It was an album that realigned rock, commencing countdown for 21st-century music. Their third album, Tago Mago was a display of occult strength spread across two discs, unleashing Halleluwah's monster-funk, Peking O’s sinister eruptions, and post-apocalyptic jukebox faves such as Oh Yeah and Bring Me Coffee Or Tea. The free-form Aumgn took up a side of the original double album, while Holgar Czukay’s micro-editing predated sampling by several years. In subsequent years Tago Mago would influence, among countless others, David Bowie, Julian Cope, Primal Scream, the Flaming Lips and hosts of electronic artists and avant gardists. “In particular Halleluhwah, which lasts an entire side.” “Tago Mago is a stunning album,” said Lydon. But it was Tago Mago – the record John Lydon said inspired his entry into music – that set a lofty benchmark. Irmin Schmidt said that Can were “always aiming for the masterpiece”.
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