Posted Tuesday, August 6, 2013 Review 1012225 Believe it or not, this album was released in 1980. Considered something of an infamous album I was keen to check it out. His genius was discovered very early through his paintings and sculptures, and at the age of thirteen, he was offered a scholarship to study in Europe. If as far as the instrumental part is concerned, Beefheart continues his experimentations in crypto-blues-jazz arrangements, then with his text he tries to present his naive and surrealistic universe as a consequence of, and an alternative to the depersonalized city. Doc segna il ritorno all'anarchia, al blues rocambolesco, ai riff strampalati, al canto sgolato, alle sceneggiate satiriche, ai racconti dell'orrore parodistici, ai ritmi criminali e alle schitarrate arbitrarie. For those who had ears, for those who became his hardcore followers, the world was never the same again.
His was a form of hyper-realism grafted to the anxieties and phobias of the atomic age, a hyper-realism that surged in a grotesquely pagan representation of that era. Here the emphasis is more on the lyrics than the instrumentation. The most notable difference from the earlier albums is the duration of the cuts, for the most part very short. The brilliant cues of infantile regression, the free guitar-centric improvisation in Alice In Blunderland or the shuffled blues There Ain't No Santa Claus, suffer from an eccentric lethargy, as do the progressions in I'm Gonna Boogarize You, or of the railroad boogie Click Clack, or of the slow-motion shuffle Spotlight Kid. It would be harsh to give this album 1 star, after all a lot of people swear by it as a classic album.
The album contains eight medium-length cuts. Beefheat's rejection notwithstanding, the album ventures beyond every previous experiment: vocal gargles, orchestral swoons, and cannibalistic rhythms are used to distort the blues, iliciting the atmosphere of an infernal happening. The History of Rock Music. Al tempo stesso Van Vliet ha compiuto una prodigiosa operazione di abuso fisico e psicologico su quelle fonti, e in particolare sul blues, ottenendo l'equivalente musicale di una spaventosa deformazione visiva, una sorta di esagerazione demenziale dei dogmi artistici di surrealismo, dadaismo e cubismo. The published testimonies of band members appear to attest to the rather unpalatable conclusion that their Don was an uber controlling c. This article relies too much on to.
It honestly sounded like some very young children had been set loose in an abandoned music shop and told to 'go nuts'. At the same time, Van Vliet performed a prodigious operation of physical and psychological abuse on those sources, and in particular on the blues, obtaining the musical equivalent of a frightful visual deformation, a sort of demented exaggeration of the artistic dogmas of surrealism, Dadaism and cubism. Here Beefheart's Dadaism is at its apex. Kandy Korn, devastated by an abominable chorus, contains the humorous germs common to the Freaks. Sovente il canto di Beefheart ha la funzione di voce poetante nella sua bizzarra cosmogonia, mentre un'improvvisazione chitarristica e un ritmo spigliato fungono da sottofondo primitivista.
Unfortunately, Captain Beefheart and the music industry did not get along too well. Innovative use clarinet and voice are central to this record. Sometimes collaborating with his teenage friend Frank Zappa, Van Vliet's musical work was conducted with a rotating ensemble of musicians called the Magic Band, with whom he recorded 13 studio albums between 1964 and 1982. The title paraphrases Robert Johnson's Terraplane Blues, but instead cites Blind Willie Johnson's You' re Gonna Need Somebody On Your Bond and Willie Dixon's Wang Dang Doodle. Of all the bands that launched alternative rock, the Magic Band was the one truly opposite to the music of the regime of surf, Merseybeat, and teen idols.
In the movie The Artist Formerly Known as Captain Beefheart, Matt Groening is interviewed and he mentions in his youth he went to a Beefheart concert and 75 of the weirdest people in the weirdest costumes were there. The finished product has an indelible effect on Rock, Blues, Free Jazz still felt today. In fact, we may talk about a landmark. For me this is the area that could so easily have let them down. This was contained in a specially-produced clear plastic wallet with a 'Clear Spot' logo embossed on the flap. Towering above legitimate blues cuts are blues without accompaniment: the spectral delirium of The Dust Blows and Well's solemn solo.
Hyde is in full throttle going from constipated old man to ''out-of-breath-after- getting-punched-in-the-stomach'' vocals, and yet Beefheart still makes those sound plausible. With some angry of the vocals, is the kind of joy you have while smash something. Posted Friday, December 9, 2016 Review 1666301 Captain Beefheart's 'Trout Mask Replica' has to this date probably been the most difficult album I've ever listened to. Adorno wrote that the Fantasia only seems the product of a madman, while in reality it is the expression of the madman one second before folly takes over. It was also mooted that the vinyl should also be clear, but this was shelved as being 'cost-prohibitive'.
Both are most famous for writing the to 's daytime , , and were nominated for a. Beefheart eventually formed a new Magic Band with a group of younger musicians and regained critical approval through three final albums: Shiny Beast 1978 , Doc at the Radar Station 1980 and Ice Cream for Crow 1982. The best of his chamber jazz-blues is found in I Love You Big Dummy, with splendid confrontations between the pirouettes of the clarinet and the gargles of the voice, and in Flash Gordon's Ape, a revolting chaos of anti-rhythms, breath dissonances and free declamations. The textures at play on Trout Mask Replica have lured many an unwary critic into believing that the electric slide guitars, amped bass and drums menu is consistent with a delta blues themed psychadelicatessen and are invariably frustrated when the Captain and his troops steadfastly decline to serve up such a dish. Ice Cream For Crow Virgin, 1982 , with Gary Lucas on guitar, reprises the dissonant Delta blues and its litany of abstract nonsense, but this time geared toward a melancholy introversion. The best thing about the album is the cover.