Tago Mago

~ Release group by Can

Album

Release Format Tracks Date Country Label Catalog# Barcode
Official
Tago Mago 2×12" Vinyl 4 + 3 United Artists UAS 29 211 X, UAS 29 212 X
Tago Mago 2×12" Vinyl 4 + 3 United Artists UAD 60009, UAD 60010
Tago Mago CD 7 Spoon Records SPOON CD oo6/7 4015887000063
Tago Mago (No barcode) CD 7 Spoon Records Spoon CD oo6/7 [none]
Tago Mago CD 4 Mute ALCB-221
Tago Mago (Reissue, Remastered) SACD 7 Spoon Records 0724347369520, SPOONSA6/7 0724347369520
Tago Mago SACD 7 Mute, The Grey Area, Spoon Records 5050467372627, [none], SPOONSA6/7 5050467372627
Tago Mago Hybrid SACD 7 Spoon Records 9273-2 724596927328
Tago Mago CD 7 P‐VINE RECORDS PCD-22203 4995879222034
Tago Mago CD 7 Mute, Spoon Records, The Grey Area 5099950442324, CDSPOON6/7, [none] 5099950442324
Tago Mago (remastered edition) CD 7 Spoon Records CDSPOON 6/7 5051442358827
Tago Mago (remastered edition) CD 7 Spoon Records, Mute Corporation (do not use as release label! US subsidiary of Mute Records Ltd.), The Grey Area 724596937723, 9377-2 724596937723
Tago Mago (The barcode is written in digits (no actual barcode—maybe on the plastic wrapper?) on the back of the outer cardboard sleeve on the bottom line before it says Printed in the EU) 2×CD 7 + 3 Spoon Records 40SPOON6/7 5099967892723
Tago Mago 2×CD 7 + 3 Spoon Records 40SPOON6/7 724596951927
Tago Mago CD 7 Mute, Spoon Records, The Grey Area 5099970428421, CDSPOON6/7 5099970428421
Tago Mago 2×12" Vinyl 4 + 3 Mute, Spoon Records 9519-1, XSPOON6/7 724596951910
Bootleg
Tago Mago CD 7 SomeWax (Russian bootleg label) SW306-2 4607016134277

Relationships

Discogs: https://www.discogs.com/master/11512 [info]
Wikidata: Q929039 [info]
Wikipedia: en: Tago Mago [info]
other databases: https://rateyourmusic.com/release/album/can/tago_mago/ [info]
reviews: http://www.bbc.co.uk/music/reviews/jhnv [info]

CritiqueBrainz Reviews

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Former Can vocalist Damo Suzuki is still a regular face in the gig venues of the world. His modus-operandi is to turn up in any given city and recruit a band of local musicians to provide the improvised backing to his shamanic, often-indecipherable exhortations. He's therefore not changed much in the years since Can bassist Holgar Czukay discovered him busking outside a Munich cafe and asked him to join the group. Like Tago Mago, their third studio album and their second with Suzuki, these off-the-cuff performances still feel like something from a time not quite yet invented.

Now reissued with bonus live tracks in a beautiful cardboard fold-out sleeve (featuring notes by Duncan Fallowell, BBC reviewer David Stubbs and Primal Scream's Bobby Gillespie), Tago Mago has lost none of its compelling strangeness over the four decades since it was recorded at the Medieval castle of Schloss Norvenich, near Cologne. It's an album imbued with atmosphere and sense of freedom that only such a birthplace could provide. The 18-minute Halleluhwah, for example, is a jam that feels neither hurried nor indulgent. Instead, the twangs of guitar give a spooked tension, strange sounds creaking like ancient doors or paintings coming alive in the candlelight as Suzuki mutters and moans.

This sense of place means that Tago Mago, originally released over four sides of vinyl, still feels coherent despite the rich banquet of ideas it offers up. You can hear, for instance, the seeds of post-punk in the pulse of Mushroom and Oh Yeah: the amphetamine rhythms of the latter inspired The Fall's classic Can tribute, I am Damo Suzuki. Aumgn, meanwhile, lays down a prototype model for avant-metal. Again, its clatters, bangs and jangles sound like a waiter taking a plunge into the darkness of the Schloss cellar, teatime 1446. The lyrical gabble, hyper-speed percussion and shrill whine of Peking O happens upon Aphex Twin 25 years early.

To listen to the pioneering Tago Mago in 2011 is to hear the blueprint for much of the leftfield music of the past 40 years, and this reissue will hopefully inspire further invention for decades to come.