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Can went through many changes throughout its initial lifetime, but the most striking was the departure of visionary founding member Holger Czukay after 1977's SAW DELIGHT. The band's next two Czukay-less albums were largely anomalous to previous Can work. Ex-Traffic members Roscoe Gee and Reebop Kwaku Baah had joined the rhythm section, and things took a decidedly more commercial turn.
The overtly poppy orientation of OUT OF REACH's "Give Me No Rose" and "One More Day" seemed at odds with bold experimentalism of the Czukay days. Fortunately, the following year's INNER SPACE (originally titled CAN, and paired here with its predecessor) where Czukay was involved with the production (though he doesn't play on the album), saw more of a return to traditional Can pastures. Can's trademark combination of funky rhythms and avant garde/psychedelic spaciness is the order of the day here. IrminSchmidt's synthesizer takes a larger role than before, and though Gee's bass tends toward the R&B rhythms of the day, fans of vintage Can should have few gripes.
The overtly poppy orientation of OUT OF REACH's "Give Me No Rose" and "One More Day" seemed at odds with bold experimentalism of the Czukay days. Fortunately, the following year's INNER SPACE (originally titled CAN, and paired here with its predecessor) where Czukay was involved with the production (though he doesn't play on the album), saw more of a return to traditional Can pastures. Can's trademark combination of funky rhythms and avant garde/psychedelic spaciness is the order of the day here. IrminSchmidt's synthesizer takes a larger role than before, and though Gee's bass tends toward the R&B rhythms of the day, fans of vintage Can should have few gripes.
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