Band members Related acts
line up xx (1967-68)
- Alex St. Claire (aka Alex Snouffer) -- guitar
- Jeff Cotton --- lead guitar (replaced Gerry McGee)
- John French -- drums
- Jerry Hendley -- bass
- Don Van Vliet (RIP 2010) -- vocals, harmonica
line up xx (1974)
- Jimmy Caravan -- keyboards, star machine
- Mark Gibbons -- keyboards
- Ty Grimes -- percussion
- Ira Ingber -- bass
- Gene Pello -- drums, percussion
- Dean Smith -- guitar, slide guitar
- Michael Smotherman -- keyboards, backing vocals
- Don Van Vliet (RIP 2010) -- vocals, harmonica
- Bob West -- bass
line up xx (1982)
- Gary Lucas -- lead guitar, slide guitar, steel guitar
- Cliff Martinez -- drums, percussion
- Rick Snyder -- bass, viola, percussion
- Jeff Tepper -- steel guitar, slide guitar
- Don Van Vliet (RIP 2010) -- vocals, harmonica, sax, percussion
supporting musicians (1982)
- Eric Drew Feldman -- keyboards
- Paul Blakely -- drums (1964-)
- Mark Boston -- bass, guitar (1972)
- Captain Beefheart (aka Don Van Vliet) -- vocals, guitar,
keyboards, harmonica (1967-)
- Jimmy Caravan -- keyboards (1974)
- Ry Cooder -- guitar, bass (1965-67)
- James Cotton (aka Antennae Jimmy Semens) -- guitar
(replaced Doug Moon) (1965-)
- Roy Estrada (aka Orejon) -- bass (1972)
- John French (aka Drumbo) -- drums, percussion (1965-67)
- Mark Gibbons -- keyboards (1974)
- Ty Grimes -- percussion (1974)
- Jerry Handley -- bass (1964-67)
- Bill Harkleroad -- guitar (1972)
- Milt Holland -- percussion (1972)
- Ira Ingber -- bass (1974)
- Doug Moon -- guitar (1964)
- Rockette Morton -- bass, guitar (1972)
- Gene Pello -- drums (1974)
- Zoot Horn Rollo -- guitar, mandolin, steel guitar (1972)
- Alex St. Claire (aka Pyjama, aka Alex Snouffer) -- guitar
- Dean Smith -- lead guitar (1974)
- Michael Smootherman -- keyboards, backing vocals
- Russ Titleman -- guitar (1967)
- Art Tripp (aka Ed Marimba) -- drums, keyboards (1972)
- Bob West -- bass (1974)
Rating: **** (4 stars)
Title: Safe As Milk
Catalog: BDM-1001 (mono)
Country: Glendale, California
Grade (cover/record): VG / VG
Comments: minor ring and edge wear
Catalog ID: not yet listed
I'll admit to having a soft spot for oddball acts (just check out my collection of 35,000 LPs). That said, Captain Beefheart (aka Don Van Vliet) is in a league of his own. Over some three decades he's been labeled everything from a groundbreaking musical innovator, to a full fledged kook. As with most things in life, the truth is probably somewhere out there in the middle ground.
Although Beefheart''s accumulated a substantial recording catalog touching on everything from free-form poetry to bizarre combinations of musical genres, Beefheart's never enjoyed anything remotely approaching commercial success, but with the music community he's widely admired and he has one of the most rabid cult followings of any act we know.
Van Vliet's personal life is as interesting as his musical career. Born and raised in Southern California (Glendale), by the time he was four his artwork had won him acclaim as a child prodigy. By the time he was in his teens he'd been offered a European art scholarship which his family politely elected to decline, instead relocating to the Mojave Desert where Van Vliet became friendly with fellow teen Frank Zappa.
Without much to do in the Mojave, Van Vliet picked up saxophone and harmonica, joining a pair of local R&B bands - The Omens and The Blackouts. By the early 1960s he'd formally changed his name to 'Van Vliet' (his given surname was Vliet) and begun using the 'Captain Beefheart' moniker. He'd also recruited his first Magic Band, consisting of drummer Paul Blakely, guitar players Doug Moon and Alex St. Clair, bassist Jerry Handley. Quickly becoming staples on the dance and club scene, Beefheart and the Magic Band attracted the attention of A&M Records, which signed them to a contract, releasing the single "Diddy Wah Diddy" b/w "Who Do You Think You're Fooling" (A&M catalog number 794). With the single becoming a minor radio hit, A&M agreed to finance a supporting album. Unfortunately, after hearing the resulting tapes (particularly the song "Electricity"), A&M executives shelved the project. Moon and Blakely dropped out of the band, with Beefheart eventually replacing them with Jeff Cotton (aka Antennae Jimmy Semens) , Ry Cooder and drummer John "Drumbo" French.
Dropped by A&M, 1967 found Beefheart signed by the more adventuresome Buddah Records. His first move was to recut much of the material previously shelved by A&M. Produced by Bob Krasnow (with Richard Perry brought aboard midway through the sessions), 1967's "Safe As Milk" is as close as Beefheart's ever come to making a conventional pop album. While nothing on the album actually qualifies as pop, most of the efforts exhibited recognizable song structures and melodies. Propelled by Beefheart's ominous sandpaper vocals and typically weird lyrics and Cooder's imaginative arrangements and stinging slide guitar, compositions such as the leadoff rocker "Sure 'Nuff 'N Yes I Do", "Zig Zag Wanderer" and "Plastic Factory" displayed a kinked blues-rock flavor. "I'm Glad" offered up a surprisingly effective slice of 1960s soul. "Dropout Boogie" recalled a demented Kinks rocker, while the jangle guitar rocker "Call On Me" even sounded a bit like The Byrds had Roger McGuinn decided to record while suffering from a major psychotic episode. Elsewhere, in case anyone doubted Beefheart's credentials as a resident eccentric, they needed only check out tracks such as the legendary theramin-enhanced, meltdown rocker "Electricity", "Abba Zaba", or "Autumn's Child". Hard as it may be to believe, Buddah actually pulled a single from the LP - what was probably the most accessible effort, "Yellow Brick Road" b/w "Abba Zaba" (Buddah catalog number BDA 9). (The album was originally released with a promotional "Safe As Milk" bumper sticker insert.)
Today it may all sound rather tame (and quite commercial), but back in 1967 this was truly groundbreaking !!! Well worth adding to your collection !!!
