Collosseum II-Down To You - (1976)
Don Airey - Grand Piano, Fender Rhodes, Hammond organ, Minimoog, ARP Odyssey, Solina String Ensemble
Jon Hiseman - Percussion, Drums
Gary Moore - Guitars, Vocals
John Mole - Bass (1976–1978)
Neil Murray - Bass (1975–1976)
Mike Starrs - Vocals (1975–1976)
Music and lyrics by Joni Mitchell
Everything comes and goes
Marked by lovers and styles of clothes
Things that you held high
And told yourself were true
Lost or changing as the days come down to you
Down to you
You're a kind person
You're a cold person too
It's down to you
It all comes down to you.
You go down to the pick up station
Craving warmth and beauty
You settle for less than fascination
A few drinks later you're not so choosy
When the closing lights strip off the shadows
On this strange new flesh you've found
Clutching the night to you like a fig leaf
To the blackness
And the blankets
To lay down an impression
And your loneliness
In the morning there are lovers in the street
They look so high
You brush against a stranger
And you both apologize
Old friends seem indifferent
You must have brought that on
Old bonds have broken down
Love is gone
Ooh, love is gone
Written on your spirit this sad song
Love is gone
Everything comes and goes
Pleasure moves on too early
And trouble leaves too slow
Just when you're thinking
You've finally got it made
Bad news comes knocking
At your garden gate
Knocking for you
You're a brute-you're an angel
You can crawl-you can fly too
It's down to you
It all comes down to you
Gary Moore - Spanish Guitar (Instrumental)
Classical - Gary Moore - Spanish Guitar (Instrumental) - YouTube
URIAH HEEP -- ... very 'eavy very 'umble...--Full Album (1970)
Sandy Bull - Memphis, Tennessee from "Inventions for Guitar and Banjo" 1964
Sandy Bull - Memphis, Tennessee - YouTube
Sandy Bull - Manha De Carnival from "Inventions for Guitar and Banjo" 1964
Sandy Bull - Manha De Carnival - YouTube
Can - pnoom (1968)
26 seconds of wonder
Some funny comments with hilariously translated English from a CAN fan to a CAN critic on an audiophile comments board:
This is a very low-tech recording and some might wonder why it has been issued on Super Audio. But I think it's because a) The Can was so influential and b) in this kind of garage-band-style the defects and distortions just add to the grittiness of the music (in fact, they are part of it). Despite the primitive nature of the recording, it's a very immediate, in your face sound, and it works on SACD. It gets my vote for MOST SEMINAL GOTH-PUNK ALBUM OF ALL TIME. If you like Velvet Underground, Siouxsie and the Banshees, Bauhaus, The Damned, Joy Division, The Cure, Iggy and the Stooges, The Fall, Sonic Youth, et al, then you will love DELAY 1968 by The Can. It was actually Can's first album, but record companies were so shocked by it that the band had to record something more toned-down and accessible (i.e., Monster Movie) before record companies would release anything by them. This is why the album (finally released in 1981 even though it was recorded in 1968) is called "Delay." Its original title was "Prepare to Meet thy PNOOM."
How about cleaning your ears? Or listen to these SACDs on a good analogue Stereo amp, without DSP equalization, that all these crapy multi-channel receivers have.
I own all CDs and SACDs of the band and these THE CAN SACDs had stunning sound quality in glorious Stereo sound, and were recorded by the band(Czukay & team) in his own studio, a cinema room or in the Noervernich castle(Innerspace Studio).
All musical studios in the world are a room with sound-proof material, IF the sound-proof material are fancy expensive Sonex or egg-boxes and mattresses this is not relevant to the music quality and even to the street noise proofing, to my ears. THE-CAN used this simple sound-proofing as they do not have deep money funds as others Kraut-Rock bands as AmonDull-2, Popol Vuh, Tangerine Dream etc... in fact Irmin Schmift used Farfisa keyboards due lacks of money to buy Hammond B3 and Minimoogs. It is know they used a small PA system in live gigs too for many years.
