'A fitting testament to this incredible drummer’s life and work' The Wire 'Affectionate insight and intriguing detail . . . The illumination is invaluable' Mojo 'For anyone interested in the mind that created the powerful beats of Can. . . This book is essential' Modern Drummer Jaki Liebezeit is a legendary figure among musicians, best remembered as the groove and power behind the influential German band Can. Until now, though, few have known about his most significant legacy: a complete practical theory of drumming, based on the natural principles of movement he observed during his lifelong research into the discipline. Following Jaki's unexpected death in 2017, producer Jono Podmore and journalist John Payne contacted his drum group Drums Off Chaos and long-term collaborator Burnt Friedman to see if the theory could be pieced together before it was lost or corrupted. Fortunately the basic principles had already been transcribed, and with the help of Jaki's widow Birgit Berger; drummers Reiner Linke, Maf Retter and Gero Sprafke; composer Manos Tsangaris; and discographer Bryan O'Connell, they have assembled a comprehensive account of not only the drum theory, but also Jaki's profound conceptual and pragmatic vision as applied throughout his life. This landmark book features a host of previously unseen photos including reproductions of Jaki's own artwork, alongside the first-ever discography to cover the full, unparalleled range of his recordings.

All Gates Open presents the definitive story of arguably the most influential and revered avant-garde band of the late twentieth century: CAN. It consists of two books. In Book One, Rob Young gives us the full biography of a band that emerged at the vanguard of what would come to be called the Krautrock scene in late sixties Cologne. With Irmin Schmidt and Holger Czukay - two classically trained students of Stockhausen - at the heart of the band, CAN's studio and live performances burned an incendiary trail through the decade that followed: and left a legacy that is still reverberating today in hip hop, post rock, ambient, and countless other genres. Rob Young's account draws on unique interviews with all founding members of CAN, as well as their vocalists, friends and music industry associates. And he revisits the music, which is still deliriously innovative and unclassifiable more than four decades on. All Gates Open is a portrait of a group who worked with visionary intensity and belief, outside the system and inside their own inner space. Book Two, Can Kiosk, has been assembled by Irmin Schmidt, founding member and guiding spirit of the band, as a 'collage - a technique long associated with CAN's approach to recording. There is an oral history of the band drawing on interviews that Irmin made with musicians who see CAN as an influence - such as Bobby Gillespie, Geoff Barrow, Daniel Miller, and many others. There are also interviews with artists and filmmakers like Wim Wenders and John Malkovitch, where Schmidt reflects on more personal matters and his work with film. Extracts of Schmidt's notebook and diaries from 2013-14 are also reproduced as a reflection on the creative process, and the memories, dreams, and epiphanies it entails. Can Kiosk offers further perspectives on a band that have inspired several generations of musicians and filmmakers in the voices of the artists themselves. CAN were unique, and their legacy is articulated in two books in this volume with the depth, rigour, originality, and intensity associated with the band itself. It is illustrated throughout with previously unseen art, photographs, and ephemera from the band's archive.

Now into its fourth edition, this perennial bestseller has been updated and revised to coincide with the band's 2004 World Tour. Kraftwerk's influence and place in the annals of music history is ever growing. This is the first, and still the best, biography. Appearing in B-format for the first time, Bussy has included information about Kraftwerk's first new album in 16 years.

Navid Kermani is not only one of Germany’s most distinguished writers and public intellectuals, he is also an outstanding public speaker who mesmerizes audiences with his well-crafted sentences and turns of phrase. Whether he is speaking about the plight of refugees or delivering a eulogy at his father’s graveside, Kermani finds words that surprise his listeners, enlighten them, provoke them, disturb them or move them to tears. As a German of Iranian descent whose parents settled in Germany, Kermani is particularly sensitive to the issues raised by migration and the perceived tensions between Islam and the West. His speeches are a powerful demonstration of how much we stand to gain by adhering to the values of openness, tolerance and mutual respect for the beliefs and practices of those from other cultures who live among us.

How many composers, songwriters and lyricists wrote music in the twentieth century?? Who were they?? This first edition identifies more than 14,000 people who did so, and all are listed in this eBook alphabetically along with a hyperlink to their Wikipedia biographical data. Performers of blues, folk, jazz, rock & roll and R&B are included by default. PLEASE NOTE: THE HYPERLINKS IN THIS BOOK ONLY FUNCTION ON GOOGLE PLAY aka THE 'FLOWING' VERSION. The hyperlinks in this book DO NOT CURRENTLY FUNCTION on the GOOGLE BOOKS ' FIXED' version.

A sweeping history of the men and women who transformed postwar Germany—and created a musical genre that revolutionized rock and roll and gave birth to hip-hop. West Germany after World War II was a country in shock: estranged from its recent history, and adrift from the rest of Europe. But this orphaned landscape proved fertile ground for a generation of musicians who, from the 1960s onwards, would develop the strange and beautiful sounds that became known as Krautrock. Eschewing the easy pleasures of rock and roll and the more substantive seductions of blues and jazz, they took their inspiration from elsewhere: the mysticism of the East; the fractured classicism of Stockhausen; the grinding repetition of industry; the dense forests of the Rhineland; the endless winding of Autobahns. Faust, Neu!, Cluster, Ash Ra Tempel, Amon Düül II, Can, Kraftwerk—the influence of these groups’ music on Western popular music is incalculable. They were key to the development of movements ranging from post-punk to electronica and hip-hop and have directly inspired artists as diverse as David Bowie, Talking Heads, and LCD Soundsystem. Future Days is the brilliantly reported, deeply researched story of the groups that created Krautrock, and a social and cultural history of the Germany that challenged, inspired, and repelled them.

Krautrock is not a music genre. Krautrock is a way of life. Its sonic diversity and global reach belie the common culture from where it emerged. This is a band-by-band history. In May 1945, the Allies defeated Nazi Germany, putting an end to the European front of World War II and the Third Reich. In the immediate aftermath, German youth were tasked to create their own culture. Krautrock is this unlikely success story, as hundreds of bands-including Kraftwerk and Can-seemed to sprout overnight in the early 1970s, forging a unique and experimental sound that was different than American or British rock. The major innovation of krautrock is not only its motorik beat, the steady click-click of Can's Jaki Liebezeit or monolithic stomp-stomp of Neu!'s Klaus Dinger, but also how the musicians relate to each other. In krautrock, no musician is given more focus than any other, and listening to these bands is to witness interplay common in jazz music. Thus, krautrock represents German politics reflected in music: a dictatorship replaced by democracy. Krautrock explores the history and methodology of the genre, charting its influences and innovations, its more mainstream acts (like Faust, Kraftwerk, and Can) as well as the less universally known (including Harmonia, Popol Vuh, Embryo, and Ash Ra Tempel), and how the genre developed in post-war Germany and what it means to today's listeners.