"Safe As Milk" track listing:
2.) Zig Zag Wanderer (Don Van Vliet - Herb Bermann) - 2:40
3.) Call On Me (Don Van Vliet) - 2:37
4.) Dropout Boogie (Don Van Vliet - Herb Bermann)- 2:32
5.) I'm Glad (Don Van Vliet) - 3:31
6.) Electricity (Don Van Vliet - Herb Bermann) - 3:07
1.) Yellow Brick Road (Don Van Vliet - Herb Bermann) - 2:28
2.) Abba Zaba (Don Van Vliet) - 2:44
3.) Plastic Factory (Don Van Vliet - Herb Bermann - Jerry Handley) - 3:00
4.) Where There's Woman (Don Van Vliet - Herb Bermann)2:05
5.) Grow So Ugly (Robert Williams) - 2:27
6.) Autumn's Child (Don Van Vliet - Herb Bermann) - 4:02
Rating: **** (4 stars)
Title: Striclty personal
Company: Blue Thumb
Catalog: BTS 1
Country/State: Glendale, California
Grade (cover/record): VG+/VG+
Comments: gatefold sleeve
Catalog ID: 282
Best time to play: Saturday night beer bash (I'd suggest a Belgian beer for this one).
I had a high school friend who was a big Beefheart fan and in spite of his efforts to convert me to the cause, I just couldn't get it. I guess all those Foghat and Humble Pie albums didn't leave any room for The Captain's brand of aural chaos. Forty years later this one's still an enigma to my ears, but I can admire and occasionally even enjoy some of the man's quirkiness.
So I'm no Captain Beefheart & His Magic Band expert but by 1967 the bands was in a state of disarray. On the personnel front lead guitarist Ry Cooder had been replaced by Gerry McGee, who was quickly replaced by Jeff Cotton. On the business front A&M had dropped the group, but they'd been signed by Buddah and recorded a bunch of material for a projected double album (to be called "It Comes In a Plain Brown Wrapper"). Probably not a big surprise, Buddah management balked at the project at which point Liberty Records briefly latched on to the band, before producer Bob Krasnow stepped in and signed them to his newly formed Blue Thumb label. And here's where it gets truly odd. Having finished the recording sessions, including re-recording some of the Buddah-era tracks, Beefheart and company headed off on a European tour leaving Krasnow to finish mixing the album which was finally released in 1968 under the title "Strictly Personnel". Beefheart was apparently furious with the finished product which included some strange psych touches and a high, somewhat tinny sound. To my ears Krasnow's efforts weren't a major crime since in large part because it was a Beefheart album so you kind of knew you were going to hear something different anyhow. And in this case lots of it was probably aptly described as blues-from-mars. If you were looking for traditional delta blues, you might what to run like hell 'cause tracks like 'Ah Feel Like Achid', ' Son of Mirror Man - Mere Man', and 'Gimme Dat Harp Boy' were going to major shocks to the unprepared.
album inner sleeve
- Geez, Beefheart's always hard to describe to the uninitiated, but in this case hardcore delta blues with a blazing lunatic edge seems to cover the leadoff track 'Ah Feel Like Achid'. It's actually hard to image a song with a more appropriate title. The first thirty seconds was little more than Beefheart's raw voice with a touch of percussion. Beefheart's equally raw harmonica then kicked in with Cotton's acoustic slide guitar and the rest of the band following. Don't even ask me about the lyrics and the end of song heartbeat simply gave the song the perfect weird ending rating: *** stars
- 'Safe As Milk' was written and intended for the 1967 debut album (entitled "Safe As Milk"), but didn't make it on to the collection. With a full band arrangement, the song appeared as a life threatening slice of punk aggression. It got truly strange around the three minute mark where it turned totally discordant and experimental with John French turning in a weird percussion solo and Cotton seemingly playing his acoustic guitar with an iron. A seriously scary piece of music, you probably didn't want to play this at a sweet 16 party. Music for the psychopath in all of us ... For anyone who hasn't seen the man live, YouTube has an early '80s clip of Van Vliet performing the song on French television: http://www.youtube.com/watch?v=lbzmKPXgtZI rating: **** stars
- Opening up with an effects treated spoken word segment, thanks to Cotton's insidious guitar riff, 'Trust Us' then shifted into a surprisingly catchy tune. Beefheart had an amazing grizzled voice that always fascinating to hear (imagine an old guy who's just slammed in his thumb with a hammer), but he sounded totally bonkers throughout this performance; particularly about two thirds of the way through when he started to freelance. The song ended with what sounded like a brief reprise of 'Ah Feel Like Achid'. rating: **** stars
- With a distinctly psychedelic feel (lots of phasing and effects on Beefheart's vocals), I'm guessing 'Son of Mirror Man - Mere Man' was one of the tracks producer Krasnow played around with. Slinky, dark, and scary blues, this one left you with the impression you didn't want to meet Van Vliet in a dark alley. rating: **** stars
- Powered by Cotton's guitar, the opening chords of 'On Tomorrow' found the band dipping their toes into a jazzy environment before the song turned into a bluesy, Beefheart-led chant. And as it turned out, this was one of the album highlights with the chanted refrain climbing into your head and refusing to leave. rating: **** stars
- Complete with opening backward guitar, 'Beatles Bones n' Smokin' Stones' found Van Vliet taking on the Fab Four ... Hard to tell given the typically enigmatic lyrics, but I'm guessing he wasn't a big fan ... Strawberry Fields forever !!! A perfect example of a song that's sooo weird that it's fascinating. You've got to hear it through a good stereo, or a good set of headphones. Wonder what a hardcore Beatles fan would thing ? rating: **** stars
- Yeap, propelled by Beefheart's harmonica, 'Gimme Dat Harp Boy' found the band trotting out their mutant styled of blue-eyed blues. rating: *** stars
- Hum, 'Kandy Korn' rises pretty high on the weirdness scale, seemingly bouncing between advertising jingle and complete band meltdown - about two minutes in you're left to wonder if they're even playing the same tune. Krasnow's odd production certainly showed on this one with the song having a thin, high, and very irritating ring. rating: *** stars
No, I wouldn't want to hear this everyday, but then I can't think of any album I'd want to hear every day. About all can say is that even if you don't end up loving it, you owe yourself the opportunity to hear the late Captain and this is a pretty good place to start.
