According to The Can Book, the band did not hit upon their name until December 1968; and music included in this soundtrack was recorded a month before that. And so Kamasutra is credited to Irmin Schmidt & Inner Space Production. Indeed, none of the musicians involved in the recording are mentioned in the sleeve notes, which instead summarise the contents of the obscure German film. Only Malcolm Mooney, and one Margarete Juvan, receive any credit, and only because they sing on one track each.
And in a way, that's fair enough. This is, after all, proto-Can, Can before they found their groove and identity. In some ways, the music here resembles some of the entries in their occasional Ethnic Forgery Series, but that's not quite fair, as the most of the EFS pieces which have been released are decidedly tongue-in-cheek—they're 'forgeries', after all—while the ethnic elements appropriated here are played more conventionally. Both the ethnic elements and the rock elements sound fairly typical of the sound of the late 60's, and so unrepresentative of Can themselves. That's not to say the album is of no interest to a Can fan; it's just a recording of the band in their earliest stages of development. And at several points I thought I heard references to later pieces, riffs or rhythms which would soon make their way onto record in a different form.
It's also interesting to hear David Johnson's flute playing here; if I remember correctly, there were only a couple of points on Unlimited Edition where we've heard it before. To be sure, that flute is what part of what makes the album not quite sound like Can; but this was apparently the only time when the six musicians of Inner Space played together, and it's a fascinating insight into the band's development.
Verdict: Much as I appreciate this release, it's hard to rate the album higher than Decent. Dedicated Can fans may consider this to be an essential part of their collection, but anyone else is not likely to be impressed.
[Review also posted on rateyourmusic]