TAGO MAGO

As I warn anyone willing to listen to this album: be warned: it's a hard listen. 'Tago Mago' starts with 'Paperhouse', a song with great lyrics and a guitar solo so freaking great it makes me want to cry, then moves into 'Mushroom', a somewhat groovy song that just happens to be the only song under six minutes on this album. Also has some great lyrics. 'Oh Yeah' is a largely instrumental track with some of the weirdest lyrics known to man. 'Halleluwah' occupies an entire side, and is my personal favorite Can song. I couldn't help but point out that this sounds like Cage the Elephant's 'Ain't No Rest for The Wicked' (I hope I was the first on Prog Archives to say that, I didn't care to look for it in different reviews). But then - be prepared, you must be prepared - is 'Aumgn'. I am trying my best not to spoil everything, but I won't. You have to listen to it on your own. 'Peking O' is a Kraftwerk-esque eleven-minute track featuring extended futuristic keyboard interludes and crazy jabbering, which still makes me worry about the mental health of vocalist Damo Suzuki. This song, while barely comprehensible, is what I think best embodies Can. Their fearless attitude toward innovation. This track is nonsense, and it isn't even really music, but I listen to it regularly on streaming services whenever I feel like being drifted away into another world. This carries you away to the ending song: 'Bring Me Coffee or Tea', the second shortest song on 'Tago Mago', clocking in at just under seven minutes. Very groovy and odd; a perfect end-track to such a weird album.

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