"The Spotlight Kid" track listing:
2.) Safe As Milk (Don Van Vliet) - 5:27
3.) Trust Us (Don Van Vliet) - 8:09
4.) Son of Mirror Man - Mere Man (Don Van Vliet) - 5:20
2.) Beatles Bones n' Smokin' Stones (Don Van Vliet) - 3:18
3.) Gimme Dat Harp Boy (Don Van Vliet) - 5:05
4.) Kandy Korn (Don Van Vliet) - 5:06
Rating: **** (4 stars)
Title: The Spotlight Kid
Country/State: Glendale, California
Grade (cover/record): VG+/VG+
Comments: minor ring wear
Catalog ID: 5023
Trying to describe a Captain Beefheart LP has always been a challenge and 1972's self-produced "The Spotlight Kid" poses a similar problem. Musically this was one of the Captain's more accessible releases (I'm using that description in relative terms), in that it sported what were recognizable song formats, discernable rhythms and even occasional melodies. Musically it showcased a typically wild mixture of Delta blues, boogie, hard jazz and the plain weird. In spite of some amazing backing from the likes of Winged Eel Fingerling, Ed Marimba, Rockette Morton and Zoot Horn Rolo (check out the instrumental 'Alice in Blunderland'), the star attraction remained the Captain's voice and always bizarre lyrics. Beefheart's voice was an amazing instrument even though it was likely to scare anyone into top-40. Every time I hear his ragged, raspy blues delivery on tracks like the title track and '' I find it impossible to believe that he isn't a 70 year old contemporary of Muddy Waters, or Howlin' Wolf ... There's also something fascinatingly ominous in the way Beefheart and company pound out songs like 'I'm Gonna Booglarize You Baby', 'White Jam' (hearing Beefheart singing in falsetto was definitely different) and 'When It Blows It Stacks'. The man's weird side is also present throughout - 'Grow Fins' seems to be a muse about meeting and falling in love with a mermaid and I won't even begin to try to figure out what 'There Ain't No Santa Clause On the Evenin' Stage' was about. Can you imagine some top-40 radio station daring to spin one of these songs ... you would have had mass hysteria in the listening public.
"The Spotlight Kid" track listing:
2.) White Jam (Don Van Vliet) - 2:57
3.) Blabber 'n Smoke (Jan Van Vliet) - 2:48
4.) When It Blows It Stacks (Don Van Vliet) - 3:41
5.) Alice in Blunderland (instrumental) (Don Van Vliet) - 2:55
2.) Click Clack (Don Van Vliet) - 3:31
3.) Grow Fins (Don Van Vliet) - 3:31
4.) There Ain't No Santa Clause On the Evenin' Stage (Don Van Vliet) - 3:13
5.) Glider (Don Van Vliet) - 4:37
Even more amazing Reprise actually tapped the title track as a single though it apparently was only released in a promo format 'Click Clack' b/w 'Glider' (Reprise catalog number PRO 514).
Rating: **** (4 stars)
Title: Clear Spot
Country/State: Glendale, California
Grade (cover/record): VG+/VG
Comments: includes original clear plastic sleeve
Catalog ID: 4184
Hard to imagine using the words
Beefheart' and 'commercial' in the same sentence, but producer Ted
Templeman actually managed to pull it off with 1972's "Clear
Spot". Mind you, using the term commercial with
Beefheart is a relative concept ... That said, who would've ever
thought Beefheart had a great voice and was capable of writing some
astoundingly commercial soul and R&B-flavored material ... every
time I hear the catchy 'Too Much Time' I'm simply floored -
Delbert McClinton's never done anything as good. Backed by The Magic
Band the album found Beefheart and company pounding their
way through a dozen tracks that were unlike anything they'd done up
to that point. Special credit goes to guitarist
Zoot Horn Rollo who turned in some truly stunning performances - check out
his meltdown solos on 'Nowdays a
Woman's Gotta Hit a Man' and 'Long Neck
Bottles'. Sure, there was plenty of trademarked quirkiness
(there's a fascinating online interview where producer Templeman discusses
some of the Captain's unique recording approaches) and
Beefheart's lyrics remained bizarre in the extreme (anyone doubting it need
only check out 'Sun Zoom
Spark' or 'Golden Birdie'). Anyone got a clue what "Magnet draw day from
dark/ Sun zoom spark!"
or "And the pantaloon duck/White goose-neck
are about ???).
That said, material such as the blazing bluesy opener 'Low Yo
Yo Stuff', the stunning title track and the thundering 'Big Eyed Beans from
Venus' boasted recognizable melodies and even rocked !!!
(Interesting piece of trivia; Beefheart
apparently wanted to press the album on clear vinyl, but in the face of
opposition from Warner Brothers/Reprise settled for a clear plastic outer
sleeve cover.) Hard to imagine, but Reprise tapped the album for a
single 'Too Much Time' b/w 'My Head Is My Only House Unless It Rains' (Reprise
catalog number 1113).
"Clear Spot" track listing:
2.) Nowdays a Woman's Gotta Hit a Man (Don Van Vliet) - 3:45
3.) Too Much Time (Don Van Vliet) - 2:46
4.) Circumstances (Don Van Vliet) - 3:11
5.) My Head Is My Only House Unless It Rains (Don Van Vliet) - 2:57
6.) Sun Zoom Spark (Don Van Vliet) - 2:11
2.) Crazy Little Thing (Don Van Vliet)- 2:35
3.) Long Neck Bottles (Don Van Vliet) - 3:17
4.) Her Eyes Are a Blue Million Miles (Don Van Vliet) - 2:54
5.) Big Eyed Beans from Venus (Don Van Vliet) - 4:23
6.) Golden Birdies (Don Van Vliet) - 1:37
Rating: **** (4 stars)
Title: Bluejeans and Moonbeams
Country/State: Glendale, California
Grade (cover/record): VG+/VG+
Catalog ID: 11
Every Captain Beefheart has its set of challenges. It's just that some are easier to deal with than others. 1974's "Bluejeans and Moonbeams" was no different. The LP tends to get slaughtered by critics and fans alike (Beefheart himself slammed it), but I have to tell you that I disagree with those assessments. Sure it may not be the Captain's crowning creative achievement, but as a odds and sods compilation it was never less than entertaining. The Captain's voice seldom sounded as good and his cover of J.J. Cale's 'Same Old Blues' was killer. Elsewhere the lead off blues stomp 'Party of Special Things To Do' and the title track were quite good. Besides, how could you not like an album that showcased the man in a romantic mood? 'Observatory Crest' and the ballad 'Further Than We've Gone' were pretty, catchy and commercial enough to have been singles !!! Courtesy of Dean Smith, the latter tune featured one of rock's all time great guitar solos. Sure there were some real clunkers here. 'Pompadour Swamp' was a waste of vinyl, while the instrumental 'Captains Holiday' made it clear that dance grooves weren't a genre the man should pursue. Yeah, unless you were a hardcore fan, you could probably survive without the album, but if you could find it cheap, buy it anyway. It was also a good place to introduce someone with top-40 tastes to Beefheart - certainly a better place to start than "Trout Mask Replica" LOL.
"Bluejeans and Moonbeams" track listing:
"The camel wore a nitey ..." Hum, hard to know what to make of that opener. Luckily, with the exception of Beefheart's spoken word segment, the rest of 'Party Of Special Things To Do' turned out to be fairly funky. Sad that more people seem to be aware of 2001 cover The White Stripes did than the Beefheart original.
