[alert_box TYPE =”信息”]这次审查的Beefheart传记的作者是朱利安·考利和导线的2000年7月版拍摄。[/ alert_box]
作为一个小的孩子，唐弗利特（范后来）收集的头发从他的波斯猫，它塑造成其他动物的肖像。由13岁的时候，他已经完成了北美和非洲的哺乳动物，并已制定了全委会，全委会，迪 - diks等怪狐猴情有独钟。然后，他移动到鱼。迈克·巴恩斯早期承认在他的书Beefheart队长，唐凡弗利特的神奇人物的精炼能力，以自己的非凡人生润账户，巴恩斯正确地确定了这个关键的传记雷竞技ios下载中这样阐述的地方。毕竟，正如亨利·梭罗曾经坚持，只有那些谁可以夸大有资格说出真相。
发现，凡弗利特的奶奶安妮是表兄弟辛普森，退位的国王爱德华八世的妻子，在方式的丰富违抗表达聆听关于他的中国猪或来自金星大眼豆的经验Beefheart唱歌。它是那么令人惊讶，而且更明显相关，得知安妮款待她的孙子与观看“嚎叫狼”表演对她丈夫的南方种植园的故事。按时间顺序可导致铅灰色的传记故事，但考虑到他的任务的性质，巴恩斯显然是明智的做法是保持实际映射尽可能简单。，提请凡弗利特他与弗兰克泽帕重要的友谊，在莫哈韦沙漠的干旱文化边缘长大共享的口味和兴趣勾勒与一切从简简洁。在其他地方巴恩斯有责任，他通过传闻和猜测的沼泽地跋涉谨慎在他的伪经报警开关。
他通过参考公开的访谈固定坐标点，和自己与Beefheart的朋友和魔乐队成员交谈。然而，即使是第一手资料德维尔到的不确定性;甚至那些谁似乎并不完全确定他们的记忆。有麦克风的报道爆炸，艺术录音设备凝结的状态，和电话心灵感应的预期。在书的结尾巴恩斯回忆说自己怎么努力，接触Beefheart的人都冷冷地拒绝了。但是，这是不可能的相遇今天由里·库德作为“最不可救药的，难以在世界上的人”中描述的人会摆脱额外的光。谁从巴恩斯的传记出现的Beefheart是一个总的艺术家，一个有远见的画家，雕塑家，诗人和作曲家扯到进入音乐行业，所以注定要反对强制商业力量漫长的斗争。Despite the beguiling oddness of many details in the story, the author is respectful of Van Vliet’s determination to break free from the ‘freak’ label imposed during the 60s to make him more marketable, an image that can still obscure the magnitude of his creative achievement. Barnes avoids facile demystification, of the kind that aims to explain away the core elements of Beefheart’s peculiar power. He is respectful, but also suitably wary of critical adulation, and he deals frankly with less attractive facets of Van Vliet’s personality. Beefheart’s occasional complicity in his own exploitation, especially at the nadir which threw up the desultory Bluejeans And Moonbeams (1974), is duly acknowledged. More disturbing are the insights into his tyrannical manipulation of The Magic Band during the period of his creative peak. Don Aldridge, a long term friend, and guitarist Bill Harkleroad (aka Zoot Horn Rollo) both chillingly invoke Charles Manson when discussing the year-long process of behavioural engineering that resulted in the irrefutable masterpiece Trout Mask Replica (1969). Jeff Moris Tepper, a later Beefheart sideman, describes Van Vliet as “like an emperor”, and at the same time, “like a small child, very gentle”. Jethro Tull’s Ian Anderson concurs that behind “that great ebullient apparent confidence, there’s a small element of deep insecurity”. All are agreed on the man’s profound creativity. Ultimately, Barnes fulfils the obligation which makes the best biographers: he directs attention back to the work. Of course, addressing the music on record, in a song by song breakdown of individual albums places him on firmer ground than reports arising from hearsay and hindsight. Yet even here the terrain gets thorny, especially surrounding the album Strictly Personal (1968) which aficionados have long dismissed as a potential gem adulterated by Bob Krasnow’s psychedelic tampering. Barnes is far less dismissive, and more inclined to spring to the producer’s defence. His intelligent discussion overall foregrounds Beefheart s rejection of labels, and determination to unsettle the catatonic state gripping potential listeners. He also discloses Van Vliet’s extraordinary capacity to absorb and imaginatively recycle a staggering range of environmental sounds, and musical experiences encompassing Son House, Steve Reich, Ornette Coleman and, startlingly, British folk singers Al Lloyd and Ewan McColl. (Barnes, incidentally contributes his own pleasing piece of imploding Americana with a mistaken attribution of a Blind Willie Johnson song to Blind Willie Nelson.)
凡弗利特的近代成功作为一个画家在最后章节中记载虽然，因为这本传记没有正式批准，巴恩斯无法复制他的插图中这项工作的例子。他对视觉艺术的思索是不太放心比在音乐他的评论，但巴恩斯是正确铭记Beefheart角色最好是在凡弗利特的更宽泛的创意生活的插曲观看。写有照顾和奉献精神却绝不是硬道理，Beefheart船长提供了进一步的严厉批评关注的负责任的构建平台。雷竞技ios下载
- 朱利安·考利，丝，2000年7月