1) Barbara de Domenicis / Julia Kent): Illusory Rendez-Vous, aus PARALLEL 41,

2) Monty Adkins: Sendai Threnody, aus FOUR SHIBUSA

3) Ballrogg: Breakfast Music, aus CABIN MUSIC

4) Trapist: Pisa, aus THE GOLDEN YEARS

5) Cakewalk: Perpetual, aus WIRED

6) Can: your friendly neighborhood whore aus The LOST TAPES

7) Can: Dead Pigeon Suite, aus THE LOST TAPES

Can didn’t want to sound like anyone else, unlike the legions of copycat beat combos no one remembers anymore and or the Schlager crooners like Roy Black that non-hippy Germans listened to back then, but they were happy to use anything from anywhere. They merged styles they couldn’t really play (there’s a passage on Tago Mago where they sound like cavemen crashing a Noh play) with masterfully rendered grooves cribbed from the Godfather himself. They were ferociously aggressive and utterly serene. And they weren’t about to be boxed into some confining art trap, anymore than any hitmaker game. Some of their tunes were hits in Germany, but they were way odder than anything that Roy Black or Silver Convention charted around the same time. At their best — on Soundtracks, Monster Movie, Tago Mago, Future Days, and Ege Bamyasi — Can opened music up to possibilities that everyone from Johnny Rotten to Garageband teens have used or will use to make something new and great. (Bill Meyer, dustedreviews)