[alert_box TYPE =”信息”]这篇文章最早出现在Creem的1971年3月版。[/ alert_box]
Gazing across pop music’s stale horizons, past all the cynical ineptitude, pseudo-intellectual solemnity, neurotic regression and dismal deadends for great bands, there is one figure who stands above the murk forging an art at once adventurous and human: Don Van Vliet, known to a culture he’s making anachronistic as Captain Beefheart.
Though there are still lots of people around who just don’t read the Cap at all, who think his music is some kind of private joke or failed experiment (or as a local teen band told me, “Most of that’s the kind of stuff musicians do when they’re just fucking around”) or merely a porridge of noise, the appearance of Trout Mask Replica last year was a real musical event, a signal that there was finally something new in the air. And even people averse to contemporary “avant-garde” music might find in Beefheart a continuation of traditions they loved and a sensibility refreshingly healthy in these days, when so many experimental artists feel compelled to shroud their innovations in manifestations of madness and destruction.
Beefheart may be verbally obtuse and look like a trasher of everything “beautiful” (or euphonious) in centuries of Western musical tradition, but what he’s really doing, along with people like Cecil Taylor and Albert Ayler and the early Velvet Underground and the Tony Williams Lifetime, is creating a whole new musical vocabulary out of the ashes and dead air left by a crumbling empire of exhausted styles. Instead of destroying, Cap is taking forms with no seeming mileage left and reworking them into prophesies of tomorrow which will be as far-reaching for rock and the new free post-idiomatic music as Ornette Coleman’s radical divergence was for jazz a decade ago.
与科尔曼的比较是在一个以上的水平容易：在新的十年里都迎来了与乐团即兴的概念如此前所未闻的，以提高广泛的争议;双方都关注他们的音乐与人的崛起精神，非受迫性同情心和洞察力，导致科尔曼写的歌曲，如“寂寞的女人”和“美是一种罕见的事情，” Beefheart为“Frownland”和“我爱你，你大假”;最显著，不管多远都出来已经得到了，原始的美国蓝调遗产一直是一切，他们所做的是隐含的。快乐/痛苦的必要哭，通过科尔曼的哀怨的似鸟叫声课程仅仅是天才呼应的无调性和扭曲的年代最早改变的呻吟声。你越是听吧，你越认识到，对于Beefheart的羊毛游览的所有粗暴任性，似乎的杂音总是波动的肯定在它借鉴了爵士乐和摇滚乐的传统最好的。节奏可移了很多，和球员都凸出的关闭在弯弯曲曲的角度，但心跳始终岩石上的肯定作为一个老向上和向下趴。
People who want to hear some music that breaks through the sound barrier without tromping on their sensibilities, who shy from Archie Shepp’s black rage, from Sun Ra conducting his Arkestra through the Nova galleries like a Babylonian priest from some old Hollywood epic, from Alice Cooper’s geek-feast and Iggy Stooge’s torpedo microphone (“Here’s your throat back/Thanks for the loan”), should find a more congenial spirit in Beefheart. Which is not to say that he’s more nor less valid than any of the aforementioned, but simply that in an age of pervasive artistic negativism, we have in Cap a new-old man refusing to discard the heart and humanity and essential innocence that Western culture has at least pretended to cultivate for three thousand years and which our electrified, relativistic generation seems all too willing to scrap as irrelevant sentimental bullshit. When Cap beams: “My smile is stuck/I cannot go back to your frownland/My spirit’s made up of the ocean/And the sky/And the sun and the moon/And all my eyes can see…Take my hand/And come with me/It is not too late for you/It is not too late for me….” he stands at a point of pristine enlightenment that acid can’t confer.
