加里·马克在严格个人

已故的加里·马克，当时爵士和会话贝斯手，曾是20世纪60年代期间，唐凡弗利特的亲密伙伴。他产生了一些演示为带，以及一些早期版本安全的，因为牛奶歌曲。他还发挥低音上月光在佛蒙特州和退伍军人节罂粟上鳟鱼面具副本。

加里经常增光专门聊Beefheart他在他自己独特的方式回答了问题和意见自由，奢华的在线论坛。

这里有一些关于他的帖子严格个人专辑。

2001年，加里被问及与一英里长胡子的角落线“奶酪;培根蓝色，面包狗耳”

这是从实际的歌曲“安全的，因为牛奶”什么它是关于是他的冰箱，在那里他去找东西在他的第一个重大酸的旅行之一之中吃，同时的方式超越拉最新内容Don的印象。短语“安全的，因为婴儿的牛奶”是由LSD-25的早期支持者用于宣传的一个例子，它是在美国制造的非法这里之前。

加里不可避免地被问到他知道鲍勃·克拉斯诺对生产力度严格个人专辑。这里有两个他的意见：

从2001年开始

我听说过“严格个人”各种各样的化身那里来的，在施工过程中，主要是因为KRASNOW在日落声音后面工作室龟缩，混合和混音，并在前面工作室的另一个项目工作。所以，在休息期间事后在工作室，我的工作时间之前，我会与KRASNOW，基因夏夫利，吉姆·梅西纳和其他所有的工程师谁在它的工作后工作室展台挂出。此外，唐下降了经常听到的事情是怎么回事，并似乎很高兴，他听到了什么;至少他从来没有说出任何异议。

Having heard almost all the material many, many times, from flat playbacks (no EQ., no FX, nuthin’) to phased and echoed versions way, way more serious and noisy than the final version, I can tell you that “Strictly Personal” without all the sonic gymnastics sounds like … well, “Strictly Personal”, but without phasing and reverb. (All you have to do is use your imagination.) And frankly, kind of monotonous and dull–in my opinion. I know people think Krasnow went overboard with the FX, but he really toned it down quite a bit for the final version. Originally, he had a lot more junk with backward guitars, vocals, sound effects, reversed cymbal splashes, crashes and so on — which he wisely eliminated in the final mixes.

从2003年开始

The thing about Strictly Personal is, I’d already heard bits, parts, some entire songs and snippets of it in increments in the studio, because I’d be working on one project or another at Sunset Sound recording studios, and Krasnow would be toiling away in the back studio, mixing and dicking around with effects way into the wee hours of the morning. So when I’d wrap whatever I was doing, I go back and hang out with him for a while, maybe order out for a delivery of the limited foodstuffs available for late-nite back then. (And just to be clear: Bob Krasnow is an extremely gregarious, friendly man who loved to swap tales and music biz gossip. Or pass along tidbits of knowledge about recording techniques and so on. Now THERE’S a guy who ought to write an autobiography about his years in the recording industry.)

Don was very rarely present when Krasnow was mixing the album, but he’d show up now and then — usually with his Boswell in tow, John French — and I never heard him bitch or complain about how things were progressing, especially the phasing and reverb. And just a word about that: The phasing on Strictly Personal was done the old fashioned, way–not by plugging into some electronic black box, which didn’t exist back then — by recording a dupe of the original master, then synchronizing the two tapes for playback and mixing the two of them down to yet a third master tape/final mix. Because you couldn’t get two machines perfectly in synch, the two signals would be out of phase — thus producing all the weird swooping, hissing and so on in the background. Occasionally, the tapes would fall back in synch, so you had to have somebody on the second playback deck to just gently tap the feed reel from time to time, to throw the speed off again. I helped out a few times during the mix down of a couple tunes. And a curious factoid: I think the chief engineer on that album was Gene Shively (Y/N? I’d have to check the album sleeve for who got credit), but one the assistants was none other than Jim Messina, who was Gene’s roommate at the time and still working part-time at Sunset, even though I think he already had the first version of Poco up and running.

有可能参与对专辑的其他工程师，但夏夫利更或多或少地方上逐步当时专家。班轮袖子往往是靠不住的，因为他们并不总是准确反映谁，做了 - 什么 - 和时。在东西的复杂组合，下来像严格的个人，也有很多推手按钮和滑动的混合板盆 - 不停地谈论如何执行特殊效果和大量的意见和想法。该线往往会成为谁充当了工程师和生产者之间的模糊，因为是由工程师产生经常关于如何做一个特别的事情的想法和生产者与它一起去。

