1978 US Original on Warner Bros BSK-3256 PROMOTIONAL COPY NOT FOR SALE in circular logo stamped in gold on front cover – normal record although appears to have different matrix – plain paper inner standard issue. 1978 US 8 Track on Warner Bros. Scan kindly sent to me by Malcolm Riviera. 1980 UK Original on Virgin V2149 1981(?) Australian Original on Virgin V2149 by CBS Records Australia Ltd. (CBS MX 194968/9) – White Label Promo with This record is manufactured for the purpose of promotion only. It remains the property of CBS Records Australia Limited and is not for sale printed on centre label andRead More →

[alert_box type=”info”]Writer unknown, taken from 26th Jaunary edition of Down Beat[/alert_box] Let there be great rejoicing among the multitudes of Beefheartians: the Captain has returned to the land of the Warner Brothers. For some inexplicable reason this bizarre genius shines on this new LP after several years of uneven recordings for another company (Mercury). Now Beefheart fans who remember the past glory of classics like Trout Mask Replica and Lick My Decals Off Baby can once again look ahead to recordings by the Magic Band. Beefheart is a completely well rounded artist who paints the graphics for his covers, writes music and lyrics, and singsRead More →

[alert_box type=”info”]This article was written by none other than Gary Lucas, and appeared in January 1979’s Feature magazine. There follows a short reader’s letter in praise of this mighty album, taken from the following issue.[/alert_box] The album is certified Grade A 100% Beefheart. After three years without a record contract, Don Van Vliet, one of the seminal figures of contemporary music, is back with a new band and a new album easily the equal of anything he’s done before. Well, not quite a new band – Art Tripp guests on marimba whimsey, and Bruce Fowler, who accompanied Zappa and Beefheart on tour several years ago,Read More →

[alert_box type=”info”]This piece was taken from the October 1978 edition of Wax magazine.[/alert_box] “I like the records I did when I was on Warner Bros. I liked Warner Bros. A lot of people there were real nice to me. Some of them even understood me.” Captain Beefheart While he was making his new record, Captain Beefheart stayed at a San Francisco-Japanese hotel, with a steam bath right in the room. “It’s nice,” commented the Captain. “I don’t have to go down with everybody else and show my white body. I don’t like that too much.” Glancing at the television on a recent Saturday afternoon, BeefheartRead More →

[alert_box type=”info”]Compiled by Jasper Leach. If you can help with any further info, please get in touch.[/alert_box] All songs (unless noted differently) Produced by Don Van Vliet and Pete Johnson (or vice versa) for Shiny Beast Productions Engineered by Glen Kolotkin Assisted by Jeffrey Norman Mastered by Phil Brown Recorded at The Automatt, San Francisco, CA Mixed at Wally Heider Recording San Francisco 1. The Floppy Boot Stomp Don Van Vliet: Vocals Jeff Moris Tepper: guitar and slide guitar (right channel), chorus Bruce Lambourne Fowler: trombone Eric Drew Feldman: sythesizer and rhodes, chorus Richard Redus: guitar, slide guitar & fretless bass (L & both channels),Read More →

Recording details Date – 1978 Studio – Automatt, San Francisco Producer – Don Van Vliet, Pete Johnson Engineer – Glen Kolotkin, Jeffrey Norman Musicians Don Van Vliet – vocals, harmonica, sax Jeff Moris Tepper – guitar Richard Redus – guitar, bass, accordion Eric Drew Feldman – bass, piano, synthesiser Bruce Fowler – trombone, air bass Robert Arthur Williams – drums Art Tripp – marimba, percussion See Leach’s Listings for a thorough guide to who did what on Shiny Beast, compiled for the Radar Station by Jasper Leach. Track list The Floppy Boot Stomp Tropical Hot Dog Night Ice Rose Harry Irene You Know You’re A Man BatRead More →

It has been a week now since the cd landed on my mat. It has been in my cd-player ever since. Even now – at work – I find it playing in my head. I had never heard these recordings prior to this edition. I don’t really download, didn’t buy the bootlegs and, although tempted by the wicked Ozit, decided not to line their pockets – mostly because of fear of incurring the wrath of the good people of the Fireparty. It’s such a shame that this didn’t come out when it was intended to. It would have meant room for moving on to otherRead More →