Who do you wants to fool labeling these fine recordings as ''primitive''?? These recordings are minimalist and therefore audiophile recordings, they were recorded live in the band studio with some microphone, a mixer and a analogue tape recording, no cracky PCM, no Low Rez 44kHz sampling rate, no low speed tape, which are not 3ips, seems 5 or 7 inches per second, the fasted used by a rock band of the time.
If these recordings are ''primitive'', all recordings from Ruby Van Gelder and the golden age of the RCA Living Stereo and Mercury Living Presence also are the same.
In the albums Monster Movie and Delay1968 the band create the Punk-Rock, because this was the crude musical style of the vocalist Malcolm Mooney, with the next vocalist Damo Suzuki the band style changed to oniric and pastoral, so THE-CAN do not copy VU nor suffer influence from any rock musicians, but classical composers and ethnic music.
I fell you mean said theses recordings are simple direct to tape. When THE-CAN was at the height of success you still sucking beak as a baby, so I can understand if you do not like their music, and prefer these Pop-Rock bands you mention, which are Punk, Hardcore or Emo.
Stockhausen: "Gesang der Junglinge"
Mind - Karlheinz Stockhausen Gesang der Jünglinge
CAN (band) - Documentary
goodbye karlheinz stockhausen
my relationship to karlheinz stockhausen can be found in the process of creating. he always saw himself functioning as a medium. apart from the fact that we say good bye to one of the greatest composers of the 20th century with strongest influences on music which didn't even belong to his battlefield like rock and pop, film or commercial I rather prefer to recall some personal moments with him.
the first time I met stockhausen must have been around 1960 when he appeared live in the conservatory in duisburg, germany performing his electronic studies 1 + 2 . he had a great talent to explain the audience what was driving him to compose the way he did. a man (music teacher) rose up his hand and shouted : ''mr. stockhausen, behind all what you do is that you want us to get shocked and make a lot of money.'' he replied that he did it only for musical reasons. he didn't need the money because he had married a rich wife.
from this moment I knew what I had to do in order to survive in case my talent creating uncompromising music should faint.
another man this evening got the chance to speak saying that everyone could compose the way he did. one needed only to hit the keys of the piano in a wildly chaotic way.
stockhausen invited him to come on stage and let him demonstrate.
''quite good for the beginning'', he commented ''but you certainly can do better if you get deeper into it, don't you think so? '' a laughing audience applauded.
from 1963 till '66 I attended to his composers seminar in cologne. I introduced myself to him as someone who got thrown out from all music schools, someone who never successfully passed an exam and that I couldn't play any instrument.
he asked what I wanted to become and I answered ''composer''.
he looked at me quite some time till he said: ''your story sounds good, you can stay.''
one year later when the lecture had a break he turned towards me and remarked:
''czukay, it seems that you are thinking too much.''
''that doesn't speak for your human knowledge, mr. stockhausen'' I replied. and he continued:
''don't get me wrong but I can see that you are putting too many questions to the notes when it comes to write them down.''
stockhausen obviously had hit my achilles' heel and so he told me that he had known a belgian composer writing good music till he was questioning so much that he couldn't write anything anymore. ''I also found myself in such a situation'' he said. ''an invincible wall was rising up in front of me when composing which I had to overcome without knowing where it would lead me to and now it is your turn no matter where it will take you.''
that evening I went home by train sitting alone in a compartment crying. so much I felt that his words had moved a big rock away from my chest. one year later he suddenly turned towards me saying:
''when the bird is able to fly it will leave its nest.'' and towards his colleges he remarked that ''this man will go a different way than we did''.
