1) Surrounded by the Stars 2) Green-Bubble-Raincoated-Man 3) Jail-House-Frog 4) Wolf City 5) Wie der Wind am Ende einer Strasse 6) Deutsch Nepal 7) Sleepwalker’s Timeless Bridge
9+ out of 10
After the release of “Carnival in Babylon” in 1972, the band reconvened in their studio in July to record another album. When it was released, the fans of “Amon Duul II” must have shaken their heads in anger, with the word “sell out” hanging even more prominently on their lips. The band they had fallen in love with was falling even further into the depths of commercial clap trap.
This time, the album had NO songs over 10 minutes long! The longest song didn’t even reach eight minutes in length. Not only that, but the album was an incomprehensibly short 35 minutes, making it the band’s shortest effort yet. Yes, the album cover was a disturbing wolf head and the album itself was named “Wolf City” but there was no way possible this could be a good album.
My rating of this album would suggest otherwise. This album is very nearly a masterpiece of short piece German rock and roll. Although the songs may be shorter, they aren’t exactly brimming with catchy pop melodies, the type of melodies that would indicate a sell out. Instead, the band sets their dials back to “dark.”
Again, I want to stress that I’m not some kind of “dark” music fiend. However, “Amon Duul II” simply does dark better than they do light, which is proven by this album. The opener “Surrounded by Stars” is one of their better mid-length epics: the overdubbing is back. The sound is murky, the vocals are a bit off key, the lyrics are odd and the song weaves through multiple sections while retaining a dark, hard hitting atmosphere.
The band quickly moves through a wide variety of different moods and styles. “Green-Bubble Raincoated Man” is an odd, slightly experimental piece with off kilter arrangements and odd melodies. “Jailhouse Frog” storms ahead quickly with a rampaging riff that doesn’t sound a lick like “Jailhouse Rock” but which has a similar hard rocking power.
“Wolf City” follows, which moves through a nearly oppressive, seemingly fatalistic atmosphere. It is the masterpiece of the album: the mood set by this track is one of nearly suicidal gloom. It’s amazing that the band can conjure up these moods with a few well placed chords and melodies. It is even more amazing that the band never seems to fall into self parody or over the top melodrama. Instead, the create realistic dark moods which has the effect of making these moods even more effective than the melodramatic posturings over other, lesser artists.
Another point that falls in “Amon Duul II”’s favor is their sense of humor. “Deutsch Nepal” almost nearly falls into a parodic dark level: the lurching, frightening melody almost seems too exaggerated to be taken seriously. The band does an excellent job of arranging instruments to focus even heavily on the darkness of the tune. Then, a grim narrator comes in and begins reciting a set of lyrics in German.
However, the band enlightens this atmosphere by having the narrator cough at various points throughout the track. These points are almost strategically arranged at the points wherein the track approaches its most ridiculous levels. It is a small touch but it is a saving touch: it shows that the band doesn’t take this darkness 100% seriously. That is to say, they take their job of making great music seriously, but they don’t want us to think of them as Nazi’s (the feel the track honestly creates at times).
The biggest accomplishment of this album lies not only in the quality of the music (which is amongst their best) but in the way the album fully finishes the band’s “transition” to shorter, more straightforward music. After all, it’s not as if the band truly did only long numbers before: however, even these shorter numbers tended to be jam based and instrumental. These shorter tunes are now arranged in a more classic pop and rock format, making them easier to grasp.
However, making the tunes more streamlined and easier to understand did not actually make the band loses its artsier, more experimental edges. If anything, structuring these experimental tunes in a more straightforward way actually helps enhance the effectiveness of the tunes.
No longer is the band simply lost in an incredible murky, atmospheric haze. Instead, they are creating darkly, incredibly moody songs that can resonate with more people. After all, more people can appreciate a murky mood piece when it has an easier to hum melody and doesn’t top 20 minutes.
This isn’t to disparate their earlier work. In fact, that work is truly their groundbreaking work and should be remembered as their most important work, historically. However, albums of great, short and mid-range songs like this live up to the band’s early legacy. “Wolf City” is more immediately entertaining than their earlier albums while retaining a similar, but slightly reduced edge. As a result, I can’t help but give it as high of a rating as their other albums and consider it another masterpiece.
