Jaki Liebezeit
Jaki Liebezeit was a German drummer, best known for his work with the Krautrock band Can. He was born in Ostrau, Saxony, Germany on May 26, 1938. He began playing drums at the age of 14, and soon became one of the most sought-after drummers in Germany. In 1968, he joined Can, and remained with the band until their breakup in 1979. He later worked with various other bands and artists, including Jah Wobble, Holger Czukay, and Michael Rother. Liebezeit died on January 22, 2017 at the age of 78
Jaki Liebezeit was a German drummer, best known for his work with the Krautrock band Can. He was born in Ostrau, Saxony, Germany on May 26, 1938. He began playing drums at the age of 14, and soon became one of the most sought-after drummers in Germany. In 1968, he joined Can, and remained with the band until their breakup in 1979. He later worked with various other bands and artists, including Jah Wobble, Holger Czukay, and Michael Rother. Liebezeit died on January 22, 2017 at the age of 78
Members: Can
Delay 1968
Reduced Price * Limited Edition Pink Coloured Vinyl. Embossed sleeve. ncludes high definition audio download code * Although recorded in the late '60s, the material included on Can's Delay...1968 did not appear commercially until 1981. A collection of cuts featuring early vocalist Malcolm Mooney, these seven songs are among the very first Can tunes ever recorded; while nowhere near as intricate or assured as the group's later work, the visceral energy of tracks like the deranged "Uphill" and "Bu…
Full Circle
A total peach comes back into circulation with Holger Czukay’s beguiling, heavily grooving ‘Full Circle’, starring crucial input from his Can bandmate Jaki Liebzeit on drums and Jah Wobble weilding the bass
Instantly loveable for the grooving punk-disco ear worm of album opener ‘How Much Are They? - a big anthem in mid ‘80s Belgium and elsewhere - listeners will also encounter the muggy dub of ‘Where’s The Money?’ and the playfully exotic concrète-jazz-funk of ‘Full Circle R.P.S. (No. 7)’, along…
Horrortrip In The Paperhouse
The first five tracks on this Can release of dubious authenticity were taken from the famous Can free concert in Cologne, Germany, on February 3, 1972. This is the audio from the same concert documented by the video item of the out of print Can Box set, and the audio quality is quite good and the performances are outstanding. On these tracks, the group locks into one long, propulsive groove after another, blending minimalism with improvisation. Whereas "Spoon" and "Paperhouse" diverge quite a bi…
Live in Lyon January 1976
Amazing french performance recorded live in Lyon on the 17th of January 1976. The classic line-up comprising of Holger Czukay (bass), Michael Karoli (guitar), Jaki Liebezeit (drums) and Irmin Schmidt (keyboards), is here strengthened by malaysian vocalist Thaiga Raj Raja Ratnam, who played a mere four dates with the band between January and March 1976, all of which were recorded, and did considerable studio work with them. A series of highlights from their repertoire stretched with improvising t…
Live In Hannover, 11 April 1976
High quality live FM radio broadcast of a concert that Can played in Hannover on 11 April 1976. The four-piece in brilliant shape surfin’ the cosmos with special guest Michael Cousins on vocals.
Monster Movie - Live At Burg Nörvenich, 25th July 1969
Recorded live in July 1969 during the same sessions that gave birth to their classic debut album Monster Movie. The album contains rawer versions of classics tracks such as Yoo Doo Right and Outside My Door. This was Can at the very beginning of their career, before they would become widely known as one of the 70's Krautrock most iconic bands. A full catalogue of minimal grooves and extended song forms that would influence generations to come. Holger Czukay - bass, Jacki Liebezeit - drums, Micha…
Doko E. Live In Cologne 1973
Recorded in 1973 at Inner Space Studios during the "Future Days" sessions , this album contains the full lenght performance of "Doko E" a track which appeared on the “Limited Edition” LP. But where the original release gave us only a two and a half minute version, here you can get the whole 40 minutes. A solid and energetic session from the Can classic line up featuring Holger Czukay, Michael Karoli, Irmin Schmidt, Jaki Liebezeit and "Damo" Suzuki. Highly recommended for both Can completists an…
Auf Der Einbahnstrasse Live In Koln
Two long studio sessions recorded in 1971 in the band's hometown of Koln by the classic Can lineup of Damo Suzuki, Holger Czukay, Michael Karoli, Irmin Schmidt and Jaki Liebezeit. This is the '70s Krautrock scene's most iconic band at their absolute creative peak and caught in action during the epic Tago Mago sessions. A full catalogue of atmospheric minimal grooves that would influence generations to come.
