我收到了一个非常有趣的一系列消息的前一段时间从迈克尔Smotherman的“悲惨”的时代魔术队的成员之一。这是他说的话：
作为承载悲剧乐队的前成员卡，我想放直，已成为福音莫名其妙的几件事情，只是为了它的地狱。我知道，这是很难在传奇的脸飞，但对于热衷于真理的人，在这里不用。
首先，原魔术队（祖特·霍恩·罗洛，Drumbo，et.al）没有“前几天，一个重要的旅游。”退出EN-集体不要解雇他们。他不是下Svengali般的这一决定“强大的唱片公司经理”的影响力。
这个奇怪的小经理，制片人，他建议，如果他去商业化，不管它是什么，他站在赚更多钱的好机会，相信我，因为谁知道唐会告诉你，他并不反对这个概念。
其次，我们不只是有27分钟或任何排练。我们排练了几个星期。我还记得在北好莱坞那个糟糕的小排练厅，闻起来像尿和烟头，和思考，如果我们不得不做“镜子人”一个更多的时间，我要开始撕裂的东西了。
它仍然让我为难，唐，谁是他当时的三十年代一个成年男人，可以有意识地和明智的决定，试图推进自己的职业生涯，当它来到南对他它在某种程度上是我们的错。像我们有什么做任何事情。我们不过是呼噜声，人（和喜欢它治疗，相信我），年轻的混战音乐家一个三明治博洛尼亚远离街道，即使工作没有支付蹲我们很高兴能得到它。我相信我们做的最好的专业工作，我们可以，在这种情况下做得比别人可以有。
现在，说了这么多，我也想说说我其实是有对演出整体的好时机。唐是一个有趣的猫，至少可以这样说。相信我，哦，我的兄弟，我们是该总线上的所有bozos。有唐，不断喃喃自语约上帝知道，他的妻子简（谁是一个很酷的小鸡），谁在高速公路上，苏格兰道路管理者谁是一个非常正直的家伙中间退出两个三次疯狂的牙买加公交车司机，Ťwo or three roadies from some God-forsaken place like Romania or something who couldn’t speak English and smoked cigarettes in their sleep, we Tragic Banders, drinking like circus workers, assorted record company weasels, a bunch of English blokes who were our warm-up act and couldn’t play for shit so they called it “progressive jazz”, and last but certainly not least, Frick and Frack, these crazy little tiny Italian brothers from Brooklyn who were the Captain’s managers, producers, publishers, agents, tour managers, CPA’s, house painters, and God knows what else. Think two identical Kramer’s from Seinfeld only real short and in leather jackets and on acid, and you’ve pretty much got the picture.
这是一个拖累，唐得到了半诋毁采取的是没有成功的机会，又可笑，我们是污蔑，因为我们没有狗屎用它做。
如果那是一个巨大的商业成功？他会再被称赞采取大胆和大胆的一步，你知道吗？当一个艺术家粘在了他的枪，并没有成功，他很固执，如果他成功，他的顽强。一个可怜的孩子是一个浸狗屎，丰富的男孩偏心 - 同校长给我。
只见他表现出的照片在德国，我想，和老屁在游戏看起来很不错。夏普和舒适，在他的元素。我想看看扬问老农 - 一个特殊的人，即。
我很高兴的是，强大船长（我们叫他）是与他的艺术一些当之无愧的成功。我想，和一直认为，这是辉煌的。我希望你有睾丸打印此。
此致，迈克尔Smotherman（悲剧乐队键盘手）。
非常感谢迈克尔沿着这使人看到在魔术队历史上的这一时期阴暗发送，并为他的许可在这里发表他的意见。
“一帮小伙子英语谁是我们的热身行为，不能玩狗屎所以他们称之为‘渐进式爵士乐’的，......”
他指给亨利·考？（欧洲日期支持法案）
也想知道如果他指的奇妙牛 - 任何费用反对“EM‘不能够为狗屎玩’夷为平地是坦率地可笑！所以离谱，它抛出的文章陷入极度的怀疑所有的剩余。我想我已经看到了Smotherman“唱歌”上Beefheart DVD ... .Ahem，我休息我的情况
Michael “Bucky” Smotherman (as he is credited and spelled on the Buckwheat album ‘Buckwheat’ of 1971) surely knows a little bit more about “This strange little manager-producer”, and “Frick and Frack, these crazy little tiny Italian brothers from Brooklyn” who he describes so eloquently in this fascinating piece.
