Can was a German experimental rock band formed in Cologne, West Germany in 1968 by the core quartet of Holger Czukay (bass), Irmin Schmidt (keyboards), Michael Karoli (guitar), and Jaki Liebezeit (drums). The group cycled through several vocalists, including Malcolm Mooney ('68ñ70) and Damo Suzuki ('70ñ73), as well as various temporary members. Drawing from backgrounds in the avant-garde and jazz, Can incorporated minimalist, electronic, and world music elements into their often psychedelic and funk-inflected music. They have been widely hailed as pioneers of the German krautrock scene. The band used the names "Inner Space" and "The Can" before finally settling on "CAN". Liebezeit subsequently suggested the backronym "Communism, Anarchism, Nihilism" for the band's name. In mid-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. 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 each other), 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." 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 Holger Czukay was pushed to the fringes of the group's activity; in fact he just 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. Tago Mago is the third album by the German krautrock band Can, originally released as a double LP in 1971. It was the band's second studio album and the first to feature Damo Suzuki after their previous vocalist, Malcolm Mooney, quit the band in 1970 to return to the United States. Tago Mago has been described as Can's best and most extreme record in sound and structure. The album has received much critical acclaim since its release and has been cited as an influence by various artists. With the band in full artistic flower and Damo Suzuki's sometimes moody, sometimes frenetic speak/sing/shrieking in full effect, Can released not merely one of the best Krautrock albums of all time, but one of the best albums ever, period. Tago Mago is that rarity of the early '70s, a double album without a wasted note, ranging from sweetly gentle float to full-on monster grooves. "Paperhouse" starts things brilliantly, beginning with a low-key chime and beat, before amping up into a rumbling roll in the midsection, then calming down again before one last blast. Both "Mushroom" and "Oh Yeah," the latter with Schmidt filling out the quicker pace with nicely spooky keyboards, continue the fine vibe. After that, though, come the huge highlights three long examples of Can at its absolute best. "Halleluwah" featuring the Liebezeit/Czukay rhythm section pounding out a monster trance/funk beat; Karoli's and Schmidt's always impressive fills and leads; and Suzuki's slow-building ranting above everything is 19 minutes of pure genius. Members Damo Suzuki ñ vocals Holger Czukay ñ bass, engineering, editing Michael Karoli ñ guitar, violin Jaki Liebezeit ñ drums, double bass, piano Irmin Schmidt ñ keyboards, vocals on "Aumgn"

Ege Bamyası is the fourth studio album by the German experimental rock band Can which was originally released as an LP in 1972 by United Artists. The album contains the single "Spoon", which charted in the Top 10 in Germany, largely because of its use as the theme of a German TV thriller mini-series called "Das Messer" (The Knife). The success of the single allowed Can to move to a better studio in which they recorded Ege Bamyası. Ege Bamyası was remastered as a hybrid SACD in 2004 which includes a booklet with commentary on the album by former Melody Maker journalist David Stubbs, as well as previously unreleased photos of the band.

Brian Eno's second album collaboration with Dieter Moebius and Hans-Joachim Roedelius of Cluster consists of slow-moving instrumentals full of repeated synthesizer sound patterns and sustained guitar notes in the ambient style familiar from Eno's collaborations with Robert Fripp and albums of his own, such as Discreet Music. One song, 'Broken Head,' features recited vocals by Eno, and on another, 'The Belldog,' he sings. On 'Tzima N'arki,' his vocal is turned backwards.

One of the brightest and most famous projects of the entire punk/new wave scene, No New York was released in 1978 on Island's sub-label Antilles and became a total cult in the Indie scene. Featuring some of the most incredible rule-breaking bands of the underground New York art and music scene, the project, produced by Brian Eno, is a genuine snapshot of the massively creative NYC scene, from which innumerable trends started and became part of the modern pop music as we know it. Influential, powerful and ground breaking, this collection features four of the top icon-shattering Gotham City's no-wavers like James Chance (Contortions), Arto Lindsay and Ikue Mori (DNA), Lydia Lunch (Teenage Jesus) and Sumner Crane (MARS). This is the first time No New York has ever been released in the West. This CD digi-pak version includes a detailed booklet. The musical legacy of this collection runs right from the Swans and Sonic Youth straight through to Glenn Branca, Jon Spencer and all the current crop of New Wave Of No New Wave outfits (such as The Rapture, Yeah Yeah Yeahs, etc..) burning up hipster dance floors worldwide! 16 total tracks. Lilith. 2005.