The band would begin integrating more streamlined song ideas into their work at this point to varying degrees of success. Due to the success in their “shorter song” experiments, the band still created worthy albums of great music for several more years. Perhaps not as experimental, but just as enjoyable. But first, the band took an odd detour…
1 ) C.I.D. in Uruk 2) All the Years ‘Round 3) Shimmering Sand 4) Kronwinkl 12 5) Tables Are Turned 6) Hawknose Harlequin
7 out of 10
“Amon Duul II” had unleashed five albums of incredible music in the world from 1970 to 1972, which takes into account the two double albums. The band showed themselves capable of wild eyed improvisation as well as well structured hard rock. The darkness of the band wasn’t completely unprecedented but had rarely been done so intensely and with such outstanding musicianship. “Tanz Der Lemming” showed a band with a nearly limitless imagination that had proved to the world that they were one of the world’s most outstanding and innovative band’s on the marketplace.
The one thing that had yet to prove to the world was their ability to write music that would sell. Yes, “Phallus Dei” sold very well but this may have been due to the outlandish title as opposed to the musical content. The band was seemingly content with going into the wild blue yonder without truly having a great pop hit.
However, by the end of 1972 something must have changed in the band. Maybe they were tired of writing side long symphonies. Maybe they wanted a pop hit. Perhaps they were running low on talent and ideas. Whatever the cause, 1972 saw them releasing “Tanz Der Lemming” and the streamlined “Carnival in Babylon.”
The word “sellout” is a harsh word that can often spell the death knell for a band. Many people would call “Carnival in Babylon” a sellout. The song lengths shortened considerably, with the average song length not venturing much past five minutes with the longest song just barely topping ten minutes. Not that length dictates the worth of a composition (in fact, excessive length often signals a bad composition) but the band had showed that their main strengths lie in creating dark moods over extended periods of time.
Another surefire sign of “sell out” was the fact that the songs were structured a bit more coherently than before. Their were attempts to create a normal pop song structure with verses, choruses, refrains and even catchy melodies. The atmosphere had also been lightened from heavily oppressive to a much lighter, less intense feel. This album has often been compared to “Camel”’s work and for good reason.
So is this album a complete embarrassment for the band? Judging by my rating, you can probably guess “not quite” but you can also see that this album is still a downturn from the previous albums and a bit of a slight “bump” in the band’s growth. There are things to enjoy about this album but there are also things that cause a considerable weakness in the album.
The main problem is with the general approach. It’s not I think that “lighter” music and “pop” melodies aren’t compatible with good music (far from it: my favorite Beatle is Paul McCartney). In fact, I think that “Amon Duul II” needed to progress in a different direction as any attempt to outdo “Tanz Der Lemming” would only cause the band to stagnate and repeat the sound and style of the album. So I applaud their courage in attempting to branch out. It actually boosts the rating for me a little.
But the band is really struggling in this direction. The band had never written catchy melodies in their lives at this point and their attempts to do so aren’t exactly convincing. It’s not as if the band is completely failing to create enjoyable music: the melodies are pleasant. But not memorable.
Now, before I’m accused of being a “pop slop lover” (a nonsensical insult in my opinion) let me point out that a melody doesn’t have to be immediately catchy to be good. It can be moody, atmospheric and interesting. The band hits on a few moody, atmospheric and interesting melodies on this album but one can tell it is very difficult for them to find these melodies consistently.
Another major problem is the lightened sound. It’s not that the sound is simply major key instead of minor key. The album is still rather moody and not exactly chipper. When I speak of the “lightened” sound I simply mean that the band isn’t overdubbing as wildly as they had in the past. The songs are less wildly arranged than in the past. The dark, murk of their previous albums has been erased for a clearer, easier to understand and less cluttered sound.
Again, many people may consider this a good thing. In fact, in many ways it is a good thing: you can hear individual instruments better than before. The problem comes with the fact that the band aren’t virtuosos and aren’t likely to knock you over by simply playing. Hearing these parts individually separated is nice but few of these parts are immediately memorable. Basically, the band was better at creating enthralling, murky music at this point in their career.
So why give the album such a high rating if there are so many obvious faults? Easy: the music is still enjoyable and moody. The band was simply too good at this point in their career to make truly bad music. This album, while the worst of their “classic” period is still high quality in many ways.
In fact, fans of “Camel” and early “Pink Floyd” may actually prefer this album. It has that same lighter than air feel to it, that same spacey, airy sound that is so alluring from those bands. “Amon Duul II” holds their own against these bands. However, they no longer sound as intriguing or original as they had before which is a major blow against the album. But for those interested in the band, it is worth getting as it’s light atmosphere is nothing like earlier or later albums and only shows off their abilities in changing with each new album.
