Schmidt feels that the Stuttgart gig is an effective instance of Can’s stage interaction. On the second monitor, Czukay begins the bass line from “Bel Air” however the melody finally drifts away when no person joins in. “If we played something which reminded or was near to a song, somebody just came up with it all of a sudden,” Schmidt mentioned. “It was sometimes sort of like a game. You threw something towards the other, and he picked it up, or he didn’t use it and threw it to somebody else. When it worked it was very beautiful and inspiring, even very amusing, using parts of what you have already done, but giving it a totally new direction.”
The band’s live shows had been normally three hours lengthy, comprising two 90-minute units. For the reside collection, Schmidt plans to largely keep away from single songs from completely different nights in favor of complete gigs, “which shows how we structured the set, how the flow was going, the feeling of a real concert,” he mentioned.
Can’s improvisatory ethic didn’t at all times assure constant outcomes. “You can’t play like this onstage, giving yourself totally up to the atmosphere and to the moment spontaneously, without sometimes risking failure,” Schmidt defined. “There were of course also concerts which were horrible, really bad, because we played without any net.”
But even within the worst-case situations, there was nonetheless potential for magic. “Quite often, when the first set went terribly, people didn’t leave and the second set became really wonderful,” he mentioned. “So the public sort of took part in our efforts to create. It was really like, if it didn’t work, they suffered like us, with us, and if it worked they enjoyed it like us.”
The subsequent launch might be from the Brighton, England, cease on the identical 1975 tour, Schmidt mentioned, however he hopes to characteristic earlier performances, together with probably a just lately found 1970 German TV performance.