DELAY 1968

The driving rhythms, even in this early time, shows the genius of Jaki Liebezeit and his ability to set the tone of whatever piece is playing. At this time, however, Holger isnt quite there with the bass in support, but he dosent destroy the songs either (just a bit of refining needed - which he does in future CAN recordings in spades).

I disagree with Corbet when he says the songs are 'similiar'. From the driving pulsating rhythms of 'Butterfly', and 'Uphill', the manic-ness of 'Nineteenth century man' (that distorted guitar is piercing - pure bliss in a demented heaven), the almost sorrowful tone of 'thief' (set with the treble knob on maximum), with Michael Mooney in desparate need of an entire packet of throat lozengers, the enjoyable nonsence of Pnoom, and the boogie tones of 'Man named joe'.

I dont know what to make of 'Little star of Bethlehem'.. It sounds like a groove interlude The Doors would have filled their sets with when they couldnt think of a song. Michaels lyrics sound as if he had recently seen Syd Barrett live, and felt inspired with freeform (w) rap. Yet, with this variety, the album has a constant manic intensity thoughout that makes it sound whole. Mooneys vocals are a big part in that - Its not that he is good, but unique - his ability to 'read' the music and to determine what to say and how to scream it pretty much makes it his album (more than any other member in particular).

Not for the squeemish. For the new listener, start with the Suzuki era albums, or 'Soon over Babaluma' before being accosted by this sonic barrage.

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