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Tago Mago

Can

1971

Buy At Rough Trade
Tago Mago
Album Summary

Tago Mago is the second studio album by the German krautrock band Can, originally released as a double LP in August 1971 on the United Artists label. It was the band's first album to feature Damo Suzuki after the 1970 departure of previous vocalist Malcolm Mooney. Recorded in a rented castle near Cologne, the album features long-form experimental tracks blending rock improvisation, funk rhythms, and musique concrète techniques.Tago Mago has been described as Can's best and most extreme record in sound and structure. The album has received widespread critical acclaim and is cited as an influence by various artists. Drowned in Sound called it "arguably the most influential rock album ever recorded."

Wikipedia

Rating

2.81

Votes

10193
Genres
Rock
Psychedelic Rock

Reviews

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Thu Nov 05 2020
2

The problem with experiments is sometimes they fail. I was vibing with this music, berating myself for judging another album by its genre, when all of a sudden I was assaulted with a 17 and half minute song that sounded like a monkey humping a didgeridoo, following by 11 and a half minutes of eastern strings accompanied by tiny men who crawl up your nose and dance upside down on the bottom of your brain. How many krautrock albums are on this stinking list? Best track: Halleluhwah

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Thu Jun 24 2021
5

Did not know what to expect with this one. There's so much going on here and it gets better with every play through. Stand out tracks for me are Mushroom and the experimental, brooding crescendo of sounds in Aumgn which transported me somewhere else altogether. Perhaps the wailing soundscape of Peking O goes a little too far into the avant-garde, but overall this is a stunning album, I can't even imagine being hit with this in 1971. So good. Probably not one to play at a dinner party though, unless your friend Saffron is planning to lace the avocado salad with something.

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Wed Feb 24 2021
1

I was ambivalent towards this until track 5, which is 17.5 minutes of clattering. It gave me a headache. Track 6 sounds like a 7 year old child randomly hitting a toy drum, bashing a piano and trying to explain the rules of Mallet's Mallet. For those reasons, I mostly hate this.

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Thu Aug 19 2021
5

Tago Mago is a combination of rock, funk, psychedelic freak out, avant-garde jazz improv, elevator muzak, proto techno, stoned mantra, and trippy tape loop experimentation. It handles all these styles better, for longer and harder than any album that’s come before it or since, backed by a truly stellar rhythm section. If Tago Mago was a movie, it would simultaneously be The Empire Strikes Back and 2001: A Space Odyssey.

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Fri Jul 23 2021
5

To me Can is like a genre unto themselves in that they are utterly unique. They are comprised of such an interesting combination of individual backgrounds but yet they are all completely devoted to a group mentality so that it doesn't get pushed in any one individual direction more than another, and that, I think is the secret to their success. It sounds like they really listened to each other when they played and fed off of each other. I tend to gravitate towards music you can get lost in/hypnotized by and Can does that with some of the funkiest grooves ever put to record. Bewitching. The closest thing I can compare it to is Miles Davis' fusion era but Can is even more boundary-less in their search for a sound. The album covers such a rare emotional range that it is beyond words, as are most of Damo Suzuki's lyrics! Tago Mago is their sprawling masterpiece and where they really caught fire, and I do love it, but I actually prefer their next album Ege Bamyasi for it's tighter construction. Unfortunately that album is not part of this list (but I am glad to see that Future Days is). I think the first two sides (or four songs) of Tago Mago are nearly flawless, and that would have been a fantastic album in and of itself. When you get to sides 3 & 4 they are much more experimental, and while I do appreciate them conceptually, etc., having listened to this album many times, I'm not always in the right place to listen to Aumgn or Peking O. It's kind of like the White Album in that way. How many times do you really listen to Revolution #9 the whole way through without skipping? Still, this is 5 stars for me simply for their efforts in making the journey to find their own wholly original sound, which they would go on to perfect in subsequent albums IMHO. Listen to the 40th anniversary edition to hear on the bonus tracks how differently these songs could be performed live!

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Wed Jun 23 2021
2

Really not sure about this. A bit too experimental for me I guess. Parts of it sounded like someone had put Mr blobby into a washing machine while it was spinning slower and slower, other parts sounded like they'd just got really high and started making noises into the recording equipment. A bit like kids messing about with the casio keyboards at other times, so not what you might call particularly easy listening.