2.) Same Old Blues (J.J.Cale) - 4.00 rating: **** stars
The J.J. Cale original is simply killer, but slowing the song down and subjecting it to a Beefheart arrangement made this a classic performance.
3.) Observatory Crest (Don Vliet - Elliot Ingber) - 3.28 rating: **** stars
All I can say is never in a million years would I have expected Captain Beefheart to churn out such a lovely song. The twin guitar solo on this one was simply to-cry-for-beautiful.
4.) Pompadour Swamp (Don Vliet) - 3.27 rating: *** stars
'You Taking to me?" There really wasn't much to this one; the Captain ranting and raving over a breezy, slightly funky melody.
5.) Captains Holiday (instrumental) (Richard Feldman - Walt Richmond - Steve Hickerson - Chuck Blackwell) - 5.42 rating: *** stars
Unlike he rest of the album that featured The Magic Band, the instrumental 'Captains Holiday' found Beefheart work with a bunch of Tulsa, Oklahoma musicians. Those same musicians wrote the song. Guitarist Steve Hickerson was featured of lead and slide guitar. The tune offered up an interesting mash-up of blues, reggae and Leon Russell-styled Tulsa rock.
The album's funkiest tune with some stellar Dean Smith slide guitar ...
2.) Further Than We've Gone (Don Vliet) - 5.00 rating: ***** stars
As pretty as 'Observation Crest' was, 'Further Than We've Gone' was even better. The combination of the Captain's grainy voice and sweet keyboards made for a great performance, but when you added Dean Smith's stunning guitar solo, you were left to wonder how this one was ignored by the public.
3.) Twist Ah Luck (Don Vliet - Mark Gibbons - Ira Ingber) - 3.17 rating: **** stars
Geez, hearing the rocking 'Twist Ah Luck' who would have ever imagined the Captain and company meeting The Rolling Stones at their own game ?
4.) Bluejeans & Moonbeams (Don Vliet) - 5.09 rating: **** stars
Another good track to introduce non-fans to Captain Beefheart with. Always loved the cheesy synthesizer washes and once again Dean Smith turned in some of the prettiest lead guitar you'll ever hear.
Rating: ** (2 stars)
Title: Doc at the Radar Station
Catalog: VA 13148
Country/State: Glendale, California
Grade (cover/record): VG+/ VG+
Comments: minor ring and edge wear
Catalog ID: 5747
I remember reading a Rolling Stone review of
this one and then actually hearing a snippet of it at a friend's house (hey
there Mike), and thinking that these folks must have lost their collective
minds. How could anyone stomach this kind of stuff? Ah the
ignorance of youth. I was wrong, wrong, wrong, and stupid..
"Doc at the Radar Station" track listing:
Generally acclaimed as the strongest album of his comeback, and by some as his best since Trout Mask Replica, Doc at the Radar Station had a tough, lean sound owing partly to the virtuosic new version of the Magic Band (featuring future Pixies sideman Eric Drew Feldman, New York downtown-scene guitarist Gary Lucas, and a returning John "Drumbo" French, among others) and partly to the clear, stripped-down production, which augmented the Captain's basic dual-guitar interplay and jumpy rhythms with extra percussion instruments and touches of Shiny Beast's synths and trombones. Many of the songs on Doc either reworked or fully developed unused material composed around the time of the creatively fertile Trout Mask sessions, which adds to the spirited performances. Even if the Captain's voice isn't quite what it once was, Doc at the Radar Station is an excellent, focused consolidation of Beefheart's past and then-present.
Vliet (Capt. Beefheart himself) on the cover, and the record starts off with Hot Head. The guitars are punch in with a fury that few punk songs have ever matched, and the eclectic jazzy guitar soloing over the power chords throughout the song make it one of the best on the album. Then Ashtray Heart kicks in and for the next few songs I'm reminded of the early 70's album Lick My Decals Off, Baby. Run Paint Run Run has great backup vocals, and Sue Egypt has an amazing breakdown midway through. The first side ends on a high note with Brickbats. Dirty Blue Gene starts off the second side with a bang, and goes straight in Best Batch Yet, which is probably the second best song on the album, with pounding drums that seem to drive the song the way hip-hop beats do today. Telephone reminds of "The Blimp" from the famous Trout Mask Replica album. It is fun and humorous. Then Flavor Bud Living kicks in with a guitar solo that is bluesy and twangy. Then the drums pound away in 4/4, and the gong hits and some metal clangs. Then the guitars come back and Beefheart bellows deep and whelps loud, screaching for The Sheriff of Hong Kong, which turns out to be one yet another great song on the album. Finally, the record closes with the humorously titled Making Love To A Vampire With A Monkey On My Knee. It starts off with a synthesizer, then the drums kick in at staccatto intervals, and Beefheart talks to you about absurd things (as the title would suggest). This record is milk and honey in a dream of rubies. It is a must-listen for anyone interested in the eclectic.
March 3, 2009 4
Captain Beefheart, AKA Don Van Vliet,is one of a handful of musicians that uses straight rock instrumentation to create \"high\" art and this is his best record. It is his most consistent record. If you have never heard Beefheart before, please beaw...are that he is orthodox blues and rock what abstract expressionists are to representational artists. His records are performances of visceral, surreal poetry, half sung (in the best Howlin Wolf imitation possible) half read and screamed. His rhythms can be funky or wholly undanceable. Looking for new territory rooted in the blues? You've struck the load! Read more Less
As a freshman in high school, I'd use my lunch money to buy a Creem magazine instead of eat sometimes - I'd never heard of Capt. Beefheart, but Creem raved that his newest LP, Doc, was something special indeed so I put a dollar down on a special order at the local record store (cuz it certainly was not the kind of LP they'd normally stock - ha!). I skipped some more lunches while I waited for what seemed like a month for it to come in, meanwhile I'd read that Creem review a dozen times a day in anticipation. But, indeed, the day finally came and I threw down my saved up 7 bucks and took home this slab of vinyl which CHANGED MY LIFE. The first dozen spins were probably just chasing a high that comes from shock-value - then it just injected itself into me and I felt in my heart that the Captain was the most special artist on the planet. Every second of sound that comes forth from this record gives me the greatest pleasure and satisfaction. Not many weeks have gone by in the last quarter century in which I haven't played this album. Seriously, I'd take a bullet for this album.
Propably my favorite Beefheart album after Safe as Milk. It's complex and weird but yet there are so many great tunes. Simply essential!
This is what I do whenever I'm in a really foul mood: I start listening to Doc At The Radar Station.
