[alert_box TYPE =”信息”来自洛杉矶时报两者，1995年1月12日。[/ alert_box]
Beefheart船长的奇异天赋更未稀释的例子可以在他雷竞技ios下载的“鳟鱼面具副本”和“舔我的贴花关”的专辑可以听到，但是这对1972年的专辑包装聚集在这里，是他最愉快的天生。
Had Howlin’ Wolf been raised beside the canals of Mars, he might have sounded like Beefheart (a.k.a. Don Van Vliet), who mutated the blues with Dadaist lyrics, jagged guitar lines and spasmodic rhythms that showed his disdain for what he called the “mama heartbeat” of rock music. Striking many as chaotic hippie noise, his music, for the diligent listener, mirrored nature in its complex patterns and disquieting beauty. With “The Spotlight Kid” and particularly “Clear Spot” (helmed by future Van Halen producer Ted Templeman), Beefheart seemed to be attempting to meet listeners halfway. But while you can dance to some of the songs here-given an extra limb or two-it is still demanding, powerful stuff.
随着他的抽象的歌词，Beefheart提供更可口的大片，从失控的火车到女权主义，其上他认为，“现在一个女人有拖拉掉，打一个人，让他知道她的存在。”无论他的声音，并在房子矫直力竖琴的打击，他的魔术队被恰当地命名。
艺术特里普(a Zappa alumnus who also had done symphonic work) is one of the scariest drummers of all time, taking impossibly disjointed, angular rhythms and making them swing as solidly as if they were straightforward beats played by the MGs’ Al Jackson Jr. Under Beefheart’s influence, guitarists Zoot Horn Rollo and Rockette Morton created a whole new vocabulary for the instrument, taking off from Delta slide guitar with slashing, lurching lines that interlock like roots on a forest floor.
这里没有什么岩石，你可能期望它，但它所有的岩石像疯了一样。