六月到2020年，保持大流行期间锁定自己逗乐了，加里写了关于他最喜欢的五张Beefheart专辑。我们很高兴能够在这里展示他们的雷达站
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雷竞技ios下载CAPTAIN BEEFHEART：我给FIVES的你一堆
5尽数-5队长BEEFHEART和魔术BAND开创性的专辑雷竞技ios下载
作为后续行动，我的第3部分悼念唯一DON凡弗利特A / K / A CAPTAIN BEEFHEART刚刚完成在Facebook上，因为在这里承诺是我5雷竞技ios下载个的11张录音室专辑唐发布了他的真正MAGIC BAND推荐收藏。我要发放出来作为一周的进展，好吗？
这里是NO。4：
“蝙蝠链普勒”（1976年记录2012年发布）
–A big, big bone ‘o contention that led to the longest of (multiple) schisms between Don and his childhood friend / sometime patron Frank Zappa (“Do you know my friend who looks like a fly’s leg?” Don would ask music writers disingenuously in the aftermath of the failure by Frank to release this album in ’76).
商业非首发，这是伟大的“清除点”之后基本上，唐和他的乐队在毫不客气地由华纳兄弟唱片，谁在一个容量下降或其他已经唐最好的朋友有些年头了。他也遭遇了当前的魔术队，谁对他要么退出或（根据唐）他最终解雇的日益不满。走出好船的残骸MS Beefheart唐重新分组，然后在通过从根本上简化了他的音乐在一段绞降压用新的管理，新的标签水星纪录，新的乐队阵容，和两个好奇的尝试重新崛起often described by Beefheart connoisseurs as the Tragic Band era: 1974’s “Unconditionally Guaranteed”, where on the cover Don was pictured clutching actual dollar bills in his fists as if to send up his own stab at commerciality– and 1975’s “Blue Jeans and Moonbeams”, with cover art by Don’s cousin Victor Haydon (The Mascara Snake). These albums have their adherents (including every Australian Beefheart fan I’ve ever met, also tastemakers like Julian Schnabel and Lauren Hutton). But these albums didn’t sell either, and pretty much cleared out what was left of Don’s hardcore fanbase, to the point that he was more or less lamming it for awhile and telling people he’d given up music to become a carpenter (like Jesus!) in an attempt to avoid a reckoning with his thuggish management coming to collect their due.
Enter Frank, who helped clear up Don’s debts and legal situation, and then hired him for two weeks of work on the road in the US with The Mothers as their special guest, which resulted in Frank’s great “Bongo Fury” album, which put Don back again in the public eye. Frank and his manager Herbie Cohen then engaged Don to record an album for their new label DiscReet, which Don proceeded to do with a new band lineup consisting of longtime time-keeping mainstay John French (Drumbo) returning to the fold on drums as well as guitar, Don and Frank’s teenage friend from Lancaster slide guitar monster Denny Walley, agile multi-keyboardist John Thomas, and young recruit and Beefheart adept Jeff Moris Tepper on guitar. The band basically were locked into an airless storage facility in LA to rehearse the album, then went into the studio and emerged some weeks later with the stone masterpiece that is “Bat Chain Puller” (and wazzat mean, do you say? Does the phrase “don’t yank my crank” mean anything to you?).
From the opening salvo, basically a re-telling of the Devil vs. Farmer-who-defeats-him mythos, the band cranks up a nervous pedal point drone, all jazzy Drumbo fills with John Thomas’s keyboards (synth bass and electric piano) to the fore and slide guitars wailing as Don intones in his deepest most sepulchral voice: “The Floppy Boot stomped down into the ground / The farmer screamed and blew the sky off the mountain / Eye sockets looked down on the chest bone meadows / ‘n the sun dropped down / ‘n the moon ran off / His heels and elbows pale as chalk / And all the comets collided and blew the dust / Fuff! / Feared they be seen / And the sky turned white in the middle of the night / and the sky turned white in the middle of the night / And the big floppy boot stomped down into the ground.” YEAHH!! (You can hear someone–French maybe?–shout this out here right before the first chorus).
谈一回的形式。而且它变得更好，更好，更好。事实上，弗兰克宣布它，因为“鳟鱼面具副本”，在一些提前公关，他为唐已录得最佳专辑它，但随后出现了一个小问题，当弗兰克发现，金龟经理已支付通过直接沉积记录版税支票那实际上是由于弗兰克......这促使弗兰克苏赫比...谁反起诉，因而专辑的这个谷仓刻录机被打入冷宫“诉讼”永远和一天，直到下盖尔·扎帕的扎帕家族信托finally shoved it out there (Don now being conveniently dead) in 2012, with not even an attempt made at engaging Don’s estate to provide some real cover art– just solid black with white lettering spelling out the artist’s name and album title (kinda like the Velvet Underground’s black second album cover without Billy Name’s embossed arm tattoo). Noiiiiiiiice! Doncha love the music biz folks? I know I do…
Anyway, other highlights include Denny Walley’s hypnotic slide guitar solo at the end of the sad but noble biker ode “Owed t’Alex”….also, a terrific recitation by Don of his fantastical surreal poem “Seam Crooked Sam” with French (music director on this album) accompanying Don on guitar, playing his very complicated transcription of one of Don’s piano pieces–and I have to say, French is a motherfugger on 6-strings–who knew?? And then there’s the plaintive, affecting “Oddjobs”, wherein Don brandishes his beautiful crooner voice in the first half, a tale of an itinerant loner who pedals up on his “formaheap bike” (“formaheap” being one of Don’s earlier poetic images circa “Trout Mask Replica”) and fixes stuff, enchanting “all the women / and all the young girls” in the process, who ask “why old Odd Jobs don’t come around anymore?” (a guy “whose basket was a whole candy store”). The second half of this opus practically skips along over a D pedal point with French beating out a merry loping rhumba-like rhythm on his tubs with Denny and Moris interlocking their guitars beautifully, making all sorts of arbitrary stops and starts while staying totally in synch throughout (basically, the band recreating the sound of Don’s own nervous system, reproducing exactly the way Don taped himself playing piano on these pieces, which he improvised / through-composed once and once only. Don was not technically capable of repeating himself, so you get all his stutters and nervous tics intact–which is part of the magic here).
在这张专辑我自己个人最喜欢的虽然是世界末日“的1010次人类图腾柱的天”，它有更多的相关性我们一天天目前的世界局势。听着，惊叹......普勒普勒。