After having done that, I'm happy as a child.
Ready to face this gruesome world, again.
I like the stuff where he mixes his crazy and accessible side (mind you their accessible side is still pretty damn wierd) This seems to borrow a little from the styles he's done before but adding more groove. best song HOT HEAD
Hot Head reminds me of a girl I used to live with at University.
It all came to a head Valentines night 2005. She was one crazy bitch.
If this doesn't convince your friends to stop smoking cigarettes (the voice) and pot (everything else), then they deserve whatever they have coming to them.
Captain Beefheart gets all new wave on your ass! I like his later stuff better than his early stuff, mostly cuz it's from an era that I understand better - move groove, more hard rock ... less hippy shit. I saw some of this stuff performed on late night TV back in the day and it really had me thinking 'bout the amount of time that I'd spent listening to Aerosmith up to that point. There was indeed a bigger world out there.
Some decent songs here but it's never grabbed me in the way the albums either side of it do.
This is gosh darned spazz-tastic! Highly entertaining and impulsive sounding, and heck one can hardly claim that he didn't fully commit to this one. Despite the strange shoutings and neurotic singing of Mr. Beefheart (which I honestly really like, it's kind of like an even more freaked out version of Frank Black) the music is super strong here and actually glues the album together nicely. The instrumentation is rather simplistic yet extremely effective, the guitar work is perfect and everything plays off of each other in a way that can only happen once in a blue moon. Some of the songs are incredibly short and in fact the album feels very short but we do have twelve bizzaro tracks that definitely explode with personality. "Telephone", "Making Love To A Vampire With A Monkey On My Knee" and "Best Batch Yet" are just a few of my favorites. I also really liked that I could hear where PJ Harvey got the influence for "Rid Of Me". This is one of those weirdo albums which is actually very easy to like and it's a heck of a lot of fun, now I just have to find out if there are more fantastic Beefheart albums like this one. Loads of fun for anyone looking for a wild adventure...I want what he's having!
"Sue Egypt" is flat-out my favorite Beefheart song, the greatest combination of poetry-lyrics and guitars ever, mesmerizing.
"Hot Head", "Ashtray Heart" and "Dirty Blue Gene" are also very fine. But most of the remainer dont do much for me. Yes, the 4 best songs are so good that I had to give it 9 out of 10
You seriously gonna tell me that "Run Paint Run Run" can't compete with anything from Safe as Milk? 1980 came and went, but this stands its ground. One, perhaps expected, downside: The high notes aren’t being hit anymore; the good Captain’s now scratchy and weathered voice cuts through the jerky guitars like a chainsaw gutting a forest. But he’s all over this mess, and some tracks are essentially just backing for his Beefheartian (is there any other description?) poetry. This has balance though, way more than any other album in his career; it delves deep when it has to, but isn’t afraid to shift it up either, funkin’ and funkin’ into the sunset. Most of this is just drunken anthems from some grimy bar that exists only in the mind of the record’s creator. An easy one to skip, for sure, but this is a pure twisted, psych genius.
Oh, and look at that cover art!
Captain Beefheart “Doc at the Radar Station”
Sound Castle Recording Studios, LA
Produced and All songs: Don Van Vliet
Don Van Vliet (AKA Captain Beefheart) - vocals, Chinese gongs, harmonica, soprano saxophone, bass clarinet
Jeff Moris Tepper - slide guitar, guitar, nerve guitar
Eric Drew Feldman - synthesizer, bass, mellotron, grand piano, electric piano
Robert Arthur Williams - drums
Bruce Lambourne Fowler - trombone
John French - slide guitar, guitar, marimba, bass, drums
Gary Lucas - guitar, French horn
1. Hot Head – 4.5
2. Ashtray Heart – 5
3. A Carrot Is as Close as a Rabbit Gets to a Diamond – 3.5
4. Run Paint Run Run – 3.5
5. Sue Egypt – 4
6. Brickbats – 3.5
7. Dirty Blue Gene – 4.5
8. Best Batch Yet – 3.5
9. Telephone – 3.5
10. Flavor Bud Living – ?
11. Sheriff of Hong Kong – 3.5
12. Making Love to a Vampire with a Monkey on My Knee – 4
Don vehemently denied that the first two tracks respresented in any way his response to punk rock. Do you believe him? Because I certainly don't. (As an amusing side note, Beefheart performed these cuts on Saturday Night Live, and the next week the entire cast of the show was fired. Coincidence? You decide.) Anyway, the best of the Magic Band's three post-comeback records; the presence of Bruce Fowler (whose playing greatly enhances "Run Paint Run Run") and John French (who improvised the entire drum track to "Sheriff of Hong Kong" in one take) greatly improves things, as does the sterling work of Eric Drew Feldman- by this time, the Mellotron's first go-round as a musical instrument had pretty much expired, especially in the States where it never took off in the first place, and so his use of it here, particularly on the closing cut, is arguably the first "modern" use of the instrument, freed from the washing-machine cliches of bad symphonic prog-rock.
Aside from that, the whole record bristles with tension even in the older recycled cuts like 1973's "Sue Egypt", with the only moments of respite being the "Decals"-style instrumentals. You can almost hear Beefheart pacing the floorboards every time he opens his mouth. Singing like he does here, it's no wonder he retired to the desert shortly after the record came out; nobody can be as agitated as he is here for long without keeling over dead. Still, in 1980 agitation was the order of the day, and "Doc at the Radar Station" is certainly a record lazy rock critics would describe today as "angular", whatever the hell that's supposed to mean. A great record, then, but perhaps a bit of an object lesson in the perils of adapting to your milieu.
BOOOAAAHHH-Give you this mindsmasher;The Captain kills my brain and kicks my mumu through the underwear-Zoot Horn Rollo`s guitar work is sooo mad and mindbreaking,i love it!!!Telephone is straight from the Sanatorium,the floopy boot stomp is a ballbreaker,ashtray head and the Sheriff of HongKong are more than insane-i need the ambulance,doc!
you must love the painting, you must love all the songs
my favourite Beafheart album, all the other alternative bands were still playing catch-up, so much invention here.
It really pains me not to give this 5 stars. The songs are just so...perfect. Beefheart does New Wave, while maintaining his blues background and more than enough pleasant weirdness.
The half-star deduction is due to the fact that his voice is just not what it once was, and the hoarseness gets to be a little much on a few songs. I have a strong feeling that this isn't for effect either; he just simply couldn't reach the ultra-low gutteral territory he could on TMR or LMDOB. If this had been made in 1970, it would unquestionably be his best album. I still think that title can be bestowed on it, though.
