1967 US Original on Buddah (Red) The US release has always been thought to have been in September 1967, but a ‘New Action Albums’ feature in the 19 August 1967 edition of Billboard lists Safe As Milk which may indicate an earlier release date. The inner has weird artwork and photos, along with the words “MAY THE BABY JESUS SHUT YOUR MOUTH AND OPEN YOU MIND” and “CAUTION: ELECTRICITY MAY BE HAZARDOUS TO HEALTH” – it also contained the 4″ x 15″ Bumper Sticker folded inside. Apart from the band, with Ry Cooder pictured separately in profile, Bob Krasnow (plus wife and kids), Hank Cicalo, D.J.
Cheetah Magazine wrote on November 1967: ‘Safe As Milk is a total delight. It’s hard to characterise the group, because they are capable of sounding like anybody. But everything they do is permeated with a weird and fascinating sense of humor… There are some obvious parodies, like ‘I’m Glad’, which is like The Miracles’ ‘Baby, Baby’, but is ‘Sure Nuff N’ Yes I Do’ a take-off on one of the West Coast blues bands? Is ‘Zig Zag Wanderer’ a parody of The Grateful Dead? It doesn’t really matter: their sense of humor (and it’s musical as much as it is verbal) isn’t anything as pointed as
[alert_box type=”info”]A 1999 re-issue of the Magic Band’s debut album, complete with the glorious remastering and bonus tracks from Buddha’s 1999 CD reissue.[/alert_box] Track list: Side 1: Sure ‘Nuff N Yes I Do Zig Zag Wanderer Call On Me Dropout Boogie I’m Glad Electricity Side 2 Yellow Brick Road Abba Zabba Plastic Factory Where There’s Woman Grown So Ugly Autumn’s Child Side 3 Safe As Milk (take 5) On Tomorrow Big Black Baby Shoes Flower Pot Side 4 Dirty Blue Gene Trust Us (take 9) Korn Ring Finger. Press release from Simply Vinyl: It has taken us ages to finally get a decent Captain Beefheart
Track list As the original Safe As Milk, but also with: Safe As Milk (take 5) On Tomorrow Big Black Baby Shoes Flower pot Dirty Blue Gene Trust Us (take 9) Korn Ring Finger Notes: All of the above tunes, apart from Korn Ring Finger, were previously available on the now deleted I May Be Hungry But I Sure Ain’t Weird Sequel collection. The Safe As Milk album has been thoroughly re-mastered, bringing significant improvements in sound quality. Packaging is based upon the original vinyl release, with new sleevenotes by John Platt. A small press item appeared announcing this release. Released on 1st June 1999
[alert_box type=”info”]This review for all the Beefheart discs issued in 1999 (Grow Fins, Dust Blows Forward, Safe As Milk and The Mirror Man Sessions) was taken from the 27th June 1999 Philadelphia Inquirer. Many thanks to Chris Previti for sending it along.[/alert_box] Oh, the yin and yang of it all. At the exact moment the music industry is overrun with homogenized teen harmonisers, along comes a grizzled, determinedly weird voice from the deep vault, bellowing a sloppy counterattack to all that manufactured cheer. It’s Captain Beefheart, superhero of the surreal, right on cosmic cue. More than 35 years after Beefheart (the nom de rock of
[alert_box type=”info”]My review for Buddha’s two classic Beefheart albums repackaged, re-mastered and ready to take off into the wind.[/alert_box] It was with some excitement that I first heard about these re-releases, perfectly timed to coincide with what appears to be a significant increase in interest in the magic music of the Magic Band from both music consumers and the industry itself. Just as we are all about to Grow Fins and feast upon a host of previously unreleased music from Revenant, here are two Magic Band classics which, although hardly wilting anyway, have benefited from having a serious breath of fresh air breathed into them.
[alert_box type=”info”]From March 1999’s Ice Magazine came the following news, kindly sent to me by Brian Beuchaw and Uwe Krueger.[/alert_box] BMG-owned Buddha Records will debut in the spring with expanded, newly remastered reissues of such out-of-print works as Captain Beefheart and His Magic Band’s Safe as Milk and Mirror Man, Nilsson’s John Lennon-produced Pussy Cats, Graham Parker’s The Mona Lisa’s Sister and Daryl Hall’s Sacred Songs. All will be fleshed out with CD bonus tracks, some of them previously unreleased. Like Sony’s Legacy imprint, Buddha – with a new spelling to boot – will have access to its parent company’s vaults, but will focus on
Compiled by Jasper Leach. Jasper acknowledges that this listing contains inacuracies. If you can help with any further info or corrections, