379:". 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.
1153:
388:, 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
47:
361:"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 "
226:, 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
320:." 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
261:, 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
279:. 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
180:
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.
396:
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
400:"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.
230:
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,.
424:, 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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210:. Using interviews with Can's members and people associated the band, Young traces the history of the band from their formation in 1967 in
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241:
and writer/producer Robert Defcon, and interviews by
Schmidt with other musicians, artists and filmmakers. The interviews, which include
375:'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 [
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Book Two is a collection of documents collated by
Schmidt. It contains an oral history of Can assembled by
1109:
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308:"a fascinating narrative of how imagination, commitment, and preparation" produced a blend of "post-
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in two editions, a trade edition in hardback, and a handbound and autographed limited edition.
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291:] 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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609:"All Gates Open: The Story of Can by Rob Young and Irmin Schmidt – review"
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to other works on Can, Grella opined that it is "ore comprehensive" than
166:, written by British writer and editor Rob Young and Can founding member
238:
211:
328:'s singing was to the band "is a revealing mind-changer". Comparing
754:
312:
European classical avant-garde, anarchic rock in the spirit of
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Future Days: Krautrock and the
Building of Modern Germany
170:. It was published in May 2018 in the United Kingdom by
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304:arts journal music editor George Grella called
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519:"A Short History of the Can – Discography"
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27:2018 book by Rob Young and Irmin Schmidt
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409:
664:"Irmin Schmidt Tells His Story of Can"
7:
32:For the song of the same name, see
559:"All Gates Open: The Story of Can"
25:
40:All Gates Open: The Story of Can
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1138:All Gates Open: The Story of Can
712:All Gates Open: The Story of Can
189:All Gates Open: The Story of Can
155:All Gates Open: The Story of Can
18:All Gates Open: The Story of Can
1036:Can Live Music (Live 1971–1977)
997:Kamasutra: Vollendung der Liebe
344:by Pascal Bussy and Andy Hall.
557:Grella, George (5 June 2018).
1:
662:Garratt, John (8 June 2018).
340:, and "more satisfying" than
1188:Biographies about musicians
714:(e-book ed.). London:
206:Book One is a biography of
158:is a book about the German
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214:, Germany by Schmidt with
31:
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788:
44:
1193:Books of music criticism
690:Young & Schmidt 2018
643:Young & Schmidt 2018
502:Young & Schmidt 2018
193:Book One: All Gates Open
51:First edition book cover
1208:Faber & Faber books
191:consists of two parts,
1178:2018 non-fiction books
314:the Velvet Underground
524:Perfect Sound Forever
476:"Can: All Gates Open"
282:Perfect Sound Forever
257:and German filmmaker
420:. It was printed on
1183:British biographies
990:Agilok & Blubbo
197:Book Two: Can Kiosk
41:
1043:Live in Paris 1973
888:Soon Over Babaluma
318:free improvisation
195:by Rob Young, and
1165:
1164:
1029:The Peel Sessions
955:Unlimited Edition
725:978-0-571-31151-4
571:, New York City.
564:The Brooklyn Rail
160:experimental rock
151:
150:
146:978-0-571-31149-1
127:Print (hardcover)
116:Publication place
16:(Redirected from
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1120:Related articles
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673:. Retrieved
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517:(May 1997).
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355:Kitty Empire
350:The Guardian
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342:The Can Book
341:
338:David Stubbs
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1127:Discography
1110:I Want More
1082:Halleluhwah
1021:Live albums
1011:The Singles
962:Cannibalism
948:Soundtracks
909:Saw Delight
902:Flow Motion
881:Future Days
874:Ege Bamyası
833:Damo Suzuki
700:Works cited
382:Writing in
326:Damo Suzuki
259:Wim Wenders
34:Can (album)
1203:Can (band)
1172:Categories
1068:Mother Sky
969:Delay 1968
669:PopMatters
617:. London.
432:References
385:PopMatters
310:Schoenberg
111:3 May 2018
1198:Krautrock
1103:Moonshake
1089:Vitamin C
983:Sacrilege
976:Anthology
930:Rite Time
867:Tago Mago
838:Rosko Gee
623:1756-3224
577:2157-2151
295:Reception
228:Krautrock
96:Publisher
90:Biography
1157:Category
1075:Mushroom
710:(2018).
569:Brooklyn
394:The Fall
243:The Fall
184:Synopsis
68:Language
675:13 July
628:11 July
582:13 July
535:11 July
487:11 July
457:11 July
365:" from
357:called
239:Max Dax
237:editor
212:Cologne
76:Subject
71:English
57:Authors
895:Landed
852:Albums
722:
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575:
1096:Spoon
1053:Songs
404:Notes
269:Title
162:band
132:Pages
86:Genre
720:ISBN
677:2019
630:2019
619:ISSN
584:2019
573:ISSN
537:2019
489:2019
459:2019
324:and
222:and
141:ISBN
923:Can
782:Can
744:at
392:of
371:as
336:by
288:sic
276:Can
253:of
245:'s
208:Can
199:by
164:Can
135:592
80:Can
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36:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