“荞麦”被“安迪狄Martino的为A.迪马蒂诺制作公司，Inc。生产”
巧得出奇，安迪·迪·马蒂诺得到什么很可能是今天在这个博客上的另一个条目他的第一个有利的Beefheart审查。
迈克尔/迈克尔，如果你正在读这篇文章，请告诉我们更多关于悲剧Svengali。
很有意思。I’ve sometimes wondered what a Magic – rather than ‘Tragic’ – Band gig would have been like in 1974, and rather suspect the two would, at least in parts, not have been so disimilar, given the context of the ‘Unconditionally Guaranteed’ album and the desire for commercial success mentioned in the Smotherman piece.
这是有趣的。有没有受到太大知道关于这个时期唐的职业生涯。迈克·巴恩斯设法增加一些细节在他的书，但它是伟大的，听到的悲剧乐队的一个东西。
Smotherman先生似乎认为我们不想听到底发生了什么，并很高兴与传说。我想向他保证，我们所有的人谁雷达站贡献有兴趣了解完整的故事。如果我们想的传说，我们会坐在家里读肯布鲁克斯/本Cruikshank的书！
我肯定会更新我对悲剧带片在网站上。
弗里克和弗兰克•也是德尔·西蒙斯（悲剧乐队单簧管演奏家）的经理，1972年制作的纪录由他。
所以不要解雇原来的神奇乐队？
哇，比尔哈克莱罗德当然在它看起来有点不同。
绝对迷人。并不令人惊奇，但是从一个内幕印证了传闻甚嚣尘上之手有关唐的管理风格读这一切。特别告诉的是事后，这是所有处于绝对令人震惊的方式很愉快。这是诸如此类的事情，对任何类型的组织的几乎所有的“成功”的领导者一个人听到。我用成功涵盖艺术以及其他较为明显的类型的成功之道。DVV = BG ???
就像史蒂夫，我真的很感兴趣，知道完整的故事。
所谓“悲剧乐队”时期是相关的，令人信服的任何其他在唐凡弗利特的生活。
道歉，顺便说一下，对于混淆德尔·西蒙斯和安迪·迪·马蒂诺的名字。
据我所知，没有与唐出现在舞台上的迪·马蒂诺兄弟。也许Smotherman先生可以纠正我有关？
smotherman’s rant is interesting, but so many of these cats, including the magic band dudes like french and harkleroad have since made a little industry out of their resentment for van vliet…i mean he’s not some stan kenton or even zappa-like bandleader…he’s an AHHTIST and realy were it not for his art-musick dese boys would not have even the sort of of low-grade underground notoriety they presently possess now….personally I think TMR was not the masterpiece that everyone thinks it was, much preferring say Bat Chain Puller and Radar Station–the Fowler Brothers, lucas, feldman, were the cats who pulled it together more than French or harkleroad ever did.. drumbo is , NOT let’s face it elvin jones ..an dhis sort of enoconservative rants about teh miserei he endued are irritating and sort of shallow..i eam All Tomorrows Parties much have been cool ( I might get the CD) but the band around late 70s early 80s was more interesting and polished…really Lucas’ playing is I think preferable to the overly-boogie influenced riffs of zoot horn….the bands of Bat Chain and Radar Station were viable mambo-rock-jazz units …and tore it up on SNL…. so all this TMR was the greatest and never-equalled and so forth is an insult to the more polished and mingus-y-ellington chops of the Fowler Bros and lucas. etc. methinks Don sort of of pussied out, musically speaking, anyways ..those last few bands were the real thing.. as decent as zappa’s similar type of art-jazz with horns bands and DVV should have kept with it instead of doing his abstract-ahht schitck………
Perezoso说：“如果不是因为他的艺术，乐器声音DESE男生根本不会那种低档的地下恶名，他们目前现在拥有”。
为了公平起见，快速谷歌关于迈克尔Smotherman的职业信息显示，他为雷·查尔斯，路瑟范德鲁斯，健美的Raitt和其他许多人写的。Beefheart勉强得到他的简历一提。
什么样的蠢货会一起工作，不是说甚至提及B-GOIL雷特，排序油腻吉普赛玫瑰李不喜欢年chitlin的＆astroglide旋律...... .i'd而听喜欢上了405交通..
