Can's Tago Mago by Alan WarnerCan's Tago Mago by Alan Warner

Can's Tago Mago

byAlan Warner

Paperback | November 20, 2014

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Finally, a brilliant exploration of the German rock band Can's 1971 album Tago Mago. This hugely unique and influential album deserves close analysis from a fan, rather than a musicologist. Novelist Alan Warner details the concrete music we hear on the album, how it was composed, executed and recorded--including the history of the album in terms of its release, promotion and art work. This tale of Tago Mago is also the tale of a young man obsessed with record collecting in the dark and mysterious period of pop music before Google. Warner includes a backtracking of the history of the band up to that point and also some description of Can's unique recording approach taking into account their home studio set up. Interviews with the two surviving members: drummer Jaki Liebezeit, keyboardist Irmin Schmidt and bassist Holger Czukay make this a hilariously personal and illuminating picture of Can.
Alan Warner is a Scottish novelist. His 1995 novel Morvern Callar won the Somerset Maugham Award and was made into a feature film directed by Lynne Ramsay. In 2013, he was awarded the James Tait Black Memorial Prize for his novel The Deadman's Pedal.
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Title:Can's Tago MagoFormat:PaperbackDimensions:152 pages, 6.5 × 4.75 × 0.5 inPublished:November 20, 2014Publisher:BloomsburyLanguage:English

The following ISBNs are associated with this title:

ISBN - 10:1628921080

ISBN - 13:9781628921083

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Reviews

Table of Contents

PART ONE HALLELUWAH AN ANATOMY OF LISTENING CAN WITHOUT THE MUSIC 'LIKE CAN'S DRUMMER.' THE TERRIFYING SEX PISTOLS MR IAN DURY & THE BLOCKHEADS SWEARING A 'RECORD COLLECTION' VAN HALEN & BAGPIPES PART TWO A SPANNER IN THE SKY MADE IN A CASTLE WITH BETTER EQUIPMENT TAGO MAGO CAN WORLD NOT A DREAM THE EDITS A SINGLE SONG WHICH NEVER ENDS NOSTALGIA DANGER THE MYSTERY OF LA ISLA DE TAGOMAGO

Editorial Reviews

Warner asserts that the musical criticism and musicology "ignore the material and autobiographical details that have been built into a web of deeply personal associations". This is true of a certain classical model of music writing, and [this] book is a deeply enjoyable and lyrical rebuttal to that