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Wed Nov 03 2021
2

There was a point, while listening to this album, that I was prepared to give it a five-star rating. I thought to myself, "Dang! An experimental album that manages to blend genres effectively while never losing the plot or falling out of the pocket! These grooves are so great!" And then it all fell apart in dramatic fashion. Track five brought an eighteen-minute collection of disconnected noises punctuated by random moaning and lost the album a star. Track six continued the downward trend with eleven minutes of tangled strings and a violently bi-polar time signature. There goes another star. Track seven, the last track, managed to pull a grove out of its back pocket to save the album from truly failing marks. Overall, an interesting but extraordinarily frustrating album.

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Sun Apr 02 2023
4

This album is proof enough not to judge an album off the reviews on this site because this album absolutely fucks

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Wed May 10 2023
1

What in the actual fuck was this? There. Is. Never. Any. Need. For. A. 17. Minute. Song. EVER. That was horrific. This album very quickly became an annoyance.

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Fri Apr 07 2023
5

The Ile de Tagomago is an island snuggled into Ibiza’s east coast. The name Tagomago translates as “Mago’s rock”, possibly referring to Mago Barca, the brother of Hannibal. Mago Barca also was the ultimate source for "mayonnaise". Anyway, the Ile de Tagomago supposedly once served as a retreat for Aleister Crowley, the Great Beast of English occultism. Yet the figure most touched by magick associated with the island is Jaki Liebezeit, the funkiest German of all. In 1963, Jaki Liebezeit was depressed. Liebezeit had been an accomplished free jazz drummer, but gigging around Spain had caused him to conclude that, despite the nominer, free jazz was limited, a musical dead end. Also, he had been touring with an opiate-boggled Chet Baker, and Baker’s drug dependency blackened Liebezeit’s psyche further. Liebezeit rented a pad on the Ile de Tagomago, but found himself suicidal, every morn contemplating a dive onto the island’s rocks. Thankfully, he didn’t, and later at a gig he received the epiphany that shook his from his malaise. After he had finished playing, a random stranger, probably high, approached him through the crowd and bellowed, “You should play more monotonously!” The figure disappeared back into the ether, but lightning had struck Liebezeit. That revelation led Liebezeit to develop a new philosophy of drumming, one where he would not only repeat himself, but repeat himself so much that his drumming would become hypnotic and questing. Hooking up with two students of Stockhausen, Irwin Schmidt (keyboards, oscillators, sine-wave generators) and Holger Czukay (bass), and a protégé of Czukay’s, Michael Karoli (guitar), Jaki Liebezeit provided the engine of Can, the core drive to perhaps the greatest band to fuse the avant-garde with rock. Tago Mago is Can’s second studio album, a compilation of their soundtrack work appearing between their first album Monster Movie and Tago Mago. Tago Mago is also Can’s greatest album. Tago Mago is also one of the greatest albums ever made. I have used the word “greatest” thrice in the last few sentences. I make no apology for that, because each use is fully justified. I know that taste is subjective, and Tago Mago refuses to compromise for the more demure listener, but if I were to hide behind a statement like, “oh, I’m my opinion it’s great, but it’s not for everyone,” that would be evasive and cowardly. In the world as I see it, Tago Mago is easily one of the ten greatest albums of all. Wittgenstein once wrote that what the solipsist says is true, though such a truth cannot be stated, but rather makes itself manifest. Following that logic, and since I'm pretty sure I exist, if you don’t like Tago Mago, then that’s evidence on the transcendental plane that you don’t exist. I haven’t mentioned yet the fifth ingredient to Tago Mago, the Japanese freakout shaman Damo Suzuki, who by all accounts is genuinely a very nice person. In one interview he described himself as a “nomad in the 21st century, traveller, hippy but not really hippie, metaphysical transporter, human being.” Only the last entry in that list raises scepticism: if it turned out Damo Suzuki had flown down to Earth in a flying saucer with Santana and Bez, nobody would be that surprised. After Malcolm Mooney, the original vocalist to Can, returned to the USA due to mental health issues, Czukay and Liebezeit spotted Suzuki busking in the street with a performance art piece. The two wandered over and asked Suzuki if he would join their happening on stage that night. You may assume that such a deadline would have proven onerous to young Suzuki, but Can existed in a state of constant improvisation. They were notorious for jamming for up to 16 hours, finding the songs by Czukay’s extensive splicing of their recordings afterwards. This style fitted Suzuki like a spacesuit, since his vocalism was a highly improvised blend of Japanese, German, English and whatever noise he damn well wanted, with him pronouncing the resultant mixture as “the language of the Stone Age.” And who are we mere mortals to doubt him? For such a trippy record, and it is bloody trippy, the first disc of Tago Mago is rather accessible. The first three tracks, Paperhouse, Mushroom and Oh Yeah, are as groovy as Bootsy Collins’ corduroys. Paperhouse and Mushroom are very fine pieces of early 70s head music, but Oh Yeah is the full-on, full-blooded, full-throated, full-blast, full-frontal apex of the first side, variating from portentous and doom-laden to butterfly-light and back in 7 minutes. There’s only one way they could follow that: the 18-minute masterpiece Halleluhwah, where they find the Platonic groove, the groove ringing throughout Elysium, and thus the funkiest track of 1971 was made by four classically trained Germans and a Japanese busker. Even more wonderfully, on Halleluhwah Can preempt the laidback acid whiteboy funk of the Happy Mondays, one of the greatest, most undervalued groups in rock history (and would also record their own glorious Hallelujah). And then we get to the second disc, where it gets really trippy. Can had intended Tago Mago to be a single album, but their manager, Schmidt’s wife Hildegard, insisted that Can reveal all they could do. The side-length Aumgn takes its name from a Sanskrit mystical chant, and has Can flexing their avant-garde heft. I shan’t pretend that the casual listener may find themselves intimidated by Aumgn, and the following Peking O, but I implore you to try and connect with them, or at least be patient with them. They are not meant to be easy listening, but how are you going to expand your consciousness into the ninth dimension and realise the godhead within you if you shirk this in favour of Justin Timberlake? Finally, we have Bring Me Coffee or Tea, a much gentler but still slightly unsettling cooldown from all the intensity, and so the listener lies ravished, beaming, able only to keep tapping out the endless drums. Warm, challenging, funky, intelligent, funny, organic, brave, hairy, virtuosic, playful, apocalyptic and cool, Tago Mago is, as I said before, one of the greatest albums ever made. It is the sound of five men with astonishing heads and astonishing hands synchronising with each other to produce an avant-funk-rock monument to what music can achieve. And as much as I bow before Schmidt, Czukay, Karoli and Suzuki, the central figure to Tago Mago, the metronomic colossus, is Jaki Liebezeit. The beat simply don’t stop and that’s a fact, Jak. NoRadio, signing off.

