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Monster Movie
Format: Audio CDChange
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15 of 15 people found the following review helpful
on 7 February 2002
A truly classic album, but one which still borders on shockingly fresh when you hear it (or any CAN) for the first time.
Only 4 tracks in length, but the first (Father Cannot Yell) and last (You Doo Right) alone (27 mins between them) will take your breath away.
In an age where 'popular' music is largely the production of a billion-dollar multinational industry, CAN will always blow your mind. Don't be put off by the word 'experimental', cos although CAN have always been that, they do do SONGS, and not just pootle around arhythmically/tunelessly.
This was the first CAN album released, but 'DELAY 1968' can be seen as a sister album, that material being produced at around the same time. What better places to start? Some of the best songs you will ever hear are here. Let CAN broaden your horizons.. yes, even YOU, jaded listener!
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13 of 13 people found the following review helpful
Besides the brilliant cover art, this album also boasts some of the most gripping experimental music from the late 1960s.
The opening track Father Cannot Yell is a real stunner that reminds me of the Velvet Underground on tracks like European Son or White Light/White Heat with its raw pulsating bass, insistent keyboard and stuttering vocals.
Mary Mary So Contrary is a slow rock excursion with bluesy vocals, whilst Outside My Door is a powerful piece of acid rock psychedelia, not too dissimilar from Big Brother And The Holding Company's masterpieces like Piece Of My Heart or Combination Of The Two.
The long winding track You Doo Right is a 20 minute tour de force of impressive instrumental textures and varied vocals that captures many moods. It includes tribal drumming and veers from bluesy rock to world music to psychedelic textures.
Monster Movie certainly exerted a profound influence on post-punk music of the late seventies and eighties - Talking Heads and Public Image Limited being only two of the groups that come to mind. It remains a classic of brilliant power and has stood the test of time very well.
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27 of 28 people found the following review helpful
on 1 April 2001
Can really are the absolute daddies. Along with the Velvet Underground they pretty much defined the sound of so-called alternative music, and while they are often cited as influences by modern bands very few if any come close to capturing their power and originality. Monster Movie is their first album, and their only complete one with original vocalist Malcolm Mooney. To people used to the more melodic feel of the Damo Suzuki albums the sheer rawness of this debut can be quite a shock. Opener father cannot yell is a scything blast of punk which veers into trance territory before giving into the noise again, with Mooney's free-association lyrics dropped haphazardly into the mix. By the end you feel quite breathless. The next track debases and seduces a sweet n innocent nursery rhyme with some low-slung blues, before Outside my Door closes side one with the most straightahead rock track they ever recorded. Side two is the legendary Yoo Doo Right, a massive 20 minute mantra built around a simple bassline with lyrics read straight from a letter. It is so difficult to describe this track - It's so simply constructed, but each listen reveals new details or different meanings. I cannot praise this album highly enough. If you value your ears, you will buy it instantly. Really. Do it now.
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17 of 19 people found the following review helpful
on 5 January 2005
Can were formed at the end of the sixties by a bunch of muso types from Germany. Jaki Liebezeit, Irmin Schmidt, Holger Czukay and Michael Karoli then signed up American sculptor Malcolm Mooney as their vocalist and recorded this album in a castle using superior equipment. Can remain an utterly fascinating band and although it is their later work with vocalist Damo Suzuki (who replaced Mooney after Mooney had a breakdown) Monster Movie is a fantastic record which finds the band stretching themselves. Much of this is similar in sound and technique to work by the Velvet Underground, Frank Zappa, Beefheart, Stooges etc. Can are experimenting with drone and repetition here, and Mooney's lyrics and vocal delivery make for some disturbing listening. The band chug along like it's 1969 and Mooney goes into meltdown. This is one of those unsung records that you should own. If you like alternative music and this is an era that interests you then Can are well worth trying out. Start here, then branch out into Tago Mago, Ege Bamyasi and Soon Over Babaluma.
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2 of 2 people found the following review helpful
on 26 January 2013
I was 15 years old at the time and a friend of mine had an older brother. One day we sneeked off school and `raided` his brothers record collection . This was in the early 70`s with Bowie and T.Rex in the ascendent. Amongst the records we had listened to were some Velvet Underground, Captain Beefheart and Iggy & The Stooges.....then this..WOW !!. At first i hated it but i went back again and again now i`m in my mid-50`s and i`m still enthralled with CAN . This was the CAN LP ( at the time ) that kick started my love affair with CAN. I now have the usual suspects....TAGO MAGO, FUTURE DAYS, DELAY 68...the lot . My missus thinks i`m weird , one of my oldest sons thinks its cool !!!. I did see them perform once in London i think or it may have been Manchester - i was 16 years old . And Monster Movie started it all !!!
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Besides the brilliant cover art, this album also boasts some of the most gripping experimental music from the late 1960s.

