karoli and later released separately as Can Live Music (Live 1971–1977). Unreleased live music of Can have been also released on the 40th Anniversary Edition of Tago Mago in 2004 and 17 LP collection box Can in 2014.
The Lost Tapes, released in 2012, was overseen by Irmin Schmidt and Daniel Miller, compiled by Schmidt and Jono Podmore, and edited by Podmore.
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