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Fri Jul 23 2021
5

When I was introduced to Can they kind of blew me away, it did not sound like the 70s rock I knew. Can is my favorite group in the classic Krautrock pantheon. They're funky as hell, sometimes accessible, while other times experimental and jammy. Damo Suzuki might be my favorite of their vocalists, although Malcolm Mooney has some great performances as well (not on the album). There are a bunch of interesting Krautrock documentaries and articles for digging deeper, highly recommended for music nerds. "Halleluhwah" goes by a lot faster than its 18:31 track time would suggest, it keeps it interesting and changing in subtle and dramatic shifts somewhat subtle ways that you can get lost in pretty easily; definitely my favorite track. Not sure if this or "Ege Bamyasi" is my favorite, but this is almost the perfect Can album. Going from "Aumgn" straight to "Peking O" is a bit much though, I think "Peking O" should be removed completely since it doesn't add anything "Aumgn" didn't already do and parts of it don't fit with the rest of the album to me. Looks like originally "Aumgn" was Side 3 and "Peking O" + "Bring Me Coffee or Tea" was Side 4, which is a bit more palatable I suppose. Favorite tracks: Paperhouse, Halleluhwah, Bring Me Coffee or Tea

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Thu Dec 23 2021
5

I played through the first 5 songs of tago mago on bass, just doing it by ear and jamming with the band, and wow. The subtleties of those bass lines are incredible, the interplay between the drummer and the bassist is some genius stuff. Especially on the song Helluhwah, the way the bassist will be playing the groove, subtly changing it over the course of a few measures and hiding behind the beat, then just dipping out in a way where you don't even notice he stopped playing and a synth/guitar break will come in and carry the song in a new direction

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Fri Jan 14 2022
5

Such a blend of funky rhythm and experimental nonsense, in a way few other acts can match. Maybe no other acts. I have been wanting to listen to this album for years, and it absolutely didn't disappoint.

