M- Original Can FUTURE DAYS United Artists Records KRAUT ROCK Prog VTG VINYL LP

$

48

This Auction Is For This Original Vintage 1973 Vinyl 33 1/3 LP Record
by Can "Future Days" United Artists Records UA-LA213-F

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This Auction Is For This Original Vintage 1973 Vinyl 33 1/3 LP Record
by Can "Future Days" United Artists Records UA-LA213-F

Grades
Record:      M-      Very Nice Record, High Gloss

Label:         M-      Clean, Shows No Spindle Marks

Cover:        VG+   High Gloss, Bright Colors, Shows Slight Rounding or Bumping at Corners, Upper Left Corner Shows Slight Signs of Stress, Lower Right Corner Shows Slight Signs of Stress, Does Have a Slight Musty Odor

Can "Future Days" United Artists Records UA-LA213-F
On Future Days, Can fully explored the ambient direction they had introduced into their sound on the previous year's Ege Bamyasi, and in the process created a landmark in European electronic music. Where Ege Bamyasi had played fast and loose with elements of rock song structure, Future Days dispensed with these elements altogether, creating hazy, expansive soundscapes dominated by percolating rhythms and evocative layers of keys. Vocalist Damo Suzuki turns in his final and most inspired performance with the band. His singing, which takes the form here of a rhythmic, nonsensical murmur, is all minimal texture and shading. Apart from the delightfully concise single "Moonshake," the album is comprised of just three long atmospheric pieces of music. The title track eases us into the sonic wash, while "Spray" is built around Suzuki's eerie vocals, which weave in and out of the shimmering instrumental tracks. The closing "Bel Air" is a gloriously expansive piece of music that progresses almost imperceptibly, ending abruptly after exactly 20 minutes. Aptly titled, Future Days is fiercely progressive, calming, complex, intense, and beautiful all at once. It is one of Can's most fully realized and lasting achievements.

CAN
Always at least three steps ahead of contemporary popular music, Can were the leading avant-garde rock group of the '70s. From their very beginning, their music didn't conform to any commonly held notions about rock & roll -- not even those of the countercultures. Inspired more by 20th century classical music than Chuck Berry, their closest contemporaries were Frank Zappa or possibly the Velvet Underground. Yet their music was more serious and inaccessible than either of those artists. Instead of recording tight pop songs or satire, Can experimented with noise, synthesizers, nontraditional music, cut-and-paste techniques, and, most importantly, electronic music; each album marked a significant step forward from the previous album, investigating new territories that other rock bands weren't interested in exploring.

Throughout their career, Can's lineup was fluid, featuring several different vocalists over the years; the core bandmembers remained keyboardist Irmin Schmidt, drummer Jaki Leibezeit, guitarist Michael Karoli, and bassist Holger Czukay. During the '70s, they were extremely prolific, recording as many as three albums a year at the height of their career. Apart from a surprise U.K. Top 30 hit in 1978 -- "I Want More" -- they were never much more than a cult band; even critics had a hard time appreciating their music.

Can debuted in 1969 with the primitive, bracing Monster Movie, the only full-length effort to feature American-born vocalist Malcolm Mooney. 1970's Soundtracks, a collection of film music, introduced Japanese singer Kenji "Damo" Suzuki, and featured "Mother Sky," one of the group's best-known compositions. With 1971's two-record set Tago Mago, Can hit their visionary stride, shedding the constraints of pop forms and structures to explore long improvisations, angular rhythms, and experimental textures.

1972's Ege Bamayasi refined the approach, and incorporated an increasingly jazz-like sensibility into the mix; Future Days, recorded the following year as Suzuki's swan song, traveled even further afield into minimalist, almost ambient territory. With 1974's Soon Over Babaluma, Can returned to more complicated and abrasive ground, introducing dub rhythms as well as Karoli's shrieking violin. 1976's Unlimited Edition and 1977's Saw Delight proved equally restless, and drew on a wide range of ethnic musics.

When the band split in 1978 following the success of the album Flow Motion and the hit "I Want More," they left behind a body of work that has proven surprisingly groundbreaking; echoes of Can's music can be heard in Public Image Limited, the Fall, and Einstürzende Neubauten, among others. As with much aggressive and challenging experimental music, Can's music can be difficult to appreciate, yet their albums offer some of the best experimental rock ever recorded.

Original Can FUTURE DAYS Vinyl Record VTG KRAUT ROCK Prog

M- Original Can FUTURE DAYS United Artists Records KRAUT ROCK Prog VTG VINYL LP

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Store your collectible vinyl records in our "poly sleeves" and protect them from dust, dirt, finger oils, and other airborne pollutants. Our polyethylene bags hold size and thickness tolerances and have passed the Photo Activity Test certifying that they are safe for long term storage.

Using a poly sleeve on the outer record cover keeps dust off the records and also protects
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Unless noted, every record is an original issue for the label and catalog number given. Here is a brief explanation of our grading system, followed by an overview of abbreviations you may encounter for cover and or label.

• SS Still Sealed - in factory-fresh condition
• M Mint - I don't use this grade.
• M- Mint Minus - a near perfect, probably unplayed record
• VG+ Very Good Plus close to like new with only superficial signs of use that don't affect play. Only well cared for records will grade out to VG+. Will satisfy all but the most demanding collector.

• VG Very Good - a used, reasonable copy. There will be obvious signs of wear and the possibility of light surface noise between tracks or during quiet passages, but still quite nice.
• VG- Very Good Minus - significant wear and marks and usually quite noticeable surface noise.
• G+ Good Plus. In the record world, 'Good' is not good! From here on down (Fair, Poor), we're talking about beat-up records.

• co = drill hole in label or jacket (or saw mark/cut corner on cover)
• cw = cover wear
• dj = promotional issue 45
• djt = dj timing strip (12" x 4" white sticker on cover detailing titles and playing time)
• es = electric stereo (the record industry's attempt at giving stereo-like sound characteristics to mono recordings)
• lbl = label
• ps = picture sleeve (for 45's)
• pc = picture cover (hard cover usually 45rpm Eps)
• re = reissue

• sl = slight
• sm= small
• tobc = tag on back cover
• tol = tag on label
• wlp = white label promo
• woc = writing on cover
• wol = writing on label
• #ol = number on label
• oc = on cover
• obc = on back cover
• promo stamp = usually gold embossed notice on jacket indicating that item intended for promotional use
• split seams, 4" split, 8" taped seam, etc... = all refer to cover damage

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