This is one great album, and one needn't be familiar with a single note ever played by Amon Düül, Amon Düül II, or any other German progressive rock band to enjoy it; indeed, this is the kind of album that fans of the Doors might honestly be said to have been wishing for. Stylistically there's not a lot in common between the two groups apart from some highly melodic guitar, some of it blues-derived (the Groundhogs' Tony McPhee is on the album, so you knew there'd be blues in there somewhere), and swirling organ and synthesizer arabesques, but one does get the real sense of this being a performance piece for poet and band, mostly courtesy of Robert Calvert. The latter's lyrics are dense with meaning, some of it obscure but all of it intriguing, and the overall effect of it is like listening to a latter-day extension of the kind of work that the Doors aspired to in their best days, with maybe a freer use of keyboards and definitely more ambitious and effective jams.There's some question between the two co-leaders of this version of Amon Düül (which is really an offshoot of Amon Düül II) about whether this album should have been released, since Dave Anderson regards it as completed, and okayed its going out, but John Wienzierl didn't think of it as finished. In any case, it rocks very hard and, in most instances, very memorably, with a big sound that manages to embrace elements of progressive rock, psychedelia, and a good beat.
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AllMusic Review by Bruce Eder