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Mon Feb 28 2022
5

This feels like avant guard done right. Everything comes together perfectly, even despite it's offset sounds. The use of sparse vocals works in perfectly. The timing on where they come in is perfect. The atmosphere the bands creates is palpable. It's both light and dark. It's bot cheerful and moody. I have no idea how a piece of music can hold both, but every song on this album seems to. I particularly liked "Bring Me Coffee Or Tea" and "Aumgn." I only wish I had better headphones to enhance the experience.

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Mon Mar 07 2022
5

Of course this was recorded in a rented castle near Cologne. Where else could you craft something so extraordinary. Whatever is going on here is truly remarkable - uncategorisable, ahead of its time. You can hear the influence on so many bands to follow. Is it jazz? Hard rock? Prog? Electronica? All these things and none. This project is so incredible - introducing you to bands you had never heard before and being blown away.

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Thu Dec 08 2022
5

I'm gonna do something I haven't done before and cast a spite vote. At the time of reviewing, this Krautrock gem is sitting at an average score of 2.86, below such piles of steaming crap as "Gentlemen" by the Afghan Whigs, Def Leppard's "Hysteria", that awful collab by Sinatra and Jobim, and sooo many others. 5 spiteful middle fingers to all you shitty music taste having plebs. 🖕🖕🖕🖕🖕

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Thu Feb 02 2023
5

Incredible album, truly! We had another from Can as well, which was solid but didn't leave near the impression that this does. I was prepared to just make a joke that they shortened the band name so you'd have more time to listen to the songs, but the album turned out to be fantastic. Love these long, odyssey type tracks, and holy cow, "Aumgn" blew my mind. So dissonant, so disquieting. I was having a stressful day when I listened to this, and this album amplified the experience in the right way. Damn, we've had so many killer albums lately, I feel honored. I'm gonna give this one a five star bump because I'm feeling generous. Five of seven tracks are staying with me, which is really saying something. Less than a 4.5 would be criminal here, let's bump it. Favorite tracks: Aumgn, Halleluhwah, Peking O, Paperhouse, Oh Yeah. Album art: A drawing of a rotten, frazzled brain trying its damndest to spew rotten ideas, that's my takeaway here. It's bright and creative, I really dig it. What a delightful surprise this was. 5/5

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Tue Sep 15 2020
4

The first 4 songs are phenomenal, they really blew me away. The last 3 are a bit too experimental for my taste, but I appreciate what they did with them. An amazing album, very interesting. I'm happy I took the time to listen to it.

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Thu Feb 25 2021
4

Experimental, but as opposed to 10cc this is in that way that takes itself very seriously. I like Oh Yeah. I can't help nodding along to Halleluhwah. Aumgn sound like the score to an old horror movie and I love it... Peking is dog shit. Overall a little jammy. A little jazzy. A little schizophrenic. Not exactly my cup of tea but that's not a bad thing.

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Fri Jun 04 2021
4

Sometimes a good jam band like this feels right. Can has always been a favorite and they’re just a vibe. Sometimes it’s chill, sometimes a little incoherent, but it truly is a vibe Favorite Tracks: “Paperhouse,” “Halleluhwah”

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Thu Mar 04 2021
4

wtf was this, don't know if i loved or hated it

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Fri May 28 2021
4

A forward-thinking sonic metaphor for the first few hours of a psychedelic experience. Lots of avant-garde sounds here. Meandering, but not boring. Kinda reminds me of Duster. Aumgn and Peking O are not especially pleasant to listen to but are a good characterization of the overwhelming parts of a trip.

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Tue May 04 2021
4

lots of cool stuff on here - seems dying for a millionsamples

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Thu Jun 24 2021
4

The first half was great, the second half I liked a bit less

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Sun May 02 2021
2

First three songs are great, then it starts to become way too weird and experimental for my taste. Feels like being stuck in laundry machine listening to 5 types of different music. Truly WTF.

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Thu Dec 16 2021
2

By turns, a lot of fun and an inoffensive drag. When they go full weird disco, the rhythm section is one of the best in prog. The drummer is suitably rigid. I picture him playing with straight arms., though I suppose that would make his tippy-tappy style harder to perform. Silly if not funny, which is good enough.