Track list Bat Chain Puller Seam Crooked Sam Harry Irene 81 Poop Hatch Flavor Bud Living Brick Bats Floppy Boot Stomp Ah Carrot Is As Close As Ah Rabbit Gets To Ah Diamond Owed T’Alex Odd Jobs Human Totem Pole (The 1000th And 10th Day Of The Human Totem Pole) Apes Ma Bonus tracks Bat Chain Puller (alternate mix) Candle Mambo Hobo-Ism Publicity blurb It turns out that The Dust DOES Blow Forward ‘n The Dust DOES Blow Back. As Don would say “That’s incredible.” Incredible that we get to release this directly from the Vault to you. This, being the Original and Definitive IssueRead More →

Recording details: Date – late 1974 Studio – Stronghold Sound Recorders, Hollywood Producer – Andy DiMartino Engineer – Gregg Ladangi Musicians: Don Van Vliet – vocals, harmonica Dean Smith – guitar Ira Ingber – bass Bob West – bass (Observatory Crest only) Michael Smotherman – keyboards, backing vocals Mark Gibbons – keyboards Gene Pello – drums Jimmy Caravan – keyboards, star machine Ty Grimes – percussion This album is dedicated to Denny Rosencrantz (who is he?) The front cover is a painting by Don’s cousin Victor Hayden (aka The Mascara Snake) Track list Party Of Special Things To Do (Don Vliet / Elliot Ingber) 3.12Read More →

[alert_box type=”info”]Source, date and author unknown.[/alert_box] CAPTAIN BEEFHEART: “Bluejeans & Moonbeams” Party Of Special Things To Do; Same Old Blues; Observatory Crest; Pompadour Swamp; Captain’s Holiday; Rock ‘n’ Roll’s Evil Doll; Further Than We’ve Gone; Twist Ah Luck; Bluejeans And Moonbeams. (Virgin V2023). Producer Andy Di Mantino. Musicians; No details available. IN MANY ways Beefheart has become the victim of his own achievements. I’m thinking most specifically of “Trout Mask Replica,” of course, and the almost visionary status with which Beefheart was endowed by critics who saw that album (with no little justification) as being crucial to the development and extension of rock. It wasRead More →

1974 UK Original on Virgin V2023 1974 US Original on Mercury SRM 1-1018 1982 UK Re-issue on Virgin OVED 19 198X UK CD on Virgin CDV 2023 1990 US CD on Caroline CAR1631 – rebadged UK CDV 2023 2000 UK Re-issue on audiophile vinyl by Past & Present Records Limited edition – see 2000 vinyl reissue orgy info page. 2006 UK on Virgin/EMI CDVR2023 A well remastered release with excellent new sleevenotes by Mike Barnes. Although the sound is fuller and more upfront the music is still fairly poor by comparison with other classic Beefheat albums but there are people who have found some diamonds in thisRead More →

[alert_box type=”info”]This review was written by ‘S.P.’ and appeared in the 6th April 1974 edition of Sounds[/alert_box] PECULIAR CHAP, Captain Beefheart. Ever since the full-frontal attack of “Trout Mask Replica” – still my favourite of all his works, whatever he says – he seems to have been moving towards what we professional euphemists tend to refer to as a ‘more accessible’ kind of music. In other words, – he’s been coming in from the unique, arresting stance he’d struck on “Trout Mask” to a position closer to the mainstreams of rock. That does not imply criticism. for with albums like “Lick My Decals Off. Baby”,Read More →

1974 US Original on Mercury SRM-1-709 White Label Promo has PROMOTIONAL COPY NOTE FOR SALE on label – inner sleeve advertises other PHONOGRAM INC. releases – cover normal. 1974 US Original on Mercury SRM-1-709 1974 UK Original on Virgin V2015 ‘Two virgins’ label. 1974 Dutch (Ariola Euro Pressing) on Virgin 87 840 IT Black/white ‘two virgins’ label. 1974 Swedish release on Virgin V2015 Black/white ‘two virgins’ label – cover has SIB truck TUMBA logo. 1974(?) New Zealand release on Mercury 6338 501 marketed by Phonogram Front cover the same, back is all monochrome – has (P) PHONOGRAM, INC. Marketed in New Zealand by Phonogram Ltd.Read More →

