For years, there were many who didn't know what to make of Amon Düül 2's mindbending, free-form psychedelic adventures. Orthodox prog rockers found their apparent lack of formal skills irksome while the post-punk generation, if they encountered them at all, saw them as the epitome of Euro-hippy folly. Improvised pieces like “Sandoz in the Rain,” with Far Eastern elements swirling like fumes from a bong, transported the listener to odd places indeed. It's only thanks to enthusiasts like Julian Cope and a general loosening of minds in the 21st century that 1970's Yeti, with its frazzled, free-ranging pieces like “Sopa Shock Rock,” can be properly appreciated. This is music which burned acid holes in the doors of perception and misconceptions of what German pop music was all about. The late John Peel was one of the few to recognise Amon Düül's merits at the time. This music demands — and rewards — tolerance and curiosity.
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