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Wed Feb 17 2021
1

I think the whole album was played in reverse on accident.

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Wed Mar 09 2022
1

Cet album demarrait de la meilleure des manières, avec des solos de guitare chaloupées, et de fantastiques rythmiques proposées par les différents musiciens du groupe. Quand dès la deuxième piste, l'album pris une toute autre tournure. En effet, dès lors, un personnage absolument consternant va venir faire son apparition. Au premier abord, ce personnage que nous appelerons M., nous apparait des plus sympathiques. Il arbore en effet une bouille bien ronde, avec son crane chauve et sa bedaine mignonnette. Lorsqu'il s'exprime, un leger cheveu sur la langue vient rendre le dialogue chantonnant. Il tente d'ailleurs tout de suite de nous mettre à l'aise, avant même que les instruments débutent la deuxième piste. "Inzstallez vous, auzourd'hui z'est la CAN" Mais ne vous y trompez pas: derrière le gentil M. se cache en fait un personnage redoutable, aux idéaux racistes extrêmement limite. "çza z'est pas ma CAN çza" lorsque le guitariste noir du groupe commencera son solo. Ce seront ses premières paroles, qui en emméneront de nouvelles toutes plus limites les unes que les autres, que je ne peux retranscrire dans ce review, pour ne pas offenser mes amis africains. Ce suprémaciste blanc répondant au nom de M. sera instoppable, et viendra complétement ruiner l'écoute de cet album. Je demande d'ailleurs aujourd'hui sonnalement à Robert, au nom de la lutte contre le racisme, de retirer cet album de sa liste.

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Wed Jul 21 2021
5

well done avant garde album. Want to listen some more.

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Wed Jun 30 2021
5

This album is so good. Not every song is perfect, and a couple of the more experimental ones kind of drag on, but the imperfections are outweighed by some really great tracks.

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Wed Aug 18 2021
5

Brilliant. Probably not one I'll play all the way through consistently but the first half will definitely go into rotation.

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Fri Sep 17 2021
5

9/21 "The music was like nothing I'd ever heard before, not American, not rock & roll but mysterious and European." 4.5/5. Standout Tracks: Paperhouse, Halleluhwah, Aumgn

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Sun Sep 26 2021
5

An incredible album. Mind blowing stuff.

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Wed Oct 20 2021
5

The highlight of a career of highlights.

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Thu Dec 23 2021
5

One of the most unique, influential, trailblazing albums. Caused an anxiety attack. 5/5

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Wed Mar 30 2022
5

This was insane, and I loved it.

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Thu Apr 21 2022
5

FIVE STARS An all-time classic and a personal favorite of mine. As is usually the case with those five-stars albums, I won't write a full-blown review about this particular record, because others have already written wonderful stuff about it and there's not much I can add that I feel could be relevant and interesting. It's just a gem. Go and listen to it a.s.a.p. Number of albums left to review or just listen to: more than 900, I've temporarily lost count here Number of albums from the list I find relevant enough to be mandatory listens: approximately a half so far (including this one) Albums from the list I *might* include in mine later on: a quarter Albums from the list I will certainly *not* include in mine (many others are more important): the last quarter

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Fri Jun 24 2022
5

I absolutely adore this album. Somewhere between a jam band, musique concrète, and ambient, Can managed to make music that still sounds strikingly modern. I can hear their influence in Radiohead, especially in the OK Computer era. This album goes in and out of coherence somewhat ominously at times in their more experimental songs. They deconstruct song forms and in doing so completely blow open the door for what music can be.

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Wed Jul 13 2022
5

Uhh, yeah, I’m thinking it’s a classic

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Fri Jul 15 2022
5

If I took a hit of acid and put on Aumgn there is no telling where I would end up. 5/5

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Fri Aug 05 2022
5

How am I supposed to listen to this seminal record and not give it 5 stars? It's loud, messy, rough, in your face, and proud of it. Lots of your favorite bands "sound" can be traced right back to this. An undisputable classic

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Fri Sep 16 2022
5

One of the most beautiful and sophisticated records ever and one of the most brilliant albums of the 70s for sure. More than a hour of great music, just incredible!