另一个有趣的事情是，我流浪到了展位一晚，而大噔 - 噔 - 怦通过回放监控到来。KRASNOW脸上带着一个大屎吃的笑容。“我终于得到了笨蛋的心脏在磁带上！”他喊道。谁的心脏？我问。“唐的股票，”他喊道。“我会淡入淡出过他的歌曲之一。停在附近。”我做到了。 The song was “Ah Feel Like Ah-Cid”. This was back when Don was still having his imaginary heart attacks — which were really classic symptoms of panic disorder. During a break, Krasnow explained, “I told Don I wanted to get his heartbeat on tape, because I wanted to play it for a cardiologist friend of mine — so he could see if he could detect anything wrong. And Don went for it, so we strapped a mic to his chest. Got about ten minutes of his heart thumping.” I asked if he was jiving Don, about why he wanted his heart on tape. “No, I played it for my friend,” Krasnow said. “The cardiologist said Don’s heart is as sound as a dollar, nary a squeak or a skipped beat–nothing that would indicate further testing or an EKG”. So, when you listen to that song, or hear the heartbeats on Strictly Personal — that’s actually Van Vliet’s own organ pumping away in the foreground/background.

但是，要回答你的问题，是的，我们听取了整张专辑。不过，我可以说的是，即使我在家里有一个相当不错的播放系统，它来了无处附近被消耗，例如，“康提光辉”爆破掉上巨大的，国家的最先进的（因为当时）奥特音箱在录音棚环境。但后来，古语回来以后，“一切听起来像在录音室一击。”布丁的证明是怎么听起来通过teensy-weensy AM收音机汽车扬声器（单声道），交通噪声的竞争。

我们讨论了分阶段，French的击鼓有多好，以及对整体效果的讨论，Don似乎很满意。他还说了几句讽刺的话，说库德错过了参加这张专辑的机会——我不忍心告诉他，在“完全私人的”舞台上表演对Ryland来说很可能是一场噩梦;只是根本不是他的音乐类型。

2011年加里做了与希腊的基于音乐MAG一个漫长的采访Timemazine。在这里，他谈到了严格的个人和鳟鱼面具副本之间的时间：

Timemazine：您保存在与唐所有的时间联系吗？

加里·马克：是啊。我碰到他，否则他会打电话或下降。所以，用扎帕整个事情上来。“弗兰克泽帕都将有我自己的标签上做一张专辑。”我想 - 哇，唐和弗兰克，再次在一起。他说：“嗯，你一定要一起走。我没有贝司手“。我说：“不要，我真的不适合这个。”我在想“严格个人”。它已经脱离了一段时间，在这一点上与唐的整个事情是，鲍勃·克拉斯诺是邪恶的。 He was an evil person who had ruined Don’s life. Now his friend Zappa was going to save him. It was doing this album and he needed a bass player. I asked. “What’s happened to Jerry [Handley]?” Well, Jerry wanted to sell cars or something. He said, “will you come along and help us out on some recording?” I said, “Yeah. I guess. Okay.”

Timemazine：而最初的想法是重新录制“严格个人”？

加里·马克：他们实际上做了记录“康提光辉”。某处，存在“康提光辉”，的替代版本具有或不具有人声。他不得不重新录制严格个人的概念。我说：“唐，你不能这样做。它已经被释放，也有这样的事情的权利的歌曲。仅仅因为你写了他们并不意味着你可以做你想要与他们的东西。您分配给出版商的权利。出版商将决定你是否可以再次记录它们。你必须让自己的发布商的许可 - 鲍勃·克拉斯诺，你讨厌的人 - 为了拿出你写的歌。你认为他会这么做？” “Oh, man, it doesn’t make any difference.” He just didn’t get it. I told him we were wasting a lot of time rehearsing songs he’d already recorded and that we should try something else.

最后，再从2001年，答复关于唐的音乐是不会上电视广告中使用评论加里透露了这一离奇的故事：

嗯，这几乎发生早在60年代后期。我差点忘了，直到上述项目调整了我的记忆。鲍勃·克拉斯诺告诉我，他在一个从来没有表现出电视广告放置在Beefheart歌曲从“严格的个人”为一些洁厕剂 - 撒尼冲洗，或者类似的东西。在30秒的广告，一个老人，黑清洁女工走进一个蹩脚的公共厕所（拍摄黑色和白色），拖她的拖把和刷子成一个绝对可怕肮脏的厕所摊位，打开包装的产品，转储成马桶，此时一个巨大的爆炸发生时，图像会饱满，绚丽的色彩和巨大的彩虹暴出马桶，冲刷厕所，整个房间的哨子干净，照亮一切都像太阳。花从瓷砖地板下沉和裂缝的春天。清洁女工，现在歇斯底里地笑，穿着日间格洛服装，进入野生Watasi并退出现在一尘不染厕所，到衰落的菌株我忘记，这Beefheart调。

该广告未播出了一些原因：首先，你从来没有描绘在上世纪60年代的整个马桶回来，只是一个轮廓或盖子关闭。然后，有一个黑色的清洁女工的定型种族主义元素。接下来，虚假或误导性的广告，因为产品没有被设计来清洁整个房间，只是抽水马桶的可能性。最后，网络高管和电视台经理讨厌喧闹，混乱的音乐。

所以，Beefheart有他nixed因各种原因电视广告的一个以上的，即使他只贡献了音乐为其中之一。