“...... ..sum哥们的有太多......想到”
“我宁愿听喜欢上了405的流量。”
我也是，但我不认为这是与此有关。对于超出我的原因雷特被视为位在某些圈子里平局，并与她的联系可能比与Beefheart的联系也更有利可图。
世界是乱七八糟的。
我喜欢一些TMR的，我喜欢
一些雷特的幻灯片播放...
但我认为，加里·卢卡斯
真正的好...
也许，在这里留下评论，这是严重断章取义之前，人们应该教育自己，足以支持他们的奇caugh起坐。我不知道从哪里开始对约翰法国和埃尔文·琼斯的比较...
这样的品牌尽可能多的意义，因为蒙多格与达沃·韦克...或罗克特·莫顿与杰可·帕斯透瑞斯......这些人的工作比较比较/曾在艺术完全不同的领域。尽管这一切都在无限cathegory“乐”的艺术形式不同，大大...
至于鳟鱼面具副本（TMR）去，我认为一个年轻人今天可以欣赏它，并把它的杰作（像我一样），但那些谁是年轻的35年前（迪斯科之前，朋克之前，MTV之前，前计算机制造的点击率等等）是谁经历过TMR，是谁在商店买了LP唱片，谁听Beefheart上尉和的魔法乐队现场的机会释放......不仅因此唯一的那些谁雷竞技ios下载can FULLY appreciate just HOW much of a masterpiece TMR is, and just HOW extreme and different it appeared to the ears the people who lived then and there – the people who couldn’t go “sounds a little grungy.”
现在...到真实的东西：我很高兴已经阅读Smotherman的短篇小说，我很感激，有人发布它。I hope there’ll be more to come from anyone who’s been involved in any way to Don Van Vliet, as some periods aren’t covered very well, and therefore might seem “mysterious” or whatever… Keep up your good work here at the radar station… now I need to run – have a great treat waiting, namely the enclosed DVD in “21st Century Mirror Men” which I received today… To quote a certain Simpson; WOO-WHOO!
如果它实际上重要的 - 我是50
岁，曾经我的心被吹
TMR于1970年，和锯CB和乐队玩实况8倍左右，开始于1972年。
我知道怎么玩吉他的一些CB材料，包括
从TMR件 - 我试镜
对于唐两次（两次失败！）。
再见
您试镜任何更多的信息，肯？（如果它不是太痛苦记忆！）凡/时/你和谁见面，等？
详情请！
嗨 - 我第一次打了唐是在波士顿酒店房间，
在75时，他与FZ巡演。
我们去了丹尼·沃利的房间
一把吉他，我打出了一些半
称职的吉他的东西。后来我才意识到，我很紧张，
从来没有打得很好的时候紧张 -
但我真的没有准备 - 我不知道唐的材料，我的幻灯片播放是有点弱。
另外，我可以永远玩别人的斧头体面 - 但主要是，我只是不够好。
但唐说，他很喜欢它，并会打电话给我。即使当时我
几乎知道他不会打电话。
至于谈话进展，这是非常有趣的 - 例如，唐说，他和莱尼·布鲁斯用来喝了很多酒
一起;他说，他们winos！
唐也得到了亲按摩的妇女，并想知道大声FZ是否会为此付出代价按摩师参加游览。和唐的一个朋友和我们在一起，作家兰登·温纳！
更晚 - 肯
谢谢你，肯。会试音一直为华兹演出？在当时，任何提及？保持这些细节来了！这一切都感兴趣。
是的，这是一个显著的缺点尝试扮演别人的吉他。尤其是丹尼·沃利的，他是最令人印象深刻的幻灯片球员在魔术队的（和扎帕的）历史之一。难道他在那个房间的时候？可没想到的东西更吓人！
我对TMR的态度也许是最好由帕特里克伦贝格主页的约翰果皮报价总结。“纳夫说。
我感到困惑，说得客气一点，要阅读“花花公子像法国和Harlkeroad有...做了一个小行业了他们的怨恨凡弗利特的”（原文如此）。相反，约翰法国尤其是曾多次向后弯腰给所有因信贷DVV为他惊人的音乐天赋和灵感。当无奈的提示偶尔也会通过（他们通常在很好地平衡和测量方面这样做），这一切都太理解的，因为乐队的历史和它与DVV关系。
The Magic Band’s current annual trans-Atlantic to-ing and fro-ing, and bowling up and down British motorways (perhaps even the 405) just to get a handful of gigs, mostly one night stands in small venues, hardly qualifies as an industry in my or most people’s books.
