[alert_box TYPE =”信息”来自音乐家的1982年10月版服用。[/ alert_box]
它发生每两年或三年。Captain Beefheart, easily rock’s most abused underdog, after fifteen years of beating his head against fame’s door, issues another of his brilliant, confounding vinyl missives – vivid demanding documents of colliding technicolor imagery, exhausting primal rhythms divided into bizarre fractious and alien instrumental eloquence and the critics cry “Breakthrough! Hitsville! This is the one!” The rock comics’ oracle has predicted Beefheart’s commercial triumph so many times it’s no wonder the AOR mind-slaves dismiss it as the empty bluster of a few dozen typewriting malcontents.
但也许这一次他真的成功了，这张专辑令人屏息的开场白，“乌鸦冰淇淋。”“打开扬声器/跳起舞步/是个守门员，”比夫哈特在一个可怕的结核病的打击下，对新鼓手克里夫·马丁内斯的鞭打布吉·拉什吼道，像恶魔附身的呼叫者一样在某个世界外的广场上呼啸。杰夫·莫里斯·泰珀（Jeff Moris Tepper）和加里·卢卡斯（Gary Lucas）的钢琴弹琴（steely Chootling guitars）发出的多节奏片段使这首歌的双倍音程被保证能让即使是最嬉皮的摇滚迪斯科舞厅（rock disco）的拼盘选择更加活跃，同时也比今天的合成摇滚唱片瘟疫提前了一大步，但仍然深深植根于它的元素约翰李胡克rasp和Beefheart的玻璃破碎男孩哦男孩布鲁斯竖琴爆发。
而且，你以为我只是狼来这里，需要注意的是Epic唱片公司用于分配维京发布“冰淇淋乌鸦”作为一个单一的（与非LP仪器B面）。舞池招手。
As a whole, Ice Cream For Crow – Beefheart’s twelfth album on his eighth label (if you include Epic and count Warner Bros. twice) is a spirited successor in the recent Shiny Beast and Doc At The Radar Station line of Trout Mask Replica-rooted experiments with some bold distinguishing marks. With the exception of “Ink Mathematics” and “The Witch Doctor Life,” in which his voice tumbles over the words in cracked growls, crusty croons and wizened trollish cackles, Beefheart does not so much sing here with his usual octave-defying bravado as rant, rave and rap like a poet in motion over the boiling beat cauldron of the Magic Band. He bitterly swallows the Molotov lyric cocktail of apocalyptic fear and barbed religious imagery in “The Host The Ghost The Most Holy-O” (“Why, not even a rustler’d have anything to do / With this branded bum steer world”), read in a stony monotone heavy with dread and scolding over Martinez’s choppy drumming and the guitar’s pleading whine. In a lighter mood is “Cardboard Cutout Sundown,” a typically Beetheartian word landscape of a picture-postcard desert evening intensified by the overlapping contrast of pointed melodic stabbing and altered Western twang in the Tepper-Lucas guitars.
这是冰激凌为乌鸦所做的另一件事-吉他和Beefheart发明的乐器和声和发声。以加里·卢卡斯的独奏《晚钟》为例，这是一个令人惊讶的练习（以他短暂的博士之旅《味蕾生活》的风格），在指节断裂的倒转和弗拉门戈颤音中，现场演奏在翼子板上（低音实际上是调低到D的低F弦）。再想想卢卡斯从比夫哈特的钢琴书房里逐条抄写了这首曲子。这一组合——以钢琴为基础的音符簇和锯齿状的电攻击——使魔术乐队的合奏吉他嬉戏成为一种物理摇滚的推力，环绕着Beefheart歌曲结构的令人畏惧的复杂性。这是一种说法，“过去肯定很紧张”和“嘿，加兰，我挖你的粗花呢大衣”的自由诗句下可怕的工具性交通堵塞都是聪明的烹饪。
冰淇淋乌鸦没有文件的扩展管弦乐色彩（其Stravinskian串合成器），有时Beefheart的诗人，讲发生在一个演讲，在韵的色调。But with the rockum-sockum of the title track on one hand and the harrowing guitar stutter and Beefheart’s overdubbed crying-geese sax duet of “The Thousandth And Tenth Day Of The Human Totem Pole” on the other, what you can’t dance to you won’t be able to ignore either. Maybe this won’t sell big. But like Beef heart says, if you’re gonna eat crow it might as well be ice cream. Dig right in.