Can ‎– Ege Bamyasi

Label:
Mute ‎– 9274-2, The Grey Area ‎– 9274-2, Spoon Records ‎– 9274-2
Format:
SACD, Hybrid, Album, Reissue, Remastered
Country:
Released:
Genre:
Style:

Tracklist

1 Pinch 9:28
2 Sing Swan Song 4:18
3 One More Night 5:35
4 Vitamin C 3:34
5 Soup 10:25
6 I'm So Green 3:03
7 Spoon 3:03

Companies, etc.

Credits

Notes

Recorded at Inner Space Studio in 1972.

All tracks remastered from the original stereo master tapes by Andreas Torkler at Sonopress, Germany, attended by Irmin Schmidt, Holger Czukay and Jono Podmore.

Licensed for release from Spoon Records.

Inlay: Printed in the USA
CD: Made in the USA.

Barcode and Other Identifiers

  • Barcode: 724596927427
  • Matrix / Runout: SUHD-010270A1 1
  • Matrix / Runout: STLD-010270 1

Other Versions (5 of 69) View All

Cat# Artist Title (Format) Label Cat# Country Year
UAS 29 414 I Can Ege Bamyasi(LP, Album) United Artists Records UAS 29 414 I Germany 1972 Sell This Version
SPOON 008 Can Ege Bamyasi(LP, Album, RE) Base Record SPOON 008 Italy Unknown Sell This Version
L-34,886, 29 4141 Can Ege Bamyasi(LP, Album) United Artists Records, United Artists Records L-34,886, 29 4141 Australia 1973 Sell This Version
PCD-18608 Can Ege Bamyasi(CD, Album, RE, RM, Blu) P-Vine Records PCD-18608 Japan 2004 Sell This Version
Spoon CD 008 Can Ege Bamyasi(CD, Album, RE) Spoon Records Spoon CD 008 Europe 1998 Sell This Version

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bstry

bstry

July 20, 2016
dghkfhldfdhlfa review is very good. Listening to Can can always lead you to feeling like you are an explorer. Continued listening can continuously feed that feeling. Neil Armstrong only stepped on the Moon had ONE STEP that new and then next one was the second step. Listening to Can and Ege can always feel like that first step.
dghkfhldfdhlfa

dghkfhldfdhlfa

December 13, 2010
this is a much more conventional record than the one that preceded it; it continues on in the style of the first three tracks from tago mago, the epic rock style. as such, this is the can record to have a copy of because it is the most elaborate exploration of their most conventional side. there are two exceptions to this rule, namely the track "soup", which somehow managed to escape from hades when nobody was looking, and the track "pinch" which is a bit of a twisted jam.

i tend to associate epic rock with epic guitar parts and am therefore usually on the lookout for riffs and licks that will slay the inner demons of my soul. there are no such things on this record, but the guitarist is nonetheless the focal point of the record. karoli's style is a messy one that draws equally from hendrix and stockhausen; if you're younger, you'll probably mistake this as sounding a little like kurt cobain in his less than disciplined moments. it's not a sludgy, grungy style - it could even be labelled the exact opposite of that - but it is an abstract and often very noisy one. behind the guitar playing is an obsessively intricate drummer with a knack for using unconventional drums in unsuspecting, but incredibly effective, syncopations. yes, he plays in "motorik", but it's an elaborate take on motorik that incorporates a much wider spectrum of influences than is usually attributed to motorik.

suzuki is usually unintelligible, as always. the album before this was largely built upon the band's realization that they now had a random, schizophrenic vagrant as their singer and their uncertainty as to how to actually use the guy in the recording process. he actually carries the poppier melodies here surprisingly well, well enough that, except for the two aforementioned tracks, it's not entirely clear that he really was a random, schizophrenic vagrant. to be clear, there are moments in some of the other tracks where the mental stability of the singer is called into question; if i didn't know better, i'd think the lyrics in vitamin c are "hey you! you're losing...you're losing...you're losing your pregnancy!". what is that? is it a threat?

the track soup really does stand out, both due to it's length and it's content. the track is really two tracks, so there's nothing mystical about the length of the track. the first half actually flows with the record quite well, but the second half just bluntly doesn't; it would have worked on tago mago, but it just sounds out of place here.

nonetheless, there is no question that this is the place to start with can. i would like to temper this widely accepted view with a second, more cautious one: it is also the place where most people should stop.