在这玩世不恭，自私自利的世界里，这一切都太容易不假思索属性最坏的动机，一些来自我们在呃...... Beefheart社区并不是完全免疫，当我们在严厉的术语指的是那些在主流的periphary的raybet02Beefheartiana such as the ‘Tragic’ Band and Mallard, forgetting that they are flesh and blood human beings who made the best of the situation they found themselves in at the time, and who have already suffered over the decades first at the hands of their musical mentor and then from the rest of us for not living up to our expectations.
而埃尔文·琼斯是不是让我们面对它，约翰法国...
对不起“回合的咆哮。
愤怒翁加尔的。
当我在波士顿遇见唐，他没有提到任何具体的演出，只是
当他与扎帕巡演做，他希望自己的乐队。
他居然问我有怯场，但我只是咕哝
一些牛，我不记得是什么？
丹尼·沃利在房间里，当我
玩，有时听，在其他时间看“甘斯莫克”上
电视。
I would remind perezoso that it was TMR that opened the door for later albums such as ‘Decals’,’Bat Chain’etc.As for his idea that it was ‘the Fowler Bros,Lucas,Feldman,who were the cats who pulled it together more than French & Harkleroad ever did’….well,all I can say is what a load of mambo-jambo!Again,it was the early bands who helped carve out Don’s sound-sculptures,and while I’m not for one moment trying to undermine the post ‘tragic’,Magic bands as they helped get Don back on track,and produced some memorable music,I’m sure that they’d be the first to acknowledge that the template was already there,and was also beaten into shape by the sometimes forgotten figures such as Elliot Ingber,Jeff Cotton.etc.Over the years,I have been lucky enough to have seen pretty well all the Magic/Tragic bands(post 1970)in action,and for me the ‘Clear Spot’tour band with Roy Estrada,Art Tripp.etc was the proverbial ‘dogs bollocks’.At that time(early 70’s) the only band who came within sniffing distance as a live act were Little Feat,and who was their long-time friend,and sometime guest guitarist….Bonnie Raitt!As for Jazz,don’t get me started….except to say that the whole Jazz-Funk/Fusion thing sucked up a lot of good musicians at the time(along with the blizzard of Coke in the LA music/film scene),with most(including Little Feat) disappearing up their own musical backsides in a torrent of wine-bar muzack……’til Punk came along and reminded us that it’s not the chops,it’s the energy!
......”直到朋克走过来，提醒我们，这不是扒了，它的能量
我不同意这一点。Coke may have ruined quite a few lives in music and show biz, but I’d rather listen to say Steely Dan’s “Aja,” sort of the coke whiffer’s mantra (I know, having heard Josie or Peg many a time while passin’ around the mirror) tham to the Clash or whatever old aggravating noise that was hip for a few years in the 80s. Chops always rule: yes the smooth jass-fusion thing produced some schlock (as the Wave in LA demonstrates), but I’d spin old Ellington or Jobim or even Pat Metheny CDs before listening to more greasy country blooz from Raitt or whatever bar-band du jour is playin’ tonight at CLub Hep C. And the later Beefheart–Bat Chain, Doc ATRS– is cool in some way because it moves away from the chitlins…the punk energy may have entertained some for a few months but the music doesn’t have much staying power: Miles Davis’ Kind of Blues does, the Dan’s Countdown to Ecstasy does, even Zappa’s Hot Rats or Overnight Sensation does, maybe some of DVV”s work on Bat Chain or Doc does (ok I do dig DVV”s sax solo on Ant Man bee……..and Dalis Car rules when yr a bit drunk and want to terrify the neighbor’s daughters)
虽然我很讨厌做一个窥视这一“对话”，我必须采取一些什么在你的网站上的“tragics”的主题说的问题。迈克尔，或降压，甚至巴基，因为他当时被称为（？时非常年轻，有什么是你的昵称，呵呵）说实话，和过去和现在在美国最有才华的创作歌手之一 - （我AIN’t NO paid ringer, trust me) In his time, he has sung with the best of them, and been offered ‘jobs’ as pianist with the likes of Frank Sinatra (he declined) and others, so insult away – I believe many share/d my view of him!