The album does serve a very important transitional purpose: it helped inspire the band to focus their efforts on shorter, more concise works while fixing the “atmosphere” mistake by retaining a more arranged and darkly focused atmosphere. This approach would help inspire them to create at least one masterpiece and several excellent albums in the years to come.
Record One: 1) Syntelman’s March of the Roaring Seventies 2) Restless Skylight-Transistor-Child
Record Two: “The Chamsin Soundtrack” 1) The Marilyn Monroe-Memorial-Church 2) Chewing Gum Telegram 3) Stumbling Over Melted Moonlight 4) Toxicological Whispering
10+ out of 10
One year after the breakthrough hard rock/middle eastern/gypsy/jam based breakthrough of “Yeti” “Amon Duul II” released their second double album, “Tanz Der Lemmings” (or “Dance of the Lemmings”). The line up is more or less the same as the previous album. However, this is where all similarities end: the music of this album is completely different from the proceeding two albums.
The title of the album is one of the most appropriate I’ve ever heard: at times it does sound like a particularly energetic and wild animal (such as a lemming) dancing in a forest, surrounded by like minded critters. The party they are having sounds like an incredible blast but (as befits the lemming’s reputation) they often sound as if they are about to fall off a cliff to their death as the band jams in wild and unpredictable ways through four basically side long tracks.
Amazingly, the band never falls of the cliff: in fact, they reach their early, experimental peak with this album. While later albums may be more immediately listenable and enjoyable and may reach different types of peaks (such as the pop music peak of “Made in Germany”) but the band never topped the imagination and atmospheres they set with this album.
The first track “Syntelman’s March of the Roaring Seventies” perfect sets up the mood of the album. It starts out as a mild march, with acoustic guitar replacing the wild electrical outbursts of yesteryear. Flutes, violins, mellotrons, pianos and dozens of overdubs help contribute to a wild, swirling sound that builds and builds. Vocals come in and non-chalantly chant rather dubious lyrics (the band never had a solid lyric writing ability) as the sound swoops and twirls.
Honestly, it’s very hard to describe these songs using traditional reviewing methods. Reviewing pop songs is a much easier task as you can discuss the melodies, the arrangements and the lyrics in a much simpler method. These songs are incredibly long and diverse with multiple crescendos, valleys and arrangement details. It would be impossible to describe these tracks in a concise and coherent way.
Instead, I’ll focus on the way the album makes me feel when I’m listening to it. I feel like I’m being transported into a new realm with each new track. The first track is the most dynamic track, moving through multiple movements, moods and melodies. It is much softer than “Yeti” focusing more on gentle acoustic sounds.
“Restless Skylight-Transistor-Child,” the second track, has a more hard rock oriented set of riffs (a reminder of the hard rock sounds of the last album) with wild ambient synthesized sounds, gentle sitar plucking and bashing drums. It moves through a seemingly endless series of riffs, melodies and ideas. Chris Karrer and John Weinzierl particularly shine on guitar while Renate wails.
The second record is the “Chasim” soundtrack and features four tracks instead of two. “The Marilyn Monroe-Memorial-Church” is the first track and the longest track on the album. It is also easily the noisiest track on the album and in the band’s career. Unlike the first two tracks, which seem relatively composed, this track seems like completely noisy jamming without any structure.
Instead, the band focuses on creating a mood and indeed creates one of their most powerful mood pieces ever composed. The ominous sense of foreboding created in this track has few precedents in rock and roll and is still a harrowing experience after all these years. The synthesizers seem to be the primary noise makers here, creating all sorts of bleeps, blips and whirs that sound unlike any other synthesizer sound I’ve ever heard.
The last side is made up of the last three tracks, “Chewing Gum Telegram,” “Stumbling Over Melted Moonlight” and “Toxicological Whispering.” These shorter tracks focus on creating individual moods, similar to the shorter tracks on “Yeti” and “Phallus Dei.” They are much more composed than the third side of the album and give it a levity that is lacking in the first album and the third track.
To be honest, all of these songs tend to sound similar due to the lengths of the track and their extreme diversity and wild dynamics. They do set different moods but it is hard to memorize or remember any of the melodies of individual songs. As a result, Tanz Der Lemming” cannot be rated as an album of individual songs but as an atmospheric soundtrack of nearly cinematic proportions. It must be listened to in a single sitting to be appreciated properly.
