2020年6月，让自己在大流行锁定期间逗乐，加里写了关于他最喜欢的五个Beefheart专辑。我们很高兴在雷达站向他们介绍
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雷竞技ios下载Capeain Beefheart：我会给你一堆五个诉讼
5-伯爵队长和魔乐队计算它们 - 5个开创性专辑雷竞技ios下载
作为我的3份致敬的3份致敬，只有在Facebook上刚刚完成的唐厢式Vliet A / A队长，正如这里所承诺的那样是我的5个一张演播室专辑的推荐收藏夹雷竞技ios下载，他的真正魔法乐队。当一周的进步时，我会把它们弄清楚，好吗？
这里是没有。5：
这将我们带到了将我严格地成为Don Van Vliet的Madcap世界的专辑，这将是
“Doc在雷达站”（1980）
- 一旦烟雾从另一个看似无穷无尽的法律kerfuffles的烟雾清除了奥斯纳的奥斯纳 - 就像我们的主角/激动家一样清除了雅典娜的峰值。一张看到唐特别感谢旧金山律师的专辑Brian Rohan on the back cover for helping to extricate him from a lawsuit between Virgin and Warner Brothers Records–who, after giving Don the old heave-ho after “Clear Spot”‘s failure to launch had actually RE-SIGNED Don for “Shiny Beast” (after two misfires on Mercury Records and the album-in-bondage that became “Bat Chain Puller”)– this in direct contradiction of an exclusive worldwide contract Don had already signed with Virgin (when Richard Branson first set up shop in England he almost immediately announced to the press his intention to sign both Zappa and Beefheart). So there was an injunction to prevent Don from recording until this beef between Virgin and Warners was worked out. Eventually Warners folded and Virgin won out, retaining exclusive rights to Don’s recording services. (Have I confused you enough here? Not surprising, as it goes with the Beefheart territory).
任何时候，这就是我，唐真正的信徒之一，进入了牛肉的照片。I’d met him back in 1971 when he came up to Yale to play, written about him for Zoo World Magazine, proselytized the heck out of him to anyone within ear-shot, and stayed abreast of the teat (another Don-ism) as it were, secretly studying his guitar parts (I’d been playing since age 9, but hadn’t bothered to tell him about this–I didn’t think I was good enough to apply for the gig for a long time, quite honestly)–until one fateful night after a Zappa/ Beefheart concert in Boston in 1975, when Don auditioned me in his hotel room and told me we’d be doing something together–eventually in late 1979 I got the nod from him to special guest on “Doc” in the form of re-recording John French’s guitar solo piece “Flavor Bud Living” from the deep-sixed “Puller” album–a rather languid affair in the original version– but this time around Don instructed me to apply his “Exploding Note Theory” in re-imagining his composition, which basically boiled down to his dictum: “Play each note as if it bore no relationship to the previous or the subsequent notes”. Kind of a staccato, fragmented, ack-ack type of attack. Which I did in late May 1980 up at Sound Castle Studios in Glendale (quite near where Don was born in fact, on January 15th 1941, now MLK Day), which, until we got in there, almost exclusively was devoted (heheh) to recording religious music of the Christian persuasion. I flew in from NYC, took a cab from LAX directly to the studio, and was hustled almost immediately inside by Don and his cousin Victor (The Mascara Snake), where I sat and delivered my revved-up version of “Flavor Bud” to Don and Glenn Kolotkin at the board in one maybe two takes, max. Right before I recorded Don handed me a note of instructions which he’d ripped from a Western Exterminators notepad he found in the front room of the studio. On the sheaf from the pad was a printed cartoon of a top-hatted old geezer coming down hard on the head of a hapless mouse with an oversize wooden mallet. Don had put a big red magic marker ink blotch over the point of mallet-mouse impact and had written out for me in long-hand his instructions: “Play like you dyed.” (his spelling).
第一次选择（“第一次想到，最好的想法” - 吉斯伯格），然后轮到我了放松，和家伙一起出去玩（Jeff Moris Tepper在吉他上，Eric画在低音和钥匙上，John法语鼓和吉他，罗伯特“等待我”威廉姆斯在鼓上，在漫游者上的布鲁斯母鸡）。我回忆起和唐的长期朋友和支持者Ace Farren Ford在工作室停车场举行会议。I also recall an actual California circuit court judge/ Friend of Don’s showing up with his girlfriend the following day to kibbitz with Don, who cajoled the guy into putting on his actual judge’s robes for our general amusement until the three of them went off for a protracted private colloquy / party of special things to do…I heard some incredible music being made over several days there including the building up of the track for “Run Paint Run Run”, with Don hearing a squeak in the wood-paneled control room on one playback at ear-shattering volume, and instructing Glenn Kolotkin to mic up the squeak and add it into the mix.
我记得唐在他的椅子上来回摇摆到“油漆”播放音乐的节奏，告诉我他如何在这首歌中使用“婴儿击败”（“我回忆起来在我的摇篮中摇摆的节奏”......唐是一个非常大的宝宝，一个很好但仍然非常苛刻的人的令人复杂的角色）。无论如何，这张专辑落后于一般的狂欢评论，也许是他们的最佳牛肉靠背专辑（其中有一些），而我的前妻玲，我有一群摇滚作家到了我们的夏天的公寓为举办伟大的莱斯特·刘海，在听到“味道萌芽”之后，他们在所有严重的严肃性之后问我：“你在这方面发挥了哪一部分，加里？顶部或底部？““莱斯特，”我回答说，“这就是我的所有，实时。”间接地，莱斯特在我的演奏时给了我生命的最高恭维。那种特殊的单片是因为它的吉他地图上，这是我的第一阶升级，在一个（有种）主要标签上，它被正式注意到并在“滚石”这样的地方。
But it’s only one moment on a real firecracker of an album, a veritable Vesuvian Roman Candle of challenging, explosive, gritty neo-punkish grit and eerie prog-ish mellotron setting off the highest and airiest Van Vliet wit, with some of Don’s best aperçus sprinkled throughout (“Send your mother home your navel”…”Make invalids out of Supermen” et al). From the dysfunctional couple on the cover painting (rendered in yellow and black, Don’s favorite color combo) to the last mad utterance of “Making Love to a Vampire with a Monkey on My Knee” (“Oh fuck my brain / fuck that poem!”), it is a totally compelling and superbly rendered and recorded Stagecoach to Hell and Back, with every choreographed nightmare in place.
只有几个救赎的澄清，最好的是我最喜欢的“香港警长”的形式，我的前妻玲和我有一对北京歌剧锣，他在赛道上玩耍（他在录音期间跳了起来，如果你紧紧地聆听一点，那么用他的艾姆槌子如此艰难地摔倒，一个人掉下了杰瑞装配的立场，可以听到崩溃和摆动地板上的崩溃）。源自唐唐的钢琴胶带玩他的作品“紧的风筝布鲁斯”，这个轨道具有伟大的约翰法国人和疯狂地击败了热那线，因为我教会了一些我教他的普通话短语（“Wo Ai Ni，Shaujieh！” - 我爱你，小姐）。唐是一个西式奴隶（他的母亲Sue在听到“鳟鱼面具副本”之后曾经评论过：“你的音乐听起来有点汉语 - y，don”），他把他的五个半八十八岁才到这个高大的故事wild west of old Hong Kong, where “She goes up in a flash / I bite the end of her sash / and we’re Long, Long Gone / to Hong Kong Kong”…there’s so much more I could tell you about That Guy, and This Album, but later for that as I’m plumb tuckered out as I’m sure you are as well, so I’m signing off for now until next time–happy trails and thanks for listening!