Formed in Cologne, Germany and originally known as Inner Space, this innovative and influential experimental unit was founded by two students of modern classical music, Irmin Schmidt (b. 29 May 1937, Berlin, Germany; keyboards) and Holger Czukay (b. 24 March 1938, Danzig, Germany; bass). They embraced certain elements of rock 'n' roll with the addition of Michael Karoli (b. 29 April 1948, Straubing, Lower Bavaria, Germany, d. 17 November 2001, Essen, Germany; guitar), Jaki Liebezeit (b. 26 May 1938, Dresden, Germany; drums) and the inclusion in this early line-up of David Johnson (flute). The arrival of black American vocalist Malcolm Mooney coincided with the adoption of a new name, Can.
Johnson left in December 1968 as the unit began work on their official debut album. Monster Movie introduced many of Can's subsequent trademarks: Schmidt's choppy, percussive keyboard style, Karoli's incisive guitar and the relentless, hypnotic pulse of its rhythm section, with Liebezeit's astonishing drumming to the fore. At times reminiscent of a Teutonic Velvet Underground, the set's highlight was the propulsive "Yoo Doo Right", a 20-minute excerpt from a 12-hour improvisatory session. The unit completed several other masters, later to appear on Soundtracks and Delay 1968, prior to the departure of Mooney. He was replaced by Kenji "Damo" Suzuki (b. 16 January 1950, Japan), whom Liebezeit and Czukay had discovered busking outside a Munich café. Tago Mago, a sprawling, experimental double set, then followed, the highlight of which was the rhythmically compulsive "Hallelujah". However, despite retaining a penchant for extended compositions, Can also began exploring a more precise, even ambient, direction on Ege Bamyasi and Future Days.
Suzuki left in 1973, and although they flirted with other featured vocalists, Can carried on as a quartet on the faultless Soon Over Babaluma. In 1976 they enjoyed an unlikely UK Top 30 hit with "I Want More", a song written by their live sound mixer Peter Gilmour, who also guested on several tracks from the attendant album, Flow Motion. Can was later augmented by two former members of Traffic, Rosko Gee (bass) and Reebop Kwaku Baah (percussion), but the departure of Czukay signalled the beginning of the end. The unit completed Out Of Reach without him, but the bass player returned to edit their next release, Can. These largely disappointing releases made little impact and the unit split up at the end of 1978.
Holger Czukay pursued an influential and successful solo career with a series of excellent albums and fruitful partnerships with David Sylvian and the Eurythmics. Irmin Schmidt completed several film soundtracks, Jaki Liebezeit formed his own group, the Phantom Band, and worked with systems musician Michael Rother, while Karoli recorded a strong solo set. The four musicians remained in close contact and a re-formed Can, complete with Malcolm Mooney, returned to the studio in 1987. The fruits of their renewed relationship appeared two years later in the shape of Rite Time. Apart from the occasional soundtrack work, the various members resumed their solo activities. Can's influence on the dance music scene was celebrated in 1997 with the release of the remix CD, Sacrilege.