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Fri Oct 28 2022
5

Bits of this album are exceptional. Some bits are irritating. Halleluwah is great. Fifteen minutes of bonkers rhythm that just sucks you in. Peking O is annoying. Overall, I love Can. So this is getting the full five stars.

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Mon Nov 14 2022
5

The downfall of many a piece of experimental music is whatever the performers are trying to make it. Most of the music on Tago Mago lacks a clear telos: It can only be itself, and there's no striving to ruin the rumination. What's curious is that by all accounts, Aumgn should ruin the record. It spends too many minutes lacking not only an end but also the sense of urgency which propelled the rhythms of the other songs. Drumbeats appear but promise no impact, until the last handful of minutes somehow pull the song out of the muck and save it. Peking O is another curiosity, its drive disappearing into a frantic affect. All that means that the double LP registers as slightly underworthy as far as pure runtime goes, too much plain old ambient. But also the kind of weird that gets under your skin as well as your ears.

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Thu Jan 19 2023
5

10/10 wow, so glad I’m listening to more of Can’s stuff they’re an extremely talented band

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Wed Feb 01 2023
5

Starts out so tight, but totally goes off the rails towards the end. Gets top marks though for being so, so far ahead of its time.

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Wed Mar 15 2023
5

Can fan here. Biased vote incoming, feel free to dock me a star, but can I say this isn't my favorite Can album and yet also tell you it's utterly fantastic and maybe their most influential? Groovy, spacey, squawky and skronky—you can't put a lid on Tago Mago. The music spills out in all the right ways.

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Wed Mar 15 2023
5

Paperhouse and Oh Yeah so good. Just such good fun psych freakouts

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Mon May 08 2023
5

I CAN and WILL give this deranged krautrock classic an EASY 5.

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Mon May 08 2023
5

I was there, in 1968. I was there at the very first Can show. But the kids, are coming up from behind. This group was their own brand of songwriting that got weird long before the days of bedroom rock and lofi. It doesn’t really matter what I rate this album, because that’s missing the point. Can doesn’t give a shit about what I think or what you think. But 5 stars because Can fuckin rules.

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Mon May 15 2023
5

Absolutely essential krautrock masterpiece.

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Thu May 25 2023
5

The first Can album I discovered and it BLEW ME AWAY. Made my day seeing this pop up this morning. Banger factory.

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Mon May 29 2023
5

5.0 + 7 songs, 7 scenarios: - Paperhouse: Hippie dance party, Summer of '69, San Francisco. Oil projectors casting swirly colors on the wall. LSD. "Far out, maaaan." - Mushroom: Late night after-party bike ride across the Manhattan bridge. - Oh Yeah: The night my dog Benson devoured half a 7-layer chocolate cake and we were bombing down the highway to get him to the animal hospital. - Halleluhwah: Lost in a house of mirrors at the state fair, tripping balls. - Aumgn: Torture chamber. - Peking O: 3 am at the library studying for an econ exam I will likely fail. - Bring Me Coffee Or Tea: Laying in bed with a raging hangover, trying to figure out how I'm going to navigate a packed day of to-do's.

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Wed Jun 14 2023
5

Banger. This is the best shit. It’s a ten Fave track: Oh Yeah

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Thu Jun 29 2023
5

Chilling and wibing hyvää musiikkia miellyttävää kuunnella taas

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Tue Aug 01 2023
5

This one is a little tricky. It may not have made for the best road trip music, but it was certainly interesting. Firstly, I saw the year 2011 on the album description and thought it was from then. When I realized it was from 1971, that changed a lot of how I regarded it. I had completely believed this was much more contemporary, rather than something so innovative from half a century ago. In listening to the first half, the review in my head stated that my favorite thing about this were the rhythms and percussion. Absolutely awesome all through that point. Then we got to "Aumgn," and no more of that. My co-listener asked if it was the soundtrack to a very artistic haunted house, and we began to build the mental images as we went through, including a casino room. In any case, because it blew my mind so many times, I had to revisit this one, and I just found it to be fantastic.

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Wed Aug 16 2023
5

The first two tracks, "Paperhouse" and "Mushroom", are essential prog rock listening, but the rest of the album is really enjoyable too.

