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自从1969年发布鳟鱼面具副本，被称为Beefheart船长的艺术家所体现的黄金标准“怪诞”石头已经被校准。雷竞技ios下载而随着这样的一个手提箱随身背着，难怪唐凡弗利特推出他的第12和最后一张专辑于1982年，退休的高沙漠或海岸山脉或任何画他的广泛的行程自然抽象和消逝之前的。然而，随着结结巴巴节拍，hyperactively乒乓蓝调吉他，和/或高深莫测的歌词由veinbusting bohunk咆哮任何频段今后将被描述为“Beefheartian”（我曾经愚蠢地买了詹姆斯纪录 - 詹姆斯的记录 - 的基础上，此可疑比较）。
So shouldn’t the arrival of a lavishly packaged and generously annotated five – CD collection of obscure and inaccessible tracks and Quicktime footage devoted to the weirdo’s weirdo – unlike his hero Salvador Dalí, Beefheart always denied his own carefully cultivated eccentricities – provide the opportunity for a thick critical polish of the increasingly bulbous Beef heart mystique? Yes and no.
长鳍，挤满了1965年记录和1982年之间的稀有和席约翰费伊的先锋原始亡魂标签上公布，到达亦随一个迟来的，我们应该说，神话的调整。相反的是圣徒传中所规定众多Beefheart采访，并通过这样的标准引用作为滚石百科全书摇滚的，鳟鱼面具副本没有春天从船长的钢琴正好八个半小时，完全由。不，凡弗利特没有花次年通过艰苦的音符教给魔术队注。John “Drumbo” French’s 80-page Grow Fins essay (“There Ain’t No Santa Claus on the Evening Stage”) and a 1998 book (Lunar Notes) by guitarist Bill “Zoot Horn Rollo” Harkleroad relate a sadder and more interesting story than that, which the music on Grow Fins puts in thoroughly revisionist perspective.
成长鳍片盘一个致力于醋酸和第一CB＆HMB专辑，1967年的安全牛奶之前录制的演示。出生于1941年，Beefheart自己浸淫在R＆B和旁边的高中朋友弗兰克泽帕蓝调。By the mid ’60s he had al ready ditched his deemed name in homage to icons like Howlin’ Wolf (né Chester Burnett), whose vocal chops Beefheart could both uncannily mimic and mutate (as demonstrated by a ’66 live version of Wolf’s “Evil Is Going On”). Beefheart appeared to desire nothing less than to wrest urban blues back from the Brit pop invaders of the day, and make it into something stranger, jazzier, more fidgety – yet accessible. But he couldn’t do it alone. Opinions differ about whether or not Ry Cooder was the first Magic Band member charged with translating Beefheart’s musically naive concepts to the rest of the band, which even then was in nearly constant flux.
认为太“负面”，由乐队的标签，安全的，因为牛奶是由A＆M强加给佛纪录。流行，蓝调，灵魂和麦克击碎主唱的怪，仍然令人不安的混合物，牛奶设置舞台的角布吉和严格的个人和镜人的竖琴驱动迷幻，其集体曲目刚刚录制几个月后’67 with new guitarist Jeff “Antennae Jimmy Semens” Cotton. (Out-takes and alternate tracks from those albums can be found on Buddha’s excellently remastered new reissues of Milk and The Mirror Man Sessions. For all the restored integrity, however, I still miss the freaky-deaky yet strangely appropriate “phasing” effects then-manager Bob Krasnow added to Strictly Personal.) The two long electric blues jams on Grow Fins’s second and finest disc create a majestic creative bridge between the relative safety of Milk and the Trout Mask epiphany. Except for occasional flashes of Zappa-esque derision for the hippie scene (e.g., “Trust Us”), ’67 and ’68 find Beefheart and the other acid-gobblers in his band (no, they didn’t conceive it all on the natch) thoroughly enmeshed in Northern California’s cosmic-roots zeitgeist. The 11-minute “Rollin’ and Tumblin”‘ on Fins has much the same atomic- cannon excitement of, say, the Grateful Dead’s orgasmic “Viola Lee Blues” jams of that era.
