Amon Düül

With it`s Beatlesque string intro on the first track I Can`t Wait Part I, it is immediately evident to those familiar with previous work from the band that this is going to be a different Amon Duul II record. If the streamlining that occurred on the band`s 1972 Carnival In Babylon album caused a stir amongst fans then the cohesive song structures, vocal harmonies and orchestral arrangements on Amon Duul`s 7th studio album, Hijack, would prove to be even more mutinying and harder to swallow. By the time sessions began for Hijack, Amon Duul II had pretty much abandoned the free form cosmic experimental spaced out collage approach to their music and the album marked a period of a band in transition and introspection. Although not a concept album per se ( that would come on the subsequent Made In Germany album ) each track on the album has it`s own special individual message and musical identity making it one of the most diverse and interesting records in the band`s catologue.
Even so, there are echoes of Amon Duul II`s acid soaked past on tracks such as the psyched out Explode Like A Star presented in two sections with cool spacey synths and Renate Kanup`s female vocal interpolations. The instrumental Da Guadaloop with it`s tripped out primordial rythms predates disco with a psychedelic twist replete with elephant roars and female drill sergeant commands amongst other sonic novelties It is certainly the most bizarre track on the album which should satisfy the long haired freaky people who were into earlier albums like Yeti, Phallus Dei and Tanz Der Lemminge.
Apart from these two cosmic excursions Amon Duul had never sounded so commercial but at the same time retained some lyrical dark visions they were known for, especially on the introductory two parter Can`t Wait ( Parts I & II ) and the danceable Mirror which reflect on a bleak future and the guilty confessions of a TV addict respectively, emphasized by the lackadaisical vocals of bassist Lothar Meid who had returned to the band from 18 Karat to join the original lineup for the Hijack project. In fact most of the album was the brainchild of Meid`s who contributed the orchestral arrangements which featured 8 guest musicians. The album`s name even comes from Meid`s nickname which was Jack.
Other tracks offer chasms of contrast fluctuating from comical proportions to pensive atmospheres. Archy the Robot ( see album cover art ) is about a a mischievous toy robot with a mind of his own who travels through time and space and kidnaps Satan and God along the way accompanied by a cabaret-like brass section! The thoughtful You`re Not Alone whose simplistic droning guitar chords support Meid`s once again sombre yet passionate vocals about being at peace with oneself while Traveller and Liquid Whisper feature Renate Kanup singing fluid and lyrically vocals rather than her previous witchy vocalizations as heard on tracks like Archangel`s Thunderbird or Green Bubble Raincoated Man. One of the most unusual musical deviations for Amon Duul II up to the time is to be heard on a cover version of an Ornette Coleman composition, the dark lament Lonely Woman with a subtlle jazzy bossa nova beat whispered rather than sung by multi instrumentalist Chris Karrer underscored by a smoky tenor sax accompaniment.
It`s unfortunate that the acid drenched relentless freaking out heard on earlier Amon Duul 2 albums create false impressions, get more attention and overshadow most of the band`s recording career. Hijack is a testament to the songwriting and actual musical abilities of of the original lineup plus the crucial contributions of Lothar Meid. It`s a pity that it constantly comes under scrutiny so often for being too commercial. Some critics have even called it their worst album! In essence Hijack depicts a band finally coming of age and a fitting prelude to 1975`s Made In Germany concept opus magus. One of the best and diverse Amon Duul albums where the individual members demonstrate that they can adapt to just about any style. Not to be ignored by anyone who wants to explore the weird and wonderful world of Amon Duul II. 4½ stars no problem.

The British Amon Düül were formed in 1981 in Great Britain by guitar player John Weinzierl (Penguin) and bass player Dave Anderson, who both had been members of Amon Düül 2. They published a few albums during the 80s; sadly most of them with very little information about who played on them; only "Die Lösung" gives some detailed information on the cover. From the information on "Die Lösung" one can see that the line-up was very interesting, at least on this record; besides Weinzierl and Anderson it features Robert Calvert of Hawkwind as singer (he was also responsible for the lyrics), Julie Wareing on vocals, Guy Evans of VdGG on drums and Ed Wynne and Joie Hinton of the Ozric Tentacles on guitar and synths.

This is the second album from the United Kingdom Amon Düül.Again artcover has no informations about the band . Line up includes guitarist John Weinzierl , bass player Dave Anderson (both from former Amon Düül II),Guy Evans (From Van der Graaf Generator) and other UK underground musicians.

In 1973 Amon Düül II split up over a quarrel that included threats with revolvers and knives. One half set off to record "Wolf City", the other half formed Utopia with a few other musicians. During the recording sessions of "Wolf City" and "Utopia" though the members of Amon Duul II made peace again, which ended with the whole Amon Duul II gang playing on both records. Nevertheless Utopia should be seen as a completely independent project (although their only album was re-issued under the name Amon Düül II for commercial reasons in the 80s).
Here's another Amon Düül II (?!) album - oh, wait a minute - it could be a Lothar Meid solo effort - or, Utopia !! I remember seeing LP's of this lumped in with others by Todd Rundgren's band of the same name - same prices as those common records, too. The songs on this album sound very close to ADII, and the quality is as good. I don't understand why this release isn't favoured here at PA, it features many of the traits which made the 'Mothership' so exciting. The first track 'What You Gonna Do' is a straight-ahead rocker, with Renate Knaup singing, always nice to hear her distinctive voice. 'Wolf-Man Jack Show' is a weird song, with Jimmy Jackson at the mysterious 'Choir Organ' (giving off a stranger sound than Mellotron choirs), which he actually utilised on many tracks to good effect. The Bass riff here is almost snatched straight from Beatlers' 'Come Together', played German style. 'Alice' is a sweet love song. The tune itself is care-free and up-lifting, and has Lothar playing Mellotron flutes. I can't help but be reminded of Kevin Ayers on this one. 'Las Vegas' is a hippy-sounding jam with congas, jazzy sax playing and a nose-flute !!
'Deutsch Nepal' is a re-make of the song of the same name from 'Wolf City'. It's heavy sound and strange 'vocal' from guest Rolf Zacher makes it an excellent example of Krautrock. 'Utopiat No.1' is another hippy jam (strikingly similar to 'Las Vegas') but features those searing organs from Jimmy Jackson and Falk Rogner too, Olaf Kubler toying around with a Moog Synth, and bizarre echoed vocals from Meid. Man, I love this stuff. 'Nasi Goreng' is a Hammond-heavy instrumental with strong melodies, and light oriental moments (of course, with a title like that). The album finishes up with 'Jazz-Kiste', probably the master-piece composition of the album - starring Passport's Christian Schulze on electric-piano and Embryo’s Edgar Hoffman playing amazing 'wah-wah' soprano sax almost throughout. Overall, this 'Utopia' is not a revolutionary extravaganza, but I find its contents worthwhile and satisfying.