Can Live in Keele 1977 – Scheduled for Release on 22 November 2024 via Mute / Future Days
Can Live in Keele 1977, part of a series of live recordings sourced from Spoon Records archives and fan tapes, will be released on 22 November 2024. The material has been restored and compiled by founding member Irmin Schmidt and producer/engineer René Tinner. This performance, recorded in March 1977, is one of the most requested by fans since the live series began. It will be available on double vinyl, CD, and digital formats via Mute and Future Days.
Artist: Can
Release Date: 2024-11-22
Genres: Experimental Music, Krautrock, Psychedelic Rock
Label: Future Days, Mute Records
Description: The Keele 1977 live recording offers a glimpse into Can's experimental approach during a transitional period.
The recording features the core lineup of Irmin Schmidt, Jaki Liebezeit, Michael Karoli, and Holger Czukay, with Rosko Gee (formerly of Traffic) joining the band on bass. With Gee handling bass duties, Czukay shifted his focus to creating experimental sounds through “waveform radio and special effects,” contributing samples and unconventional soundscapes. The Keele performance took place shortly after the release of Saw Delight, a studio album that received poor initial reviews but has gained more favorable attention over time.
The album includes sleeve notes by journalist and author Jennifer Lucy Allan, who researched the historical and musical context of the performance. She described the 1976–1977 era as a peak period for the band’s live shows, during which Can experimented with their sound in ways that were not fully captured on their studio albums. Tracks from the Keele concert have appeared on fan-compiled bootleg collections, further increasing demand for this official release.
This recording is the final entry in a series of live albums that began with Can Live in Stuttgart 1975, followed by performances in Cuxhaven (1976), Brighton (1975), Paris (1973), and Aston (1977). The albums provide rare recordings from Can’s concerts during the mid-1970s, revealing a range of improvisational approaches and musical dynamics that vary significantly from their studio releases.
Can was formed in 1968 in Cologne, Germany, by Irmin Schmidt, Holger Czukay, Michael Karoli, Jaki Liebezeit, and Malcolm Mooney, an American artist and vocalist who contributed to their early sound. Mooney’s distinct vocal style, heard on their debut album Monster Movie (1969), was an essential element in shaping Can’s early identity. After Mooney’s departure due to health issues, the band enlisted Damo Suzuki as their vocalist, further evolving their musical direction. Known for their combination of rock, avant-garde, and electronic influences, Can became one of the key pioneers of experimental music during their time together. Their improvisational performances and innovative studio recordings have left a lasting impact on various genres, including krautrock, electronic music, and post-punk.
About Jennifer Lucy Allan
Jennifer Lucy Allan is a journalist, broadcaster, and author with a focus on music and sound. She has written for outlets such as The Wire and The Quietus and is a presenter on BBC Radio 3’s Late Junction. She authored The Foghorn’s Lament, which explores the cultural significance of foghorns. Allan’s expertise in experimental music and sound culture informs her contributions to the Can Live in Keele 1977 release, where she provides historical insights into the band’s performance.
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