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Most Helpful Customer Reviews
2 of 2 people found the following review helpful:
4.0 out of 5 stars
A Very Good Record,
This review is from: Out of Reach (Audio CD)
The problem with both "Out of Reach" and "Inner Space" isn't that they aren't good records it's just that they aren't really Can records. Both releases feature ex-Traffic members on bass/vocals and percussion so the tunes are a lot more more funky than typical Can and a lot less improvisational / experimental. With that said however, had these two records been released under a different band name rather than constantly getting panned they'd be both praised and highly sought after. My recommendation is to ignore the elitists who trash them and add them to your collection because they're excellent.
2 of 2 people found the following review helpful:
3.0 out of 5 stars
Underrated,
By A Customer
This review is from: Out of Reach (Audio CD)
Why do the band generally consider this to be a bad album? While it contains a couple of weak tracks (November (better heard though worse-titled as Mighty Girl on the Peel Sessions CD), Seven Days Awake) and the ghastly Like INOBE GOD, which sounds like bad Caribbean karaoke of something funereal, the other four are quite ace blends of mostly funk, groove and psychedelia, with good things from the whole band. The two tracks written by Rosko Gee (Pauper's Daughter & I - which recalls Sunshine Day and Night from Saw Delight, especially in Karoli's fluid off-kilter guitar licks - and the catchy and rather lovely Give Me No "Roses") are probably the strongest songs and his vocals are a pleasant surprise. Pity the remaster is poor.
1 of 1 people found the following review helpful:
1.0 out of 5 stars
Arrrrggggh...,
This review is from: Out of Reach (Audio CD)
Exit Holger Czukay, and drag Rosko Gee to the fore, and what do you get? Well, in this case, you get an unfocussed dog of a record that only has personnel to link it to the Can releases that go before. If I could give this zero stars, I would. This is the absolute nadir of a creative slide that began around the time of "Landed", with the band's adoption of multi-track methods of production, and sees Can tossing out well-held ideas like their creative improvisatory process to work on actual set 'songs' by Rosko Gee in places, and at other points working out in directionless, meandering jams. It bears noting that this, of all of Can's official releases, is the sole one not reissued on their Spoon label.
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