Past & Present records have released a series of re-issues of the Magic Band’s last five albums, beginning on 17th January 2000. Bluejeans & Moonbeams Ice Cream For Crow Shiny Beast Unconditionally Guaranteed Doc at the Radar Station Press release Past & Present Records are proud to offer this classic period of Captain Beefheart’s recording career 1974-82, on 180 gram virgin vinyl. A real collector’s item, re-pressed with all the original sleeve and label artwork, each sleeve will have a protective outer cover and will carry the Past & Present logo on it. There will only be 1000 of each title available for a veryRead More →

Recording details: Date – spring 1974 Studio – Hollywood Sound, Los Angeles Producer – Andy DiMartino Engineer – John Guess, Jim Callon Musicians: Don Van Vliet – vocals, harmonica Bill Harkleroad – guitar Alex St Clair Snouffer – guitar Mark Boston – bass Art Tripp – drums Mark Marcellino – keyboards Andy DiMartino – guitar Del Simmons – sax, flute Track list Upon The My O My Sugar Bowl New Electric Ride Magic Be Happy Love Song Full Moon Hot Sun I Got Love On My Mind This is the Day Lazy Music Peaches Album overview from Graham Johnston This album isn’t one that IRead More →

1972 UK Original on Reprise K54007 Clear plastic sleeve with black on white printed insert. 19?? UK Re-package on Reprise K54007 Normal printed sleeve 1972 German Original on Reprise REP54007 White Label Trade Sample with “Unverkäufl” (not for sale) “Warenprobe ohne Wert” (sample without value) “Echantillon gratuit” (free sample in French) on centre label – in clear plastic sleeve with Clear Spot – w/insert sheet printed in England standard issue – clear plastic sleeve 1972 US Original on Reprise MS-2115 White Label Promo with PROMOTION NOT FOR SALE printed on centre label and over stamped -> N.T.I. standard issue – clear plastic sleeve 1972 USRead More →

[alert_box type=”info”]Taken from 9th February 1997 Sunday Times[/alert_box] WHILE nobody questions his status as one of rock’s great originals, Captain Beefheart’s madcap variations on the blues are an acquired taste. Armed with a voice like Howlin ‘ Wolf, a band he claimed to have taught himself and an imagination that just went thataway, Beefheart did not set out to be easy listening. The unhinged adventurousness of his 1969 masterwork, Trout Mask Replica, appeals mainly to critics and students of musical weirdness. More approachable and ultimately more satisfying is the album he recorded three years later with a new producer. Ted Templeman, whose clients included VanRead More →

[alert_box type=”info”]Taken from the January 1973 edition of Creem.[/alert_box] “And that pantalooned duck / white goose neck / quacked, ‘Webcor, Webcor.’” Those are the last lines on Clear Spot, from a song called “Golden Birdies.” Not exactly “I Can See Clearly Now,” I know, but if you find it hard to make sense out of lyrics like that, or feel that you must, rest easy. Captain Beefheart has come out of the haze. Even though his music has always been solidly rooted in the blues, Beefheart has remained a sort of cult figure: to his followers, a supreme genius; to many others, inaccessible both musicallyRead More →

[alert_box type=”info”]Taken from the 31st December 1972 Rolling Stone.[/alert_box] The continuing evolution of Beefheart’s music has been one of the most fascinating developments of contemporary rock. The Captain has seemed an introverted, almost schizophrenic figure, mirroring in his work the apparent dichotomy between the rigorous ensemble playing of the Chicago-out-of-Mississippi bluesmen and the anarchic-sounding sprung rhythms of modernists like Albert Ayler and Ornette Coleman. But the unique facet of Beefheart’s blues playing has always been his understanding of the essentially irregular metric structures of much Mississippi blues, and he has thus been able to translate the abrupt, quirky stridency of the early blues guitarists intoRead More →