When Beefheart was good, he was very good indeed, and "Dirty Blue Gene" is an example. The rest is great too. A lot of words, in the manner of Ice Cream for Crow, but he was pretty good at words, and this has the best of Shiny Beast (Bat Chain Puller) musically as well (I think these final three albums are my favourite of his). Need to listen to it more, but it's surely one of his very best.
More inspired lunacy from the Captain and crew. Doc at the Radar Station sounds like it actually was rehearsed. His tightest, most terse set of songs in a long while.
My recent experience pulling out Decals for the first time in a long time showed me something instructive in listening to this - by the time of his records for Virgin, Captain Beefheart had found a way to integrate even his wildest material into something that could potentially pull in other listeners rather than confronting and alienating half of the people who might encounter his material. Take "Sheriff of Hong Kong" here. Never settles into a groove that lasts more than a few bars, screams and growls his head off, uses weird words and dissonance at will, and yet set alongside "Flash Gordon's Ape," say, or "Lick My Decals Off, Baby" it sounds positively rocking, as opposed to some aural art piece to be appreciated by connoisseurs and hipster cognoscenti and closet surrealists only. Which is weird, because the overall effect of this album is quite abrasive, aggressive, and confrontational. And some of it remains so, even with the experience of time (the band's especially, but mine too) and the crisp production lending it a (relative) smoothness. Hard to make a song called "Making Love to a Vampire With a Monkey on My Knee" that features a Mellotron, or the paranoiac nightmare of "Telephone" sound anything but weird. But just like "Peon" or "One Red Rose That I Mean" on Decals there's some sweetener to make the hard bits go down. And even as challenging as some of the hard bits are, there's a catchiness and humor to "Hot Head" and "Sheriff of Hong Kong" and "Ashtray Heart" and "Dirty Blue Gene" that make them far more palatable. I think the Captain's brush with at least attempting to cross over did him a world of good. Shiny Beast is still my favorite of his albums. This - at least partially because it's the first album of his I ever bought - runs second, even while I can acknowledge the groundbreaking accomplishments of both the terrific Lick My Decals Off, Baby and the titanic Trout Mask Replica
Might be the rockiest of all Beefheart's album, and surely one of he's best, "Doc" is a good start to anyone who is not familiar with Beefheart:it's a tight,focused album,weird,but not too weird,so it's relatively "easy" and probably the most influential on post punk acts like "Birthday party", "The fall", "Pere ubu" and no-wavers like James Chance on one side, and on the other side funk-punkers like John spencer and The make-up.
Surely, Beefheart's voice has changed during the years, but it's all for the good: it has more gruff and bass in it, but he can still play with it like an instrument, sort of like Nick Cave did in he's early years.
The world of Beefheart has it's own rules and private logic, and it's a fascinating place to be in:he's angle on blues,rock,funk and avant-garde makes a distinctive chaos, that sometimes require to get used to, but after you did, satisfaction is guaranteed.
The more you listen to him, the more details and ideas come into surface.
See also:Lick my decals,TMR,Shiny beast and Safe as Milk for other magnificent records by the master and the magic band.
In which Don Van Vliet gets a case of the punks. Well, New Wave, actually. Particularly on the two opening (and best) tracks. "Hot Head" is a bouncy, almost hoedownish, stomper regarding the latest strange woman that he finds himself involved with. One of the most musically straightforward things in the Beefheart catalog, it could have been played on some adventurous New Wave or "Modern Rock" station back in 1980 without the republic crumbling. Jeff Morris Tepper's repeated rapid fire slide guitar licks will stick in one's brain from the first time one hears this. "Ashtray Heart" is more fractured, but it's more tightly focused than is generally the case of fractured Beefheart tales of earlier albums. Although some of the lyrics are as surreal as ever, they clearly deal with the pain of a broken heart, and Van Vliet uses his upper register as well as his Howlin' Wolf imitation to express this quite eloquently. (Trivia footnote: Captain Beefheart performed both of these songs on the November 22, 1980 episode of Saturday Night Live. Both are worth watching, especially "Hot Head". Believe it or not, this represented his American television debut - 13 years after his first album was released. Unbelievable.)
Most of this album has a tautness to it that none of his other albums do - that's no doubt why it seems to be a favorite among his younger fans. This is a real benefit to the skittish "Dirty Blue Gene", a roller coaster ride of a song regarding a woman of whom the Captain reasons "she's not bad / she's just genetically mean". This also would have spruced up radio in 1980. Hell, it would sound just dandy today. Incidentally, P.J. Harvey (a huge Beefheart fan) would use the song's repeated phrase "Don't you wish you'd never met her?" on the title track of her album Rid of Me. This album's tautness also puts a fresh sheen on old tricks that crop up here from past albums. Trombonist Bruce Lambourne Fowler, such an integral part of Shiny Beast (Bat Chain Puller), gives the loony "Run Paint Run Run" a slightly cracked New Orleans flavor. The good but inessential Gary Lucas guitar solo "Flavor Bud Living" (all 57 seconds of it) could have been on Lick My Decals Off, Baby.
This record is a bit uneven, despite the several dizzying high points. The title of "A Carrot Is As Close As a Rabbit Gets to a Diamond", unfortunately, is the most exciting thing about it. It's another instrumental that sounds like an outtake from Lick..., this time performed with the full band. On "Brickbats", which sounds like one of Ice Cream for Crow's lesser efforts, Van Vliet pronounces the word "bats" in the same half-choking, half-gagging manner that he does on Shiny Beast's "Bat Chain Puller", only on a song that isn't half as compelling or disturbing. The one song here that is truly disturbing is "Making Love to a Vampire with a Monkey on My Knee" (any song with the lyric "God, please, fuck my mind" will do that to you). I like the song quite a bit, but some other Beefheart fans do not. I do like the use of Chinese gongs on "Sheriff of Hong Kong", but the song could have had half of its nearly seven minutes removed.
Despite its unevenness, this might end up being one of your favorite Captain Beefheart and the Magic Band albums, because songs like "Hot Head" and "Ashtray Heart" are simply undeniable. This is a great starting point for the uninitiated.
gee you know,i really like the captain. but on this particular voyage i'm lost in the fog.i gotta have good music, words come second. lot and lots of words but little music do i hear. next time!
Ashtray Heart is godhead.
Years and years ago, the year this was released, in fact, I wandered into a very hip record store somewhere in south Minneapolis on some desperate search for an obscure bootleg Stones record or something inane like that, and as I start flipping through the bins, there comes this wacky, scratchy guitar and a voice like a burned out cigarette through the Advents on the wall and I begin to feel disoriented, dizzy, and nauseated. I drove home and told my wife I didn't feel well. I didn't know what had happened at the time, but years later, playing this album, I figured it out: I'd traveled lickety split in some fantastic time warp forward 20 years to the day I flashed finally on the genius of the music those cool record store kids were playing and then back home, made sick by the speed of travel and the subconscious realization that sadly I would miss this great music for 20 years. I feel much better now.