Those interested in “Amon Duul II” often start with this album and “Yeti” as they are (justifiably) the album’s most famous and celebrated albums. However, they actually give the listener a slightly “off” view of the rest of the band’s history. Immediately after these lengthy (although short enough to fit on a single CD) albums, the band started focusing on shorter tracks with less ominous atmospheres and easier to digest melodies.
Many fans of the band actually stop listening to the band at this point. However, these fans will miss out on several albums of excellent progressive rock/progressive pop albums that feature many high quality and memorable moments. Unlike many other progressive and experimental oriented bands, “Amon Duul II” was able to progress into a more streamlined direction without “selling out” or losing their initial appeal in a mistaken attempt at commercial success. This process was to begin immediately with their next album.
Record One 1) Soap Shop Rock 2) She Came Through the Chimney 3) Archangel Thunderbird 4) Cerebus 5) The Return of Rübezahl 6) Eye-Shaking King 7) Pale Gallery
Record Two 1) Yeti 2) Yeti Talks to Yogi 3) Sandoz in the Rain
Only the second album by the band and they hit a major, major home run: to many people, this is their absolute best album, a masterpiece that the band never topped. A double album with well arranged, deep and hard hitting songs in a variety of different styles. A second album of brilliant improvisations. It still serves as their most famous album (though not their best selling; oddly, that is “Phallus Dei”) and has become a cornerstone for krautrock and rock and roll in general. In fact, it could be said that the band can be forgiven the last several crappy albums they made on the strength of this album alone.
Do I come across too strongly? Perhaps I do. In fact, I can’t say I fully believe all of this hype when it comes to this record. I don’t think it’s as influential as it has been stated: true, there is a gothic feel to the proceedings that undoubtedly influenced the sonics of various bands in their wake. However, few of these bands handled these atmospheres as effectively as “Amon Duul II” turning in slightly derivative and sometimes laughable works.
However, if you ask the “cool” groups that have been influenced by krautrock, they will usually name “Can” or “Kraftwerk” as influences. This isn’t always the case but I don’t think I’ve ever heard a band say they were influenced by “Amon Duul II.”
I’m not sure why this is: the band is certainly as good as “Can” and much better than “Kraftwerk.” I think the problem lies in the fact that the works of “Can” and “Kraftwerk” break more new ground than “Amon Duul II.” As startling as the sound of the band appeared to be, it rarely deviated too far from established patterns of jamming. There was none of the clinical synth work one can associate with “Kraftwerk” and the band’s playing abilities don’t match the impeccable standards set by “Can” and the band’s jam’s rarely become truly exciting in the same way.
Case in point: the second record of “Yeti.” These improvisations are more solid than the improvisations of “Phallus Dei” in many way: the sound is deeper, the playing is more fluid and the band tries many different things. However, they usually fail to set a mood in the same way. Often they seem like directionless ramblings in a way that makes me think that “Phallus Dei” was much better planned than I expected. This is odd considering three guys from “Amon Duul” actually guest on the track.
However, I don’t want to overstate this deficit. The jams are still enjoyable to listen to, especially as background music and can probably hit a lot of emotions for fans of “out there” music. Some fans even prefer the second record to the first. Perhaps the best way to think of this record is as a “bonus” disc, such as the third record to George Harrison’s “All Things Must Pass.”
Looking at it this way helps turn the second record from a failed and dated (though I hate that word) experiment into a fun diversion. Besides, it’s not as if the rest of the album differs greatly from this loose jamming atmosphere: the band is still in full flight. But a sense of focus drives the band to creating the first studio masterpiece they ever managed.
The album starts with “Soap Shop Rock” the first “Amon Duul II” song I ever heard. It starts with a heavy, heavy yet complex riff that repeats a few times, doubled up on two guitars and joined by bass and drums. It pounds up into a crescendo and begins repeating a simpler variation as…one of the guys here sings. Forgive me if I don’t know off hand, but the band’s vocals are so similar and colorless that it’s hard for me to differentiate them. Except for when Renate starts wailing like a wounded opera singer attempting to impress an impatient opera director…
Anyways, the songs moves through various moves including a violin led section with dramatic downward riffs, quieter ominous singing and ending with a repetition of the beginning riff. As you can see, this type of music is hard to describe. The band interacts in various complex and memorable ways. The atmosphere is still more important but it is at least tied to memorable riffs and a structure that makes sense. Themes are repeated at key moments to help keep the song coherent. And it doesn’t ramble all over the place: it carefully works a single mood, a much harder task.