The opening track Father Cannot Yell is a real stunner that reminds me of the Velvet Underground on tracks like European Son or White Light/White Heat with its raw pulsating bass, insistent keyboard and stuttering vocals.

Mary Mary So Contrary is a slow rock excursion with bluesy vocals, whilst Outside My Door is a powerful piece of acid rock psychedelia, not too dissimilar from Big Brother And The Holding Company's masterpieces like Piece Of My Heart or Combination Of The Two.

The long winding track You Doo Right is a 20 minute tour de force of impressive instrumental textures and varied vocals that captures many moods. It includes tribal drumming and veers from bluesy rock to world music to psychedelic textures.

Monster Movie certainly exerted a profound influence on post-punk music of the late seventies and eighties - Talking Heads and Public Image Limited being only two of the groups that come to mind. It remains a classic of brilliant power and has stood the test of time very well.
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1 of 2 people found the following review helpful
on 18 December 2009
It was great to hear this album again after such a long time,I always remember it from when I was younger & my older brother owned it.Could never remember the title but that Galactus influenced cover was what dragged me in.It is such an amazing record & with a big resurgence in this kinda ambient rock thru' Wooden Shjips,Moon Duo & such like it's great to listen to the real deal that influenced these bands.
Fantastic,check it out.
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0 of 1 people found the following review helpful
on 4 April 2014
This is the first of many great albums by Can,originally released in 1969.
The aim of the band was to make 'new' music that was based on European musical tradition rather than the American influences that predominated.
Only 4 tracks,but they are quality,starting with Father Cannot Yell with its driving bass line,manic guitar and Malcolm Mooney's spontaneous-like delivery of the vocals and finishing with the hypnotic Yoo Doo Right.
One I can recommend if you're looking for something that's off Rock's "beaten track".
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0 of 1 people found the following review helpful
Krautrock (can I say that?) at its most primal. This is the sound that laid the foundations for the "new Music" revolution of the early seventies that, after a side-swipe collision with Tangerine Dream brought forth Kraftwerk and maybe, by some process of fission, emitted Faust on the way.

It's raw and hypnotic Loads of energy and still trancey - odd combination for its day.

Will you like it?

I think you need to audition, then decide. Oh hell, you WILL like it.
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4 of 13 people found the following review helpful
I'm giving this album three stars in the context of Can's entire output (which by the way I recommend up until Unlimited Edition, and that includes Delay 1968), because it IS problematic. The opening track is awesome; exhilerating, dark, and timeless. Tracks 2 and 3 have conversely not aged so well sound-wise - they scream 'hippy' - nor do they have anything particularly interesting to rescue them in the music, and I find that I can enjoy them only providing I'm feeling particularly kinda beatnik. To be fair I'm far too young to have any nostalgia for that 60's sound, but then so is everyone else who is discovering Can for the first time through these excellent re-masterings. The fourth track has a nice groove but does not come close to justifying its 20 minute length unless your the most die-hard of drone rockers (as opposed to later 'long' can tracks which contain plenty of material to get your teeth in to and are structured better), so what we have here is a mediocre EP for the price of an LP.

If you're already in to Can, as well you might be, then I still recommend this, particularly for the astonishing Father Cannot Yell. If not, start with Ege Bamyasi and come back to this later.
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