Tack>Head opened their treasure vaults and released a bunch of previously unreleased tracks from their creative path between 19. The top spot of the double CD release is CD one. In fact, some remixes sound better than the original. Several remixers felt inspired by the original vive and set out to immortalize it, delivering their remix skills to create spiritual interpretations. Tack>Head have always been famous for being acerbic commentators of the prevailing political and social conditions, and "War" and "Exodus" are the perfect soundtrack for this mission. In 2014, they released their last new studio album For The Love Of Money (DR 109B-CD/109LP), an outrageous concept project featuring cover versions of artists who inspired Tack>Head, take, for example, the reggae covers they picked: "War", "Exodus", and "Black Cinderella" pay tribute to two reggae giants - Bob Marley and Errol Dunkley - by getting them "into Tack>Head shape". The New York Times once called them " one of today's most extraordinary rhythm sections." They aren't just musicians, but also producers, remixers, and friends and supporters of fellow musicians.
They are more than just highly talented individual artists - they are absolute luminaries in their field. The list of their clients is long, in fact it couldn't be any longer, and it includes some of the most illustrious names around: The Rolling Stones, Seal, Annie Lennox, Madonna, Mick Jagger, Nine Inch Nails, Lauryn Hill, Mos Def, REM, Charlie Watts, Tina Turner, Miles Davis, Peter Gabriel, James Brown, Depeche Mode, Malcolm McLaren, George Clinton, Herbie Hancock, Duran Duran, BB King, The Cure, Donna Summer, Billy Idol, African Bambaata, Tommy Boy Label, Sugarhill Gang Records, and many more. The final cut of tracks, dating from 1968 to 1977, features studio material recorded at Schloss Nörvenich and Can Studio, Weilerswist with the Can line-up of Holger Czukay on bass, Michael Karoli on guitars, Jaki Liebezeit on drums and Irmin Schmidt on keyboards, and on most tracks, vocals from Malcolm Mooney or Damo Suzuki.Tack>Head have performed hits for millions of music fans. Everybody except Hildegard, who watches over Can and its work like the dragon over the gold of the Nibelungen and doesn't allow forgetting." Irmin Schmidt explains "Obviously the tapes weren't really lost, but were left in the cupboards of the studio archives for so long everybody just forgot about them. They found years of archived material, not outtakes, but rather tracks which had been shelved for a variety of reasons – soundtracks to films that were never released and tracks that didn't make it onto the final versions of albums due to space. With barely legible labeling, no one was sure what was on these until Irmin Schmidt and long time collaborator Jono Podmore started to go through over 30 hours of music. Whilst dismantling the studio, master tapes were found and stored in the Spoon archive. When the Can studio in Weilerswist was sold to the German Rock N Pop Museum, they bought everything, including the army mattresses that covered the walls for sound protection, and relocated it to Gronau. The compilation was curated by Irmin Schmidt and Daniel Miller, compiled by Irmin Schmidt and Jono Podmore, and edited by Jono Podmore. The Lost Tapes is a compilation album of studio outtakes and live recordings by the German experimental rock band Can, which was originally released as an LP in 2012 by Spoon Records in conjunction with Mute Records.
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