The same rock sensibility is true of the third track, “Archangel Thunderbird” one of the band’s hardest rockers and a highlight of their stage show. It is essentially a more compact version of “Soap Shop Rock” featuring all of the benefits that implies. Similar to this song is the fifth track “Eye Shaking King” which differentiates itself with a slightly middle eastern sounding riff, wild distorted vocals and a wildly panning guitar solo which moves from left to right rapidly.
The second track “She Came Through the Chimney” (potential Beatles associations aside) is a quieter track, filled with gentle guitar melodies, careful violin playing and a less aggressive stance. Kind of the calm after the storm: after the intensity of “Soap Shop Rock” it’s nice to see the band relax and take it easy. Flutes (probably mellotron based) and bongos make heady contributions to this track. An odd, dissonant organ track upsets the simple mood. The organ sounds almost like a violin, quietly making noise in the background. “Cerebeus,” the fourth track, is an acoustic guitar driven piece with a generic “middle eastern” key. Bongos keep the rhythm, giving the piece an ominous feel.
Middle eastern motives pop up regularly on this album. “The Return of Rübezahl” is a slight piece of filler with such an atmosphere: it’s a little too repetitive to be held highly but its theme is memorable and dramatic at times. Same with the concluding track, “Pale Gallery.”
Several words kept popping up in this review: ominous and middle eastern. This was not on accident or due (completely) to lazy writing. The band truly sounds scary on some of these tracks, like the kind of music the devil would hear in hell. Taking on all of these “exotic” (to untrained western ears) keys and melodies helps contribute to that feeling.
The band also overdubs like mad. There are sometimes what feels like dozens of tracks going on in the rockers while the slower “ballad” type songs have weird details that derail their moods (such as the organ in “She Came Through the Window.” On the one hand, the album often sounds all of a piece. For the longest time (and even now) I have a hard time differentiating the songs besides the opening “Soap Shop Rock” which sticks in my mind due to being heard first.
And very few of these melodies will stick in your head forever. They are written well enough that, with the production and arrangements they create a seriously demented and individualistic mood I’ve never heard anywhere else. For that reason alone, the album is worthwhile. However, the music itself (as well as the playing) is good enough to guarantee this album legendary status. The band was to top itself a year later with its next (naturally double) album. But that’s for another day.
1) Kanaan 2) Dem Guten, Schonen 3) Luzifers Ghilom 4) Henriette Krotenschwanz 5) Phallus Dei CD Bonus Tracks 6) Touchmaphal 7) I Want the Sun to Shine
Nine out of Ten Stars
Now that we got the “crap” out of the way, let’s get started into the more interesting, beefier and generally more engaging work of “Amon Duul II.” The group made a pretty big splash artistically with “Phallus Dei” in 1969, technically in the same year as “Amon Duul I.” Don’t get on my case to find out what MONTH they were released in: let’s just say they were released almost simultaneously.
“Phallus Dei” (which means exactly what you think it means and if you aren’t sure, remember that “phallus” refers to something men have that women do not while “dei” is a shortening of “deity”) is the one album that remains closest in spirit to the first incarnation as it consists entirely of mostly improvised, mostly instrumental music that sounds very primal in approach and texture. However, it beats all of those albums handily for reasons I will point out below.
I do want to confess that I tend to enjoy the work of “Amon Duul I” more than I put on in my last review. However, I am rating these albums according to how I think a non-fan might approach the albums. And I am rating them based on what I consider to be their artistic worth. If I’m to be honest, I consider the albums pretty much flops artistically but a lot of fun to listen to as both entertainment and historical artifacts.
With that out of the way, lets get to “Phallus Dei.” On “Phallus “Dei” the line-up for “Amon Duul II” generally focused around these players: Peter Leopold, drums; John Weinzierl, guitar, 12-string bass; Falk Rogner organ, piano, keyboards; Chris Karrer, violin, guitar, twelve-string guitar, soprano saxophone, vocals; and Renate Knaup, vocals, tambourine.
Several percussionists join the band (in the grand “Amon Duul” tradition” as well as an extra bass player, Dave Anderson. Anderson, who later joined “Hawkwind” rejoined the “Amon Duul” family with “Amon Duul UK” but I’m getting ahead of myself. This line-up would adjust, expand and contrast throughout the years but generally featured these basic players.
The basic sound of the album can be summed up in one word: jamming. The album consists of live set pieces that the band had been playing for a year or so. However, this is not the completely aimless jamming of “Amon Duul I”: it is “mood jamming.” So, maybe two words would fit the sound of the album better.