Producer Ted Templeman was a bit of a surprising choice given his firmly mainstream production credits, with The Doobie Brothers already under his belt and Van Halen lurking in the near future. As it turned out, such a combination led to a better-working fusion than might be expected, making one wonder why in the world Clear Spot wasn't more of a commercial success than it was. The sound is great throughout, and the feeling is of the coolest bar-band in town, not to mention one that could eat all the patrons for breakfast if it felt like it. Fans of the fully all-out side of Beefheart might find the end result not fully up to snuff as a result, but those less concerned with pushing back all borders all the time will enjoy his unexpected blend of everything tempered with a new accessibility. "Nowadays a Woman's Got to Hit a Man," besides having a brilliant title, shows the balance perfectly -- Van Vliet serves up his rough asides with all his expected wit and sass, while the Magic Band trade off notes here and there just so. At the same time, the track is strong blues-rock that doesn't pander, with a particularly fierce solo thanks to Zoot Horn Rollo. "My Head Is My Only House Unless It Rains" is a great love song, the softer arrangement saved from being too off by Beefheart's delivery. Other winners include the title track, a sharp combination of an off-kilter arrangement for a straightforward melody, the great shaggy-dog story of "Golden Birdies," and "Big Eyed Beans from Venus," a fantastically strange piece of aggression. ~ Ned Raggett, All Music Guide

后朋

Import only remastered reissue of The Byrds co-founder's 1974 solo album for Asylum, described by some as Clark's 'Sgt. Pepper'. Features 15 tracks including seven previously unreleased bonus tracks, 'Train Leaves Here This Morning' (Outtake), 'Life's Greatest Fool' (Alt. Demo Version), 'Silver Raven' (Alt. Demo Version), 'No Other' (Alt. Demo Version), 'From A Silver Phial' (Alt. Demo Version), 'Some Misunderstanding' (Alt. Demo Version), & 'Lady Of The North' (Alt. Demo Version). Original artwork with updated liner notes. Warner.

Le Sony'r Ra, better known as Sun Ra, was an American jazz composer, bandleader, piano and synthesizer player, and poet known for his experimental music, "cosmic" philosophy, prolific output, and theatrical performances.

Digitally remastered reissue of his 1973 album for Bearsville. Contains the original cover art & all 19 of the cuts that first graced it, including the hit 'Sometimes I Don't KnowWhat To Feel'. 1999 release.

爵士摇滚乐队Steely Dan的首张专辑，获得滚石杂志5星评价，在1972年度Billboard专辑榜上排名第17，虽然在商业上不算特别出色，但也取得了百万销量，从此开始了他们既叫好又叫座的音乐生涯。本专辑在滚石杂志评出的500张历代最强专辑中排名第238位。

Walter Becker & Donald Fagen. Inducted into Rock And Roll Hall of Fame in 2001 (Performer).

“It was the last night of his 1971 solo tour, and Neil Young walked onto the stage at the Dorothy Chandler Pavilion unaware that the mic of “Jerry Rigged” would capture the entirety of this sublime solo performance. As a result, bootleg LPs emerged en masse and were scooped up by thousands of hungry fans. The Harvest LP was still one year from release the new songs contained herein were (and still are) amazing, and the only bone Neil and the suits threw us that year was the 4-Way Street LP, as fine and LP as it was. If you were a Neil/CSNY fan in the early 70s, you owned this LP in one of its configurations. There was “I’m Happy Y’All Came Down” on Rubber Dubber with its black gatefold cover ready for rolling, a rare Rubber Dubber version with a rubber stamped cover, the TMOQ version upon which they squeeze the entire show on two sides of colored vinyl, the double Young Man’s Fancy on Zerocks and abridged versions like the Live on Sugar Mountain LP. Besides the songs and wonderful performance, highlights include the unique snippet of “You and Me” that prefaces “I Am a Child,” and the response to the request for the song “Sea of Madness,” that prompts a Neil anti-bootlegging rap: “Wooden Nickel? Never heard of it. That’s a capitalist ripoff.” Ramblin’ Jack Elliot opened this show, but no recordings of his set exist. “Jerry Rigged” says that the original reel to reel master tape is long gone. All that remains are the LPs.”