Can ‎– Tago Mago

Label:
Mute ‎– 9273-2, The Grey Area ‎– 9273-2, Spoon Records ‎– 9273-2
Format:
SACD, Hybrid, Album, Reissue, Remastered
Country:
Released:
Genre:
Style:

Tracklist

1 Paperhouse 7:29
2 Mushroom 4:08
3 Oh Yeah 7:22
4 Halleluhwah 18:32
5 Aumgn 17:22
6 Peking O 11:35
7 Bring Me Coffee Or Tea 6:47

Companies, etc.

Credits

Notes

Remastered reissue of this 1971 LP.
Licensed for release by Spoon Records.

Barcode and Other Identifiers

  • Barcode: 724596927328
  • Matrix / Runout: SUHD-010280A1 1
  • Matrix / Runout: SULD-010280 1

Other Versions (5 of 75) View All

Cat# Artist Title (Format) Label Cat# Country Year
UAS 29 211/12 X Can Tago Mago(2xLP, Album, Gat) United Artists Records UAS 29 211/12 X Germany 1971 Sell This Version
UAS 29 211/12 X Can Tago Mago(2xLP, Album, RE, Unofficial, Gat) United Artists Records UAS 29 211/12 X Germany Unknown Sell This Version
Spoon 006/7 Can Tago Mago(2xLP, Album, Unofficial, Gat) Spoon Records (2) Spoon 006/7 Germany 2014 Sell This Version
UAS 29 211/12 X Can Tago Mago(2xLP, RE, Unofficial) United Artists Records (2) UAS 29 211/12 X Germany 2007 Sell This Version
UAS 29 211, UAS 29 211 X Can Tago Mago(2xLP, Album, RE, Unofficial, Pur) United Artists Records (2), United Artists Records (2) UAS 29 211, UAS 29 211 X US Unknown Sell This Version

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December 13, 2010
this disc is a monstrosity, but it's a brilliant monstrosity. nowadays, it's packaged on one cd, but it was initially packaged on two lps. how does one describe can to the non-initiated? at their most basic level, can were a psychedelic blues act. they spent half of their recording time just rocking out and the other half of the time attempting to dement your soul. as such, their records play out as strange orgies full of schizophrenic imagery and delusional ramblings. they are fascinating delves into pure insanity. be careful; they may draw you in.

understanding the layout is key in understanding the record itself. the first three tracks, which made up what was initially the first side of the first lp, are much tamer than the last three quarters of the record is. that's not to say that these tracks are conventional pop songs. they would exist under the broad label of "epic rock", which is consciously indescriptive as part of what makes epic rock epic rock is the fact that it's incomparable to anything else. these tracks integrate multiple parts, soft-loud transitions, prominent lead guitars, a poet/lyricist and aggressive drumming; it's epic rock, but it's very abstract and psychedelic epic rock. taken as a whole, these tracks would make a fine little single or ep. let's even consider them as an isolated ep for the moment and tackle the rest of the record within a completely different context.

the 4th track is the entire second side of the first lp. now, suppose that the act that wrote the first three tracks is some other act, not can, but a pseudocan that exists only in the alter-reality that is invoked by the record itself. after they finished recording the first three tracks, they went out to get drunk at some watering hole somewhere - it's a musician thing - and, while they were there, a band was playing "halleluhwah". did they actually write that or were they just jamming? did they dance? i don't know, i wasn't around. this fourth track clocks in at over eighteen minutes, but the track itself is only ten seconds long, it's just repeated 112 times. there is a short pause near the one third mark and a prog rock crescendo at the end.

then, something happens. what happens? i don't know, i wasn't around. maybe somebody slipped something into the drinks. maybe somebody got shot. maybe they met somebody outside with some kind of magical potion. it's just unclear. what is clear is that the first side of the second lp is something you should definitely not play for somebody that is experimenting with psychedelics for the first time, although it may be an enjoyable trip for the long initiated.

the last side of the record, while split into two tracks, also plays out as though it is a single, confused, messy track. daffy duck makes an uncredited cameo about halfway through the track, apparently in the role of an auctioneer. eventually, the racket subsides and the record ends on a less aggressive note.

in reviewing this record, i listened to it on repeat for several days, usually through headphones. the record as a whole is extremely expansive; from the second side on, it's difficult to break the sound down into parts, let alone into tracks. suzuki is impossible to understand throughout most of the disc, which deprives the disc of any kind of context. while it takes some getting used to, the climax of the record really is aumgn and it really is climactic once you finally get your head around it. the track peking O is a notable weak point as, although the track itself flows quite well, the vocal experiments get irritating fairly quickly.

stay far away from this disc unless you're willing to invest some time into it.