这是原始本能，而不是突变的闪光灯，和淋浴在我们自己的智慧从天真的渴望分享他的发现，SANS妄自尊大。因为即使他有答案，上限是不自然的先生。他的幽默是精力充沛，拉伯雷和多年生：“妈妈是flattenin’猪油与她的红色搪瓷罗林脚......。”谁曾挖出Looney Tunes的或W.C.任何人Fields should be able to relate to that, as surely as any Luther Burbank of bush and snatch should pick up on “Sweet sweet bulbs grow/All in my lady’s garden,” and the whole state of mind that was the 1950s becomes surrealistically animated in lines like:
“当她驾驶自己的雪佛兰/胆小鬼不敢TUH一览... /她的两个花衣服管hummin’碳...暨”
广大学者的论文可以在Beefheart的辉煌新方法歌词写的。Leaving in the dust both post-Dylan “poetic” pretensions and the primitive approach which too often mistakes simplemindedness for simplicity, Cap’s lines are magic flashfloods of free-association that somehow never get murky, strange jewel-like clusters of images, hilarious little vignettes from the lives of raffish louts and juicy mamas, half-muddled mamma’s in coveralls and zoot suits. Robert Crumb could draw them, though in his vision they’d be vaguely threatened or threatening. This scene is simultaneously Beefheart’s own inner world which blooms as wildly as a Van Gogh landscape, and something very like America, from “bowed goat potbellied barnyard” Pappy to Mrs. Wooten and Little Nitty cutting revival capers under the Vermont moon to the Ishmael homecoming after being “shanghaied by a high-hat beaver mustached man” -persona in various chapters of an American dream revealed as richly affectionate even though the Captain sang, in his own sort of crunching “Tears of Rage”: “I cry/But I can’t buy/Yer Veteran’s Day poppy…”
在舔我的贴花关，婴儿（直RS-6420）这一愿景被延长，即使声波纹理有时甚至更加复杂，比鳟鱼面具角，歌词已经迈出了增加的普遍性，很多都退一步stride from the kaleidoscopic image-clusters of last year’s songs. “Lick My Decals Off, Baby” is just great bawdy music, as sanguinely sexual as a tale out of Boccaccio: “Rather than I wanna hold your hand/I wanna swallow you whole/’n’ I wanna lick you everywhere it’s pink/’n’ everywhere you think/Whole kit ‘n’ kaboodle ‘n’ the kitchen sink…”
命题背后的精神，是原始性高潮的快乐之一，所有在后院烧烤的老三角洲bluesman诡舌滑行欢乐传唱。尽管他在问她对可能的“kinkiness”，性别是庆祝的，肯定的，在诱惑的通过笑声，汤姆·琼斯和摩尔·弗兰德斯垂死的传统。绝望的这就像一条流淌于现代艺术的处理性的，从夫妻撞伤神经，和裸体午餐，到市中心的皮肤笔触，从未显示在Beefheart的宇宙感。
新专辑散发出Beefheart机智一路：“我爱你，你这个大假”;“祸 - 是 - 一 - 我 - 国际收支平衡表”;“我想找到一个女人，会坚持我的大脚趾直到我得走了。”谁拥有这样的头衔？Who else would think of them, when they’re so obvious they’re classic, real rock ‘n’ roll song titles that tell you that the music behind them no matter if it aims for the stratosphere, has that gutbucket little Richard/Chuck Berry ethos running through its veins. “Big Dummy” spotlights some of Cap’s ripping harp and ecstatic falsetto counter-whoops, while “Woe” is an amazing little progression that crinkles along mechanically like walking Tinkertoys, making good use of the marimba introduced on this album to underscore a [words lost] whose syllables hook together and twist like “the-legbone’s connected-to-the-knee-bone.” Again, it seems to hearken to the jive talk stanzas of some early 50s R&B and farther back into Mezz Mezzrow’s “Really The Blues” Harlem streetcorner jargon and the Joycean word-stew of Black folklore.
但这张专辑几乎没有发现由多变帘子的Beefheartian前景。它也显示了对环境的关注这是在像鳟鱼面具“比尔的尸体”的歌只是暗示的有机成熟。“石化森林”压缩污染者的愤怒控诉和世界末日般的自然反抗的惊心动魄的画面，都在1:40：“吸地面/注入生命的死恐龙/让过去的恶魔后了！‘n’ belch fire into the air of now/The rug’s wearing out that we walk on/Soon h will fray ‘n’ we’ll drop….If the dinosaur cries with blood in his eyes/’n’ eats our babies for our lies/Belches fire in our skies/Maybe I’ll die but he’ll be rumblin’ through/Your petrified forest..”
