[alert_box TYPE =”资讯”】本文最初发表在杂志上的共振（伦敦音乐家集体）。非常感谢埃德送我这个和授予权限功能吧。这是在书农历注意他的“争议”的样子，这需要低于唐凡弗利特的个性有利的看法。[/ alert_box]
LUNAR说明;祖特·霍恩·罗洛的队长BEEFHEA雷竞技ios下载RT经验
比尔哈克莱罗德与比利·詹姆斯
151页，示出
SAF出版有限公司
1SBN 0 94671921 7
£11.95
一个20世纪末期的伟大的音乐头脑，唐凡弗利特是一个贪婪的，暴力的，恶意的，操控性，自重大，懒惰，懦弱控制与豪华轿车，硬毒品和昂贵的衣服味道怪胎。比尔哈克莱罗德弹吉他给他，这是他的故事。
这是一两件事要由唱片公司被扯掉 - 任何摇滚摇滚乐的故事主食一部分 - Beefheart和他的魔术队遭遇不亚于任何人。但糟糕的是，推动由反常的小鬼，凡弗利特自己扯掉了他的朋友，多次骗他们，利用他们的希望和执着，永不放弃其应有的信用，吮吸生活在他们外面，随地吐痰出来。这家伙是充满了狗屎。但他是一个连贯的和激进的审美有远见的 - 一个强大的歌手是谁写的经常非凡歌词中的一些上世纪60年代的最生动，最令人兴奋的音乐的设置。首先或许，Beefheart很幸运，有交出一些最有能力的球员岩石已经产生，尤其是鼓手约翰法语和艺术特里普，和吉他手杰夫棉花和比尔哈克莱罗德。哈克莱罗德加盟魔术队作为涂料吸烟小将并通过他的20年代中期继续留在（名称祖特·霍恩·罗洛下），忍受的废话，因为音乐是如此之大。最终他保释出来，当贫困已经持续了太久，保持其Beefheart预期刚刚成为太多的奴隶心态的时候。他作为一个专业的吉他手的职业生涯结束了他30之前。
魔术队没有从他们的音乐所做的任何钱。Beefheart拿了很多，然后让他们下降搞砸了他的现场表演，排练躲着，骂大家除了自己的乐队无法获得成功。我们一睹他在巴黎的一个难得的演出进行鳟鱼释放后不久面膜副本：约翰法国已经离开了乐队，可耻不放过专辑的学分，其中他是音乐总监;杰夫棉曾在Beefheart的房子被殴打后退出。Instead of having the tight unit that had been rehearsing 15 hours a day for the best part of a year and presenting the gig of the century, Beefheart had a shambolic outfit (with Harkleroad, Frank Zappa, a roadie and the ridiculous ‘Mascara Snake’, Victor Haden) which played five numbers – an event surely symptomatic of Beefheart’s lack of any sense of proportion in all things except his art. On other occasions he walked away from concerts, spooked by whimsical inner demons. Band members came and went, few able to put up with the mind games and abuse.
Beefheart’s eloquence, general weirdness and flair for self-promotion chimed in with record industry wishes to get hip and make money at a time when, as Harkleroad says, all you had to do to get a contract was to be able to stand up and tune your guitar. But that rock music could be ‘art’ seemed to require that artistry be presented as a sleight of hand, as divine inspiration, the operation of genius – a hodge-podge of outdated romantic notions that disguised the labour that went into the music. Beefheart played the clown, shaman and poet when it was required, then had to live up to the outlandish image he projected. Most contemporary music appears in the guise of myth and few musicians were so bathed in the aura of the mythical as Captain Beefheart. He began to believe his own baloney, even as his music deteriorated into tiresome self-parody and dedicated musicians and audience alike drifted away from the beached whale of his ambition.
清除后现货Beefheart干涸。在他的职业生涯的后半段他的声音听起来越来越累了，他做了可笑的努力，变成“商业”的专辑。有一个简单的（但闻所未闻）返回与未发布的蝙蝠链拔轮器，一个凄美的形式，集中记录（如鳟鱼面具副本，它是由扎帕生产和法国音乐导演），但在他的最后六张专辑，几乎没有这是真正有说服力的。哈克莱罗德同时形成野鸭与其他魔术队的球员，但他们的记录也被作为脚注仅仅是有趣。他退休了，放下在盛大摇滚摇滚乐传统的维京唱片，音乐产业的又一牺牲品。他去拿了一个生命。
虽然它让我想再次回去听那些伟大的专辑，这终究是一个令人失望的书。哈克莱罗德是风度翩翩，喜欢轶事，但短期事实。他的出场，他在专辑的意见是明智的和有用的（他有没有那些他没有打去就 - 他与Beefheart突破显然是最后的）。His modesty is disarming: he points out, for example, that the Trout Mask Replica version of “Moonlight on Vermont”, generally hailed as some kind of classic, wasn’t as good as another version played by Alex St Clair and Jeff Cotton which he’d heard before joining the band. He still likes the superb Lick My Decals Off Baby, which contains his finest moment in “One Red Rose That I Mean”. He dismisses The Spotlight Kid as a complete failure. He’s frank about the material that hasn’t stood the test of time. The bulk of the book is a track by track commentary on the records, with a few amusing asides about band life, but little sense of how the music was created and how it developed (or not). Somewhere lurking behind this lightweight story – which you could read in an hour or two – is something deeply poignant, which stays unstated. Harkleroad never really gets to grips with the contradictions of Beefheart’s personality, just moans a bit then puts it all behind him as an extended episode of adolescent angst. One wonders how many other musical careers have been exactly that. I admire his philosophical strength of mind, but wish he had told us more.
Dozens of critics, mostly dismal, have obscured his work ever since Beefheart turned him into a “guitar hero” on “Big Eyed Beans from Venus” (the famous “long lunar note” of which was surely a portent of Beefheart’s descent into a decadent, bombastic phase – a highly theatrical, formalised echo of the kind of thing Jeff Cotton was doing years before Harkleroad joined the Magic Band). This book does little to rescue Zoot Horn Rollo from the gradual process of ossification. I closed the page and went back to the records, trying to learn something.
- 埃德巴克斯特
哎哟！