2 months later I left the nest and flew in my car to switzerland where I hoped to find a rich girl same way like stockhausen did and became a teacher of music in one of the most noble and expensive public schools. but instead of concentrating myself on the girls I concentrated on one young gentleman who took a few guitar lessons from me. we both left the school simultaneously, he because he had successfully finished it and me because I got fired. his name was michael karoli and together we became the first cell of the group can.
when I sent karlheinz stockhausen my congratulations to his 75th birthday 4 years ago he wrote back: dear holger, you are your work. I am astonished. Is lion a female or male? your congrats made me really happy. may god protect you with his goodness. devout as always. yours ? stockhausen, with thanks for your wishes.
november 30 this year, 6 days before he died I performed live in copenhagen, denmark where I presented a new piece with brian eno and myself playing live. stockhausen appeared sampled as a singer. I started playing the piece and in the middle I turned down the volume saying that this was him singing.
according to what he always stated he will continue composing after his death in form of energy pulses. sure he will.
one month after karlheiz stockhausen died media is calling me up in order to give statements, reports, essays etc. my connection to the great composer can be only randomly or better privately described. to praize what he has done as a composer i'm not experienced enough. but from my personal point of view i can report some events especially from the time in the beginning of the 60ies when i spent my time studying with him. i often imagine what he would have done in my place becoming an active member in can and how long he would have survived that - probably only minutes! this is one of the points when thinking of stockhausen that he was not signed up working in a team as one parent of all. he was a typical solo man, a composer and may be the last one of a 'classical' design notating his music and thus writing scores same as our classical heros did. and quite some of them could have become very unpatient at times.
only a few months before i visited his lectures i tried to get taken on as a student of composition in the highschool for music in cologne. i failed the ontaking procedure as the headlining composer there stated that i wouldn't be talented enough for the job. i condemned him to death in my mind and to my surprise and satisfaction he soon died. when i told stockhausen all my miseries becoming a composer he only said: "i take you on". in this period the highschool wanted also to cope with stockhausen and offered their services to him, especially that the students could work with the school orchestra testing their compositions. during the test phase the first violinist was all the time talking and giggeling that stockhausen got fed up with him and he shouted:
"hey you! - yes you! what's your name?"
"mangold" the deliquent in spe replied
"mr. mangold, please get up from your seat and sit down in the last violin row "
and turning to the string man sitting there he said:
"you are now the first violinist here in the orchestra, please sit down on mr. mangold's chair." and stockhausen continued:
"mr. mangold, wherever you see me conducting in the world you will automatically get up from your chair as long as i live!"
this was xtmas, eastern and golden wedding in my ears being thrilled by thousand jubilees in my heart as this was the language to get assholes on the run. and that guy was an asshole i can asure you! of course the conductorship professor protested against this decicion and stockhausen - right before a vulcano eruption - let him know that he should follow him outside where he would like to talk to him touchless.
it was a situation as if sylvester stallone would have told his opponent to follow him outside in order to smash him up. even today i could kiss stockhausen's feet for having given the right message.
one day when stockhausen had invited me to have dinner with him in his house he complained about layzy and unwillingly orchestra musicians trying to obstruct his music. so i asked him why he didn't fire them all together. "for example you play a much better piano than i do. why don't you play all instruments yourself and get rid of them?" i asked him. no, no, he needed them too much he argued and i stopped going further more into it. he was the man who he was and i should not compare my situation with his.
also unbelievable, the public radio station in cologne had thrown away the equipment of the historic electronic studio where stockhausen had worked out the first electronic masterpieces as like 'gesang der juenglinge' or 'kontakte' . i always wondered why he didn't have his own studio instead of making himself dependent on institutions? it certainly would have become a great item for the existing stockhausen foundation.
well, people are different and so was stockhausen. i can easily live with that though i must admit that all of can had condemned him to death when we started to do our thing. it was necessary for us to kill the master first in order to achieve something new. continuing as 'composer killers' became obolete.
see also memories...
cheers and bye for now
Cologne 1963: Karlheinz Stockhausen (left), Holger Czukay of CAN (right)