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Mon Oct 02 2023
5

This feels like an entirely new frontier for rock music, kicked loose of blues root and classical pretension alike. In composition it probably falls somewhere on the jazz spectrum, but sounds nothing like it. One of the most mysterious, questing albums I've had the pleasure to experience. It sounds baffling and fantastic. Bear this bad boy in mind next time we're subject to four-chord crotch-rawk churn.

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Wed Oct 04 2023
5

OMG I just realised that the Fall song "I am Damo Suzuki" (which I knew was about the Can singer) musically quotes this album's "Oh Yeah". For those not liking Aumgn; you have to push through it and surrender. Once you come out the other side, it's great. This album passes my "listened to it twice in a row" test, five stars from me.

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Wed Oct 25 2023
5

Jea tää vaan paranee vuosi vuodelta. Funkkaava eka puolisko on ihan huikea ja oon vihdoin lämmennyt jälkipuoliskollekin. Harvoin niin kokeellisesta tykkään, mutta tässä tuntuu kaikki klikkaavan.

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Wed Nov 08 2023
5

i thought this was a 90s album by the cover. imagine my surprise when i heard a bunch of hippies hipping around. love it! there are some pretty groovy tunes here, like a less polished version of those parts in the long ass floyd songs where gilmour explodes out on guitar screams. anyway, what a great fucking album, and i had never heard of it.

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Sun Nov 12 2023
5

An absolutely psychedelic experience. its really hard to explain how this album makes me feel. it makes me feel warm and gooey and sticky while also managing to be a bit silly at times. insane vibes. maybe skip the second half "bonus tracks" on the first listen. the musical equivalent of cottonmouth

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Fri Nov 17 2023
5

It gives me immense pleasure to imagine someone in their 40s/50s starting this challenge hoping to find some hidden gems and rediscover classics by Fleetwood Mac and The Beatles etc. Then being sat at a desk job with headphones on being subjected to the middle of Peking O. Hilarious stuff.

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Thu Dec 14 2023
5

Here is an indisputably great album, though sticking the 2 long, noisy drone songs back to back near the end is a strange choice. Still a fantastic record that sounds as fresh today as it was in the 70s.

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Fri Dec 22 2023
5

Really cool. I liked it a lot

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Wed Dec 27 2023
5

The two long form experimental tracks are not essential and a rather difficult listen, but everything else is brilliant

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Wed Dec 27 2023
5

This is my shit! Highly recommended! The drums on this are just outstanding, super heavy and just driving, they are a force! The whole band just blends together perfectly, 20 minute plus songs you wish were longer, just perfect!

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Fri Jan 12 2024
5

This album comes from deep within the soul of music.

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Wed Jan 24 2024
5

Ooooh boy, I love weird indie rock stuff and THIS is weird indie rock stuff. Love it.

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Wed Jan 24 2024
5

Legendary record, the groove on Halleluwah is neverending!

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Fri Mar 08 2024
5

I only knew Vitamin C from Can before, but always heard how influential they were. So I kind of expected this to be overrated. But it really isn't! I was blown away by how innovative and interesting this was, for the time. There wasn't much else this wildly experimental in 1971. I didn't find the longer songs to drag at all surprisingly, in fact the album didn't feel as long as it is. I listened to this on decent headphones (Cans, if you will), which really helped me appreciate the weird layering of effects and strange sound effects. I think a lot of the modern music I listen to today has strong roots in this album.

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Wed Mar 27 2024
5

Day after Holger Czukay solo album this treat: only knew Can by name, so often read interviews saying: this is what started the German music like Kraftwerk. But it is also like the Residents (e.g. their song Here I Come Constantinople) , a band I adore, Peking O really sounds like Residents. And other freaky albums I love, And that in 1971! Again, these guys are geniuses. Thank you 1001 records, made my day.

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Wed Mar 27 2024
5

A classic. Gets more and more bizarre with every song. Aumgn and Peking O are wonderful.

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Wed Feb 10 2021
4

This is really scratching the prog rock itch, I really like it. Super groovy.

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Fri Jun 04 2021
4

Not Can’s best album, but still fun nonetheless.

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Wed Jul 07 2021
4

Wasn't paying attention until Halleluhwah. Then it became too chaotic to ignore.. still liked it.

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Thu Jun 03 2021
4

Fucking slappppps too groovy tbh

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Thu Jul 29 2021
4

Very influential and ahead of its time.

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Wed Oct 20 2021
4

Good record - still fresh and interesting

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