Egging Liebezeit on with his chanting, Mooney sounds like an old pro here, getting hitched on phrases that he worries into the ground: “He hasn’t been born yet” is that phrase in “Father Cannot Yell,” the album’s opener, the track Schmidt considered the real beginning of his career. “Mary, Mary So Contrary” is a mid tempo number that sounds like the Red Hot Chili Peppers (says my wife, Heidi, very accurately) and maybe doesn’t go on the mixtape. “Outside My Door” uses a guitar phrase that paraphrases Pink Floyd’s “Interstellar Overdrive,” then a fairly big underground hit. Here, Can are part of the chronology, one of many bands looking for the same thing. On the final track, “You Doo Right,” Can are looking for nothing but Can. For twenty glorious minutes, they leave 1968 behind. Czukay hotfoots an octave and Liebezeit sets up a pattern on his tom toms, with no cymbals at all. For the first two minutes of the song, Can are just a bass, drums, and voice trio. Schmidt then enters with a modest drone, moving from note to note, letting each ring for several seconds. Three minutes in, Karoli’s guitar goes krang and starts to fry notes, slowly. Nobody is moving quickly or noodling around. We are in a place where repetition is central and genre is sort of disabled. A blues song would change chords, but this does not. An American psychedelic track would have soloing and triumphant singing, none of which you’ll find. This song keeps calming itself down and settling into new centers. It’s confident without being aggressive, and stripped of much high end, as there is no cymbal sound and the guitar and organ both slide along in the low midrange. Right around five and a half minutes, when you expect the track to end, it sets off for another fifteen minutes, powered by Liebezeit turning into a locomotive of tempo and tone, and Karoli turning his guitar into an actual locomotive, dopplering into the distance. Mooney keeps singing, though the words “you do right” no longer sound like they mean anything. Around eight minutes, the band considers ending it all, but Liebezeit keeps his stick going against the rim of a drum, as Mooney chants: “Man, got to move on, man you got to move on, man.” Czukay takes over for Liebezeit and after a breather, everyone comes back in and bangs on for ten more glorious minutes. Can is in the building.