的（因为我看到了它所谓的一些Beefheart网站）“平均”乐队荞麦，他在以前是实际上是非常美妙的，而且是极端的诚信和声誉的许多音乐家很是推崇。它包括迈克尔和已故的伟大塔尔萨姑娘黛比·坎贝尔，等等（是的，他们是由臭名昭著的DiMartinos男生管理 - ？否则为什么你认为他得到了拉拢到做“悲惨”演出）。如果你听说过荞麦，我能救我的呼吸;如果你没有，太糟糕了 - 你的损失。
As to Bonnie Raitt (another musician highly respect by OTHER musicians) I don’t understand the guy who’s on about ‘greasy blooz’ – whatever HIS problem is -(have some more grits and biscuits, or salad, as your preference goes, bud) Bonnie may in her day have chosen some questionable material, but she also recorded some great things (just one example: Angel from Montgomery – John Prine), and she is thought of as no slouch by many, having sold a few gazillion records in her time and having sung quite fetchingly on occasion (to say nothing of playing pretty damn decent slide guitar).
谈到作为一个从天回“女孩”，我个人认为弗兰克泽帕（和他所有的奶油cheesers）在胡说，只知道Captn。因为他与上述亲属关系的B中。为了区区插脚（虽然老足够的欣赏和崇拜许多那些家伙年代的同龄人），他们都显得非常，非常奇怪，而且从心理健康角度相当不安！
今天，我站在纠正了扎帕 - 他的“无商业价值”一书确实揭示艺术性。但船长的“音乐”，他的“神奇”的“乐队”，他的“名声”似乎荒谬的这个宝贝，恕我直言（保证你不会像我一样）。
I am positive the tiny empire of Martinos’ prime motivation was CASH in their pockets, and not stage acclaim, to whoever asked that Q – unless Andy got up there with the Cascades (doubtful) – I know of no instance where he ever “made” any music (in any way, performance or otherwise – his acts did that; he counted the revenue).
和爵士？我会坚持，哦，我不知道，格里·马利根和Thelonius僧，也许，谢谢。你可以保持帕特·梅特尼和休息。
So … my opinion may be toecurlingly “uncool” to those of you who relish ‘ahrteeste’ bozos with toasters on their heads creating history (ha!), but if it’s all the same to you, I’ll stick with my view, which I believe has been shared over many decades by countless music fans, and you keep yours.
I hate to shout out, but I had to, since I deeply resent seeing talented artists pilloried by you geekster ‘muso’ buffs, the majority of whom probably couldn’t tune a guitar or play “Happy Birthday”, and all of whom appear to have your sensibilities lodged firmly up your backside (I know, fallacious argument, but so what?)
Finally, (this may really steam you) I have met many young, hip, and celebrated British musicians who think that the CB discs with the “Tragic” band are the BEST CB records there are, so it just goes to SCHMOE ‘ya, boys. Take it easy, y’all!
敬上
奶酪的无风扇
我很喜欢“进一步比我们已经走了”，由迪恩·史密斯的个人，并在老灰色口哨测试，他做了关于“这是天”的精彩。我也喜欢上了LP，所有角跨越原来的独奏，但迪恩·史密斯不模仿，在所有的，他让自己的同类枕波光混响声的。耻辱有关，虽然长笛。
我在这里看到了悲惨的乐队在布林迈尔PA的主要点。真是一团糟。MET唐首次there.the演出是awful.i告诉他，这是多么糟糕，他说，他希望它会得到better.i对他说：我不认为它会的。
凯尔索，你应该有英语课更注重...
先生Smotherman，你需要写一本书。而这是不是没有谎言。
历史需要它！