Anthology (Remastered)
Having originally surfaced in 1994, Can's Anthology still serves as a pretty comprehensive, wide-ranging sampler of the band's key works, and the material's never sounded better - benefiting from a beautiful remastering treatment. Spanning Can's work from 1969's Monster Movie right up to 1991's soundtrack for the Wim Wenders film Until The End Of The World this two-disc compilation takes in a variety of line-ups, with the first disc drawing from the band's work up until 1974, with particular emp…
Rite Time
'Rite Time’ was originally released in 1986 and has been evaluated as one of the classic Can albums. "An unexpected reunion from Can (made even more unexpected by the presence of original singer Malcolm Mooney, who left the band in 1969), 1989's Rite Time is in large part a return to form for the group, especially when one considers how weak Can's last few '70s albums were. Wisely, the quintet doesn't try to replicate the sound they created over two decades before on albums like Monster Movie. I…
Can
Mute brought back more Can than any krautrock fan could possibly handle with the 'Can Vinyl Box', which featured seventeen Can records reissued in one bundle; now each record is stepping out on its own. The self-titled 'Can' is the band's eleventh record, released in 1978 and unfamiliar to most. Like 'Out of Reach', little of the music, if any at all, is attributed to the band's founding member Holger Czukay, who stepped back in the writing and composing department.
Aksak
Aksak is the exciting encounter of two exceptional musicians from different generations: legendary drummer Jaki Liebezeit (Can) and percussion wizard Holger Mertin (Drums And More). Like a zen master of the minimal, repetitive beat, Liebezeit - famous for his hypnotic precision - creates with only few sound colours the perfect matrix for Mertin's unleashed playing on any imaginable percussion instrument. The result is a mighty, complex pulse - the groove of a better world. On the basis of that m…
Out Of Reach
All but unknown to most but the most hardcore Can fanatics, 1978's Out of Reach is one of the group's rarest albums. This is due in large part to the fact that bassist Holger Czukay left the band before the recording sessions, and drummer Jaki Liebezeit has a greatly reduced role, leaving most of the rhythm duties to percussionist-come-lately Reebop Kwaku Baah. As on the group's proper swan song, 1977's Saw Delight, new bassist Rosko Gee largely leads the group, and his jazz-inflected playing is…
Saw Delight
1977's Saw Delight is the German progressive group's farewell. Percussionist Reebop Kwaku Baah and bassist Rosko Gee from a late-era lineup of Traffic to add a sort of Afro-Cuban jazz feel to their sound. Similarly, Rosko Gee's handling of the bass duties (which he performs superbly throughout, adding an almost Mingus-like rhythmic intensity to even the loosest songs) frees Holger Czukay to add electronics and sound effects to the proceedings. The opening "Don't Say No" recalls the controlled fu…
Flow Motion
The second of Can's three Virgin albums, 1976's Flow Motion, is a divisive record in the group's canon. It was their most commercially successful album (the opening track, "I Want More," was released as a single in the U.K. and actually charted, thanks to its smoothly percolating near-disco groove, which makes it resemble a late-period Roxy Music hit), but many fans dismiss it as the group's feint toward commercial success. That fluke hit aside, the charge doesn't really hold water. There's a ne…
Flut
Jochen Irmler and Jaki Liebzeit met in the town of scheer last july to prepare for an upcoming concert at the slaughterhouse in sigmaringen as well as for a subsequent appearance in the kammerspiele in munich. however, they quickly decided to stop rehearsing and instead record flut - an album that regroups six improvisations between organ and percussion. flut adds another chapter to irmler's collaborations, which aim to explore, whenever possible, the hidden potential that lies dormant in the cl…
Landed
If you got a quid for each time Can were referenced as influencing a given band or artist, we'd have taken the Bank Of England down years ago. Remastered to a clarity that will come as a shock to those who've been suffering the original cd releases, 1975's 'Landed' is notable for marking the return to Can's debut line-up (barring Malcolm Mooney of course), following the love-sick Damo Suzuki's departure. Their 7th full-length release, 'Landed' also saw the band getting their mitts on a 16 track …
Soon over Babaluma
With Suzuki departed, vocal responsibilities were now split between Michael Karoli and Irmin Schmidt. Wisely, neither try to clone Mooney or Suzuki, instead aiming for their own low-key way around things. The guitarist half speaks/half whispers his lines on the opening groover, "Dizzy Dizzy," while on "Come Sta, La Luna" Schmidt uses a higher pitch that is mostly buried in the background. Holger Czukay sounds like he's throwing in some odd movie samples on that particular track, though perhaps i…
Unlimited Edition
Most bands stick out a 'unreleased and bonus bollocks' album when they're bereft of new ideas and need some filthy lucre to keep the country estate fully stocked with coy carp. You get the feeling this was the last thing on Can's mind. Having amassed a serious quantity of recordings between 1969 and '74, 'Unlimited Edition' (now giving a thorough spring-clean for this remastered release) was put out on a 15,000 only run to proceed 'Soon Over Babaluma', portraying a much rougher Can that tended n…
Ege Bamyasi
**Green Vinyl** The group's fourth album, from 1972, originally issued by United Artists. "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'. Liebezeit an…