Actually, I take that back: three words would perhaps be better: dark mood jamming. While dozens of bands had jammed much earlier than “Amon Duul II” few bands, German or otherwise, had focused on such moody, brooding textures. Sure, “Pink Floyd” was pretty dark but they were very structured with very little true jamming. This makes the album pretty groundbreaking.
Describing individual songs is actually pretty difficult here: their aren’t any really catchy riffs, memorable vocal melodies or coherent song structures. There also isn’t a lot of diversity in arrangement, mood or approach. The sound is also generally thinner than later “Amon Duul II” albums: while later albums featured extensive arrangement and overdubs, this album seems to be purely live in the studio jamming.
Which in some ways makes the album even more impressive: later album may be darker, but they required a careful arrangement process to create their moods. This album does it purely through playing. In fact, I bumped the album up a point from eight to nine while I was writing this review just for that reason. Musically, the album deserves no more than an eight but for audacity, the level of groundbreaking involved as well as the mood, it deserves at least an extra half point. But I don’t do half points. That just gets irritating after awhile.
Now, to describe the sound of the album. Basically, the band is very guitar heavy: John Weinzierl and Chris Karrer are super pros on their instruments and create a wide variety of textures. They aren’t exactly virtuosos but they’re very clever and creative, which is much more important any ways. Karrer expands the sound with solid, but unspectacular violin and saxophone playing. Perhaps these were over dubbed? Perhaps he just let go of his guitar and picked up the other instruments. I’m not sure.
Each groove (again, following “Amon Duul” traditions, these aren’t truly songs) generally starts out in the same way. A solid percussion groove begins and the guitars kick in, playing a wide variety of riffs, solos, chord progressions and generally interact with each other fairly complexly. The band kicks in with vocals sporadically.
These vocals are generally not melodic but textural. The vocals are split between fairly bland male vocals and the rather wild vocalization style of Renate Knauup which sounds like somebody trying to opera without the necessary strength of voice but with lots of vibrator to compensate.
On the sidelong title track, the band moves through several different sections. The shorter songs focus on mood making. The shorter songs range from just over two minutes to over eight and are much more condensed when compared to the wide ranging and rampaging title track.
Nothing is exactly highly memorable. In fact, the first few listens are definitely going to be underwhelming after all of these years and especially when contrasted with later recordings. The album seems almost completely chaotic in many ways, like a mess of guitar, bass, drum, percussion, violin, sax and Renate-wail (my phrase for Renate Kraupp’s vocalization style).
Subsequent listens will prove that the band is actually incredibly accomplished, confident and fully in control of what they are playing. Certain riffs rise out of the mist from time to time and embed themselves in your mind. You may find yourself humming them. More likely, you will find yourself swaying to the heavy grooves and digging the darkness. Besides, all “Amon Duul” albums (even later, more streamlined “Amon Duul II” albums) sound incredibly chaotic at first. It’s kind of their schtick.
The original album starts out with four shorter to medium length tracks. This is the track listing I have placed above. The second side consisted of the side long title track. However, CD reissues have placed “Phallus Dei” first, leaving the shorter tracks for last. They also add two bonus tracks, two lengthy songs from the same sessions that basically create the same mood as the album.
This odd rearrangement is actually a mistake in my opinion. The first four tracks are actually much moodier and thought provoking than the title track. This is because they are shorter and focus on a single mood or groove fully, instead of sprawling all over the place like the title track. However, the title track has more variety and energy. Perhaps this is the reason they put it first on the CD.
Whatever the reason, I insist it was a mistake: the dark moodiness of the first four tracks should definitely come first. “Phallus Dei” takes longer to get going, as it is a longer jam (which usually take awhile to get off the ground) and features far less effective and dark moods when compared to the first four tracks.
Starting with the darker tracks puts you in the mood of the album immediately and following with a side long song helps you relax a little (mood wise) and to get up and boogie (relatively speaking). Program your CD or Mp3’s with the original vinyl track listing and contrast it with the CD running order and tell me I’m not right. Or just listen to the vinyl album.
Final verdict? “Phallus Dei” is a groundbreaking album that any fan of “Amon Duul II” or “krautrock” in general should own. The music isn’t nearly as formed or as exciting as later works by the band. However, it still illustrates a highly confident band that knew what they wanted to do with their music immediately (unlike early Kraftwerk) and who had the professionalism, skill and playing ability to perform it (again, unlike early Kraftwerk. Not to pick on them but they weren’t very good until “Autobahn). Buy it and buy it well.