自从迪伦写了“时代他们是changin’，”吟游诗人，诗人和佛跳墙由卡车都失败了一千正义的歌曲，使艺术之间的关键的区别评论社会和平板论战。这首歌是艺术。
And lest you think that only the defoliating captains of American industry (villains as handy to the self-righteous myths of the 70s as the Prejudiced White Southern Redneck was the to the Brotherhood liberals of the late 60s) fall into the sights of Cap’s topical pen, dig “Space-Age Couple”: “Space-age couple/Why don’t you flex your magic muscle7 Why don’t you drop your cool tomfoolery/And shed your nasty jewelry?/Cultivate the grounds/They’re the only ones around….Hold a drinkin’ glass up to your eye after you’ve/scooped up a little of the sky/’n’ it ain’t blue no more/What’s on the leaves ain’t dew no more…”
如果反文化的所有宣传是真实的，真的是一个全新的人，或许是酸或Esalen受过启蒙和突变这些和数以百万计的怪胎，就像他过去的唯物主义的慈善接近，废物和旧的吃人的自私世界;如果这一切是真实的，似乎运动应该寻找一些替代的绝望和愤怒浪漫现在占上风，“我们的”人与每个小集团的独立幻想的口袋旁的东西。Beefheart将挑战反文化的神话和假话的不留情面，他唾弃说，“退伍军人节罂粟”，并缴纳会费下调至“达豪蓝调”;它给我们找一个太空时代情侣和Maggie和Jiggs，长头发，甜美的烟的区别。用简洁的扭曲歌曲结束，这一切都起来，似乎在评论传递从我们的身体我们增加化学异化和：“太空时代的情侣/你为什么不做到这一点？”
该Beefheart声音移动槽舔我的贴花关在两个主要流：目前比较主流的歌曲，如“我爱你，你这个大假”，而奇怪的，不祥的“马车不羁伍吉”降调鳟鱼面具的巴洛克式的结构，但在other hand many of the songs, especially on Side Two, leave at least an initial impression of diffused energies that make Trout Mask’s wildest excursions seem relatively tame. “Japan in a Dishpan,” for instance, is a crashing jam built on an obsessively repeated sax riff that sounds sort off like some “Aooh-gah!” horn from an old auto. Subsequent listenings, however, clarify songs that hit you like a tidal wave at first, sorting out the brilliant comers of collective improvisation and revealing all those incredible lyrics.
雷竞技ios下载Beefheart队长需要一些时间来适应在第一，就像Ornette和Ayler和地下丝绒甚至臭皮匠（并没有迪伦的声音我们第一次听到他很奇怪？）。但是，如果它有时确实需要一些耐心和关注，也是最有意义的音乐可今天的经历之一。The fact is that this man’s music, probably more than that of anybody else working in rock now, is breaking ground for an awesome superhighway leading us away from the decadent era of Superstars into a future where every man shall have ears to hear music beyond our wildest dreams, music like nobody’s heard on earth before. I don’t want to get into apocalyptic statements, but I think the time is rapidly approaching when almost all styles but free music, music encompassing everything in our traditions (even harmony and lush lyricism – dig Pharoah Sanders’ new stuff) and transcending it, will begin to exhaust themselves. The same old song can keep grinding outa the AM tubes and FM tuners from here to Alhaville, but more people are getting restless to move on all the time. So I’m gonna go not so very far at all out on a limb and say that Captain Beefheart is the most important musician to rise in the Sixties, far more significant and far-reaching than the Beatles, who only made pretty collages with material from the public domain, when you get right down to it; as important, as I said, for all music as Ornette Coleman was for jazz ten years ago and Charlie Parker 15 years before that, as important as Leadbelly was for the blues Cap teethed on. His music is a harbinger of tomorrow, but his messages are universal and warm as the hearth of the America we once dreamed of. That’s a combination that’s hard to beat.