The good Captain wasn't particularly impressed by punk's reductionist tendency, but its energy can be heard all over this, the best of the albums from his so-called "comeback" phase.
Confirms that he'd lost none of his bite and waywardness and affirms that age need not wither inspiration.
Captain Beefheart has got the blues, again! “I feel like a glass shrimp in a pink panty” he croaks, because "a man on a porcupine fence / Used me for an ashtray heart!” Wow, you know I can really identify with that. I hate it when that happens.
Anyway, Doc at the Radar Station is a wonderful album for Beefheart fans to sink their long, walrus-like tusks into, but the unconverted might slink away in fear of the bouncy looping guitar, tribal beats, and trance like ranting of the good Captain. It aint easy to digest, and a body unprepared for bitter medicine is liable to purge it. However, those who can take it will grow to appreciate the surrealist humor, the mad energy, and the sheer joy of chaos that Doc at the Radar Station brings.
something for both kinds of Beefheart fans here. a few tracks don't hold up, but mostly it's good stuff.
"Hothead", "Ashtray Heart" and "Run Paint Run Run" are some of his funkiest songs ever. and if you waited through the straightforward boogie-blues of Clear Spot and the rather banal pop attempt of Unconditionally Guaranteed to have mind blown again like it was when you heard Trout Mask Replica, rejoice in songs like "Dirty Blue Gene", "Best Batch Yet" and "Sheriff of Hong Kong", which teeter on the precipice of rock and funk over _Trout Mask_'s bottomless pit of vomitous, stuttering splatter-blues.
Strange - everyone praise this as his best since Lick My Decals, while I think both Shiny Beast & Ice Cream For Crow are better. And, sure, there are several mindblowing cuts here, but the overall feel is a bit ...(can't find the word).
Highlights: "Dirty Blue Gene"(with John French on co-vocals - a rare thing on Beefheart records), "HotHead"(his flirt with New Wave) & "Sheriff of Hong Kong".
Gary Lucas' solo guitar piece "Flavor Bud Living" is nice, but not so astonishing as "Evening Bell" on Ice Cream For Crows.
And, at last, the one song I think is a drag - "Making Love to a Vampire with a Monkey on my Knee". How this can be so high ranked is a mystery to me - I think it's just boring
I bought this album because I had read critics rave about this guy for years,espically Lester Bangs,a critic I respected.I listened to this thing about twenty times before giving up.If liking Captain Beefheart makes you a musical intellect than call me dirt dumb and give me some Springsteen.
I have a feeling this may become my favorite Beefheart album some day. Each listen, the masterpiece it probably is looms closer and closer, revealing new things in spades. That day has not arrived yet, and until then, it's merely an excellent album with better song titles and even better cover artwork.
The only Beefheart I own.Yes,he is a nut.
_"God, please fuck my mind for good"_
Their 11th album since 1965 and the second last official album that Don Van Vliet wrote and recorded before he retired from the rock biz so that he could devote all of his time into painting and sculpture. Don Van Vliets' songs sound as fresh as the day he penned them and god knows how he explained this type of muzak to his band, which by this phase had evolved into something truely terrifying and remarkable. You have to place Don Van Vliet in the category of genius and years from now, most of his albums will be revered as great works of sonic art, amongst the cream of the rock generation and amongst the most interesting and innovative of the century. Fuck Zappa, this mob had the creative juices flowing in a way that made Zappa look like a very feeble shadow of the real thang. As usual Dons' vocals are a wonder to behold. Spiralling in all directions, within an amazing 5 octave range. His subject matter seems more like a sonic painting, leaving sound and language images flowing through the speakers in a way that a master painter creates a visual feast on a canvas. There's a similar technique going on here. What the man is singing about hardly matters, but that's not the point is it! He runs the show here. Someone once told me that many of the songs here were actually penned during ‘_Trout Mask Replica_’ era. How long was he holding these back?
Side one is flawless and even though side two has a coupla weaker moments, it still makes enthralling listening. '_Making Love to a Vampire with a Monkey on my Knee_' has Don sounding like a tripping beatnik, trying to remember some long lost dream. This is a great album. Don is sorely missed, marvel at his word associations and may his demented vision shine on somewhere for all eternity.
By 1980, every punkish new waver and their second cousin were going on about how much Beefheart was an influence, and that seemed to wake up Don "Rip" Van "Winkle" Vliet. He suddenly stopped trying to appeal to the long haired masses (see Shiny Beast/Bat Chain Puller) and returned to the elusive rhythms, the controlled chaos of free jazz mixed with the rough edge of deep hollerin' blues he enjoyed doing so well. But managed to effectively, effortlessly incorporate the muscle behind the better aspects of his followers - smacking those whipper-snappers on their peach fuzzy behinds. It's really an amazing effect - a solid return to form, made seamlessly modern. Truly amazing still, it still sounds timeless. Even his other great stuff (Trout Mask Replica, Lick My Decals Off Baby, Clear Spot) sounds of its era, but this one, it just refuses to age. It's pure foot-stompin, herky-jerkin roarin good strangeness ("fuck that poem" indeed). Probably my favorite album cover of all time, too.
the best or not? i'm not sure, except for the fact that it has the most beautiful cover i've ever seen. The music is brilliant. small delicate miniatures and compelling and complex labyrinths of sound, created by a group of masterful musicians led by the genius himself.
Who could imagiiiiinnnnneee....?
Well, what a trump card to play! Trout and Decals filtered not through dust speakers but through all the best bits of Shiny Beast and with some new perspectives also. This is an awesome riposte to the punk groups who were citing him as an influence at the time.
This time round the remarkable John 'Drumbo' French is on guitar, but drums on two songs (and even plays bass on "Sheriff Of Hong Kong" and marimba on "Making Love To A Vampire With A Monkey On My Knee"!) possibly to make up for being kicked out of the band on two previous occasions. The music has as much spark and the poetry as much imagination and humour as any other record they or anyone else ever made.
Doc ties with Safe As Milk as my favourite Beefheart. In some ways you could say this was the Captains "New Wave" move. He's got yet another talented Magic Band, this line up includes the return of John "Drumbo" French, future Jeff Buckley collaborator Gary Lucas, and Eric Drew Feldman who later worked with Pere Ubu and Frank Black. "Hot Head" could be my all time favourite Beefheart song. Other highlights include "Run Paint Run Run" and "Sheriff Of Hong Kong", and "Making Love To A Vampire With A Monkey On My Knee" must be one of Beefheart's most bizarre song titles!
Start here. Go to 'Lick My Decals'. Work sideways through the rest. You'll get there in the end.
Any album with tracks on it called "A Carrot Is As Close As A Rabbit Gets To A Diamond" and "Making Love To A Vampire With A Monkey On My Knee" is deserving of attention. Apart from that, it's brilliant.
Doc is by far my favorite Captain Beefheart album. Everything--the music, the lyrics, even the album cover art--seems to gell in a way it never quite does on his other albums
Rating: **** (4 stars)
Title: Ice Cream for Crow
Country/State: Glendale, California
Grade (cover/record): VG/VG+
Catalog ID: 2701
Captain Beefheart's final studio album - 1982's "Ice Cream for Crow". With backing from a new Magic band line-up (this time around manager/guitarist Gary Lucas, drummer Cliff Martinez, bassist Rick Snyder, guitarist Jeff Tepper, and guest keyboardist Eric Drew Feldman), the album was recorded in the midst of an ongoing legal fight over rights to release Beefheart's previously recorded "Bat Chain Puller" album. DiscReet Records co-founder and Frank Zappa business partner Herb Cohen had used some of Zappa's royalty funds to record the earlier album. Zappa subsequently refused to release the master tapes, leaving Beefheart stuck between the warring factions. Beefheart originally hoped to use about half of the previously recorded material for his new album, but Zappa refused the request. As a result Beefheart wrote several new tunes, rounding out the album with several previously written tunes (the instrumental 'Semi-Multicoloured Caucasian', 'The Past Sure Is Tense', and 'Witch Doctor Life'), and two tracks rescued from the "Bat Chain Puller" sessions ('"81" Poop Hatch' and a rerecorded 'The Thousandth and Tenth Day of the Human Totem Pole').
So if you're looking at a Captain Beefheart review, you already know what your getting into. Unlike some of his earlier releases, this one made no attempts to be tuneful, or mainstream. This was Van Vliet at his most experimental - Van Vliet being himself. Yeah, in spite of himself, the title track had a certain quirky jauntiness and the instrumental 'Semi-Multicoloured Caucasian' actually had a pretty and discernable melody. Elsewhere things were a little more challenging - the spoken word "81" Poop Hatch', 'Skeleton Makes Good', the instrumental 'Evening Bell'. I'll give the album an extra star for being Beefheart's final studio album and the fact it is just so damn weird.
"Ice Cream for Crow" track listing:
The title track was built on a rollicking, mix of blues and rockabilly, with the Captain talking and snarling the typically enigmatic lyrics. In an appearance on the David Letterman Show, Van Vliet described the title as reflecting the contrast to a black crow and vanilla ice cream. Not sure what to make of that explanation. Anyhow, this one's always made me feel slightly uncomfortable; kind of like walking down a dark street late at night. Hard to believe, but Beefheart and the band actually made a video for the song. Naturally MTV deemed it too weird for airplay - wonder if it had anything to do with the plants that show up around the two minute mark ? The video was a little bizarre, as was some of Beefheart's original artwork. https://www.youtube.com/watch?v=iqRHr5pEIFU Amazing that Epic would actually float a Beefheart single:
- 1982's 'Ice Cream for Crow' b/w 'Light Reflected Off the Oceands of the Moon' (Epic catalog number 14-03190)
2.) The Host the Ghost the Most Holy-O (Don van Vliet) - 2:25 rating: **** stars
Geez, where do you even start? Bluesy song-poem ("The sky is dark in daytime and still the blackbird's beauty lyrics clean ...") that you could probably write a thesis on and never even begin to approach the theme or meaning ... The Captain sounded like he'd been gargling with sandpaper, but it actually rocked out.
3.) Semi-Multicoloured Caucasian (instrumental) (Don van Vliet)- 4:20 rating: **** stars
Who knows what the title meant. That said, it isn't every day that you get to describe a Captain Beefheart tune as being bucolic and melodic. The aural equivalent to a lazy Saturday afternoon ...
4.) Hey Garland, I Dig Your Tweed Coat (Don van Vliet) - 3:13
I was never a great English student, but every time I hear 'Hey Garland, I Dig Your Tweed Coat' I get the image of someone taking a dictionary, throwing it in blender and then reading the results "a dark olive was turned on ...". WTF ???
5.) Evening Bell (instrumental) (Don van Vliet) - 2:12 rating: *** stars
Opening up with kind of boozy, country-tinged aura, it didn't take too long for this instrumental to get lost and increasing discordant.
6.) Cardboard Cutout Sundown (Don van Vliet) - 2:30 rating: *** stars
Best description I've ever heard for this one; "hollering madness".
Great tune with some nice Gary Lucas steel guitar and a wicked meltdown segment. Guess that was Beefheart wailing away on harmonica, though I'm not sure he was playing the same song as the rest of the band. As to what van Vliet was rambling on about; well you're on your own trying to figure it out.
2.) Ink Mathematics (Don van Vliet) - 1:40 rating: *** stars
'Ink Mathematics' was another tune where you were left wondering it Van Vliet and the magic Band were on the same page, let alone the same studio. For their part, The magic Band sounded like they'd recently overdosed on free jazz, while Van Vliet sounded like ... well like Van Vliet.
3.) The Witch Doctor Life (Don van Vliet) - 2:38 rating: *** stars
Another tune that had an engaging melody with Beefheart's spoken word poetry rambling on top off it. At least this time around Van Vliet didn't sound ominous and threatening. Weird, but not ominous and threatening.
4.) "81" Poop Hatch (Don van Vliet) - 2:39 rating; * star
Van Vliet apparently managed to rescue this one from the earlier "Bat Chain Puller" sessions. No music - just Beefheart reciting original poetry. Wonder what he was on when writing stuff like "My eays are burnt and bleeding and all that looks like a monkey on a silver bar ..."
5.) The Thousandth and Tenth Day of the Human Totem Pole (Don van Vliet) - 5:42 rating: **** stars
The Gospel according to Beefheart ... "it hadn't rained or manured for over two hours" That says it all. not quite sure what it says, but it covers the whole waterfront of philosophy. Want to breakup a party ? Play this around three minute mark where Van Vliet breaks out the sax solos. And you thought David Bowie was an acquired taste on sax.
6.) Skeleton Makes Good (Don van Vliet) - 2:18 rating; * star
Supposedly written in one evening, the combination of ragged poetry and ragged, discordant musical accompaniment made 'Skeleton Makes Good' a good example of Van Vliet at his most challenging. What's the lyric from the old B-52's song ? "This ain't no disco ..."
And this proved the end of Beefheart's recording career. Suffering from, he subsequently turned his attention to abstract painting (his work having become quite collectible), passing on in December 2010. He was 70.
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