次年，但是，带来了阿尔塔蒙特，查尔斯·曼森，尼克松的就职典礼，并鳟鱼面具副本。车轮的这种重塑一定是爆炸到创纪录的，对不对？错误。“我的三个最好的朋友我的恐惧，害怕和痛苦的气氛变得诱捕，”在英国psychzine托勒密Terrascope接受记者采访时回忆说约翰法语。Over the course of a year, between marathon sessions of brain washing, emotional abuse, and even beatings, French translated his guru-bandleader’s whistled, piano-plinked, and sung ideas into musical notation, added his own input, and subsequently taught the result to the rest of the group. Fourteen-hour rehearsal days of “drudgery and grinding poverty” (French) were the norm, with the Captain making only intermittent appearances to offer executive opinion. “I may be hungry, but I sure ain’t weird,” he sang in “Safe as Milk.” His band, however, was both.
“成长鳍”的第三张唱片收录了1969年的“house sessions”，玷污了刚出生的处女版鳟鱼面具的概念。除了船长的新石器时代的高音萨克斯管和强大的蓝调竖琴外，即兴演奏是被避免的。但玩家们将自己丰富的才能转化为高度复杂但又经过严格复制的重叠时间和键签名结构，这些结构就像一个又一个短暂的太阳变焦的火花一样突然出现。没有了船长的生态足迹和超越生命的存在，你会对他灌输的蚂蚁般的忠诚和几乎法西斯式的自由感有一种强烈的感觉。
鳟鱼面具，从包装到音乐内容，是生长鳍的重点。尽管特劳特面具确实是革命性的，但第二年的“舔掉我的贴纸”(Lick My Decals Off)，在我第一次把针涂到groove上的那一刻，“宝贝”就成了我的音波乌托邦(sonic utopia)的标志之一。科顿在一次内部争吵后折断了肋骨，退出了乐队，打击乐手“埃德·马林巴”特里普取代了弗兰奇，弗兰奇在被范·弗利特从楼梯上推下去后退出了乐队。然而，弗兰奇回来了，乐队通过让特里普在马林巴琴上学习吉他的第二部分，解决了双鼓手的困境。就好像是在重新发明了轮子之后，CB&HMB把一辆兰博基尼(Lamborghini)拍了下来，然后带出去兜风。
除了它的历史镜头（例如，牛奶乐队在戛纳海边疯狂挥舞），盘四是哑弹的东西，包括其他明智的Beefheart，扎帕的12分钟，以及在街上闲聊的一位女士。光盘五是间歇耀眼的大杂烩触及下来后鳟鱼面具年只是短暂。亮点是一个非常Dylanesque无线电规引渡“橙色羊角锤，”与扎帕提供他的上再次起飞，再次与朋友简单的和弦伴奏。爆满。
Rhino’s imminent double-disc hits anthology, The Dust Blows Forward, extends a more democratic overview than the Trout-centric Fins – the sexy, swampy goodness of 1972’s The Spotlight Kid and Clear Spot should have made CB&HMB the rock stars they coulda-woulda been, but Fins whittles those albums down to just one live track. The Magic Band quit in a huff in 1973, following the strained sugar-binge pop of Unconditionally Guaranteed. Maybe they couldn’t have pulled off the sly warmth of “Tropical Hot Dog Night,” but several other later songs, including “Sue Egypt” and “Ice Cream for Crow,” are fairly obvious knockoffs of early-’70s material. The Trout Mask lineup provided the dynamic template from which such otherwise worthwhile albums as Shiny Beast (Bat Chain Puller) and Doc at the Radar Station sandpapered and developed. Beefheart’s post-’73 combos included such able musicians as Eric Drew Feldman, Gary Lucas, and Jeff Tepper, whose youth and fandom undoubtedly tempered Beefheart’s temper. If the music they made retained the spirit but not the shock of the Captain’s classic crew, no big whoop. By 1977, weirdness had virtually been institutionalised.
- 理查德·格尔，乡村之声，1999年