368:". Empire said one weakness of Young's portion of the book is that it is told largely from a single point of view, and felt that not enough attention is given to the "idiosyncratic personalities" associated with Can. She found Schmidt's contribution interesting, the way the content is presented as a collage, imitating Can's approach to their music. But she did feel some of it is a little excessive at times, particularly Schmidt's dreams and his conversations with neighbours.
1142:
377:, John Garratt said Young gives a detailed account of Can's early years, including all their successes and failures. He added that as Can "is not your ordinary rock band", this biography is not "your typical rock 'n' roll biography", and the many diversions in the book could deter the average reader. Schmidt's notebook and journal entries often have little to do with the band – Schmidt told
36:
350:"a cerebral book about a cerebral band". She said Young's knowledge of Can and their Inner Space studio "runs deep", and his coverage of the band's musical output is impressive. But Empire did complain that from time to time Young does "wax a little too eloquent". For example he described "
215:, to their split in 1979. He covers their work, from their studio albums and live performances, to their film soundtracks and their "Ethnological Forgery Series" world music. Young also explains the role they played in the development of
309:." He felt that in some respects, Young "had it easy" – in contrast to other rock bands, Can's story "is unique" filled with "chance happenings" with "a near supernatural feel". Grella remarked that Young's explanation of how important
250:, were cut up and reassembled as a roundtable discussion. Also incorporated in the book are extracts from Schmidt's notebooks and journals from 2013 to 2014, which include dream fragments and his memories of Germany immediately after
268:. This was their last album before the band split, and Young said the lyrics of the song suggested they were "constructing their own epitaph". Czukay explained in a May 1979 article he wrote about the band in
169:
consists of two parts, a biography of Can by Young, and a collage of interviews, conversations, and extracts from notebooks and journals by
Schmidt. The book was generally well received by critics.
385:
the book is "less about Can and more a book about music and being an artist". Garratt said that if
Schmidt's notebooks were not quite so detached from the rest of the biography, he would call
389:"a perfect book to capture an imperfect band". But he added that if you "take it all at its intended best ... you'll find that it's still wholly worth it." Garratt rated the book 8/10 stars.
219:
and the influence they had on other musicians. The effect post-war
Germany had on its youth and the resulting music scenes that developed in the 1950s and 60s is also investigated,.
413:, handbound and includes a 78-page Can studio notebook. Only 200 copies of this edition were printed and it was restricted to purchasers in the United Kingdom and Ireland.
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134:
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761:
597:
199:. Using interviews with Can's members and people associated the band, Young traces the history of the band from their formation in 1967 in
1024:
230:
and writer/producer Robert Defcon, and interviews by
Schmidt with other musicians, artists and filmmakers. The interviews, which include
364:'a squadron of mechanical deities manoeuvring through a ravine' to be 'extruded' and 'fractalised into an ever-shifting array of byways
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that the title of that song was indicative of their frame of mind at the time: "All gates really came open [
992:
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222:
Book Two is a collection of documents collated by
Schmidt. It contains an oral history of Can assembled by
1098:
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297:"a fascinating narrative of how imagination, commitment, and preparation" produced a blend of "post-
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978:
163:
in two editions, a trade edition in hardback, and a handbound and autographed limited edition.
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280:] for each member of the band going their own musical way which everyone had dreamed of".
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The title of the book was taken from the song "All Gates Open" on Can's 1979 album,
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The limited edition of the book was numbered and autographed by Rob Young and
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598:"All Gates Open: The Story of Can by Rob Young and Irmin Schmidt – review"
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321:
to other works on Can, Grella opined that it is "ore comprehensive" than
155:, written by British writer and editor Rob Young and Can founding member
227:
200:
317:'s singing was to the band "is a revealing mind-changer". Comparing
743:
301:
European classical avant-garde, anarchic rock in the spirit of
276:
728:
464:
323:
Future Days: Krautrock and the
Building of Modern Germany
159:. It was published in May 2018 in the United Kingdom by
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293:arts journal music editor George Grella called
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508:"A Short History of the Can – Discography"
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16:2018 book by Rob Young and Irmin Schmidt
426:
398:
653:"Irmin Schmidt Tells His Story of Can"
7:
21:For the song of the same name, see
548:"All Gates Open: The Story of Can"
14:
29:All Gates Open: The Story of Can
1141:
1140:
1127:All Gates Open: The Story of Can
701:All Gates Open: The Story of Can
178:All Gates Open: The Story of Can
144:All Gates Open: The Story of Can
1025:Can Live Music (Live 1971–1977)
986:Kamasutra: Vollendung der Liebe
333:by Pascal Bussy and Andy Hall.
546:Grella, George (5 June 2018).
1:
651:Garratt, John (8 June 2018).
329:, and "more satisfying" than
1177:Biographies about musicians
703:(e-book ed.). London:
195:Book One is a biography of
147:is a book about the German
1213:
203:, Germany by Schmidt with
20:
1136:
777:
33:
1182:Books of music criticism
679:Young & Schmidt 2018
632:Young & Schmidt 2018
491:Young & Schmidt 2018
182:Book One: All Gates Open
40:First edition book cover
1197:Faber & Faber books
180:consists of two parts,
1167:2018 non-fiction books
303:the Velvet Underground
513:Perfect Sound Forever
465:"Can: All Gates Open"
271:Perfect Sound Forever
246:and German filmmaker
409:. It was printed on
1172:British biographies
979:Agilok & Blubbo
186:Book Two: Can Kiosk
30:
1032:Live in Paris 1973
877:Soon Over Babaluma
307:free improvisation
184:by Rob Young, and
1154:
1153:
1018:The Peel Sessions
944:Unlimited Edition
714:978-0-571-31151-4
560:, New York City.
553:The Brooklyn Rail
149:experimental rock
140:
139:
135:978-0-571-31149-1
116:Print (hardcover)
105:Publication place
1204:
1144:
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1109:Related articles
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817:David C. Johnson
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723:External links
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695:Young, Rob;
674:
662:. Retrieved
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615:. Retrieved
603:The Guardian
601:
569:. Retrieved
551:
522:. Retrieved
518:the original
511:
506:(May 1997).
498:
486:
474:. Retrieved
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444:. Retrieved
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386:
372:
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355:
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344:Kitty Empire
339:The Guardian
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331:The Can Book
330:
327:David Stubbs
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252:World War II
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143:
142:
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18:
1116:Discography
1099:I Want More
1071:Halleluhwah
1010:Live albums
1000:The Singles
951:Cannibalism
937:Soundtracks
898:Saw Delight
891:Flow Motion
870:Future Days
863:Ege Bamyası
822:Damo Suzuki
689:Works cited
371:Writing in
315:Damo Suzuki
248:Wim Wenders
23:Can (album)
1192:Can (band)
1161:Categories
1057:Mother Sky
958:Delay 1968
658:PopMatters
606:. London.
421:References
374:PopMatters
299:Schoenberg
100:3 May 2018
1187:Krautrock
1092:Moonshake
1078:Vitamin C
972:Sacrilege
965:Anthology
919:Rite Time
856:Tago Mago
827:Rosko Gee
612:1756-3224
566:2157-2151
284:Reception
217:Krautrock
85:Publisher
79:Biography
1146:Category
1064:Mushroom
699:(2018).
558:Brooklyn
383:The Fall
232:The Fall
173:Synopsis
57:Language
664:13 July
617:11 July
571:13 July
524:11 July
476:11 July
446:11 July
354:" from
346:called
228:Max Dax
226:editor
201:Cologne
65:Subject
60:English
46:Authors
884:Landed
841:Albums
711:
610:
564:
1085:Spoon
1042:Songs
393:Notes
258:Title
151:band
121:Pages
75:Genre
709:ISBN
666:2019
619:2019
608:ISSN
573:2019
562:ISSN
526:2019
478:2019
448:2019
313:and
211:and
130:ISBN
912:Can
771:Can
733:at
381:of
360:as
325:by
277:sic
265:Can
242:of
234:'s
197:Can
188:by
153:Can
124:592
69:Can
1163::
707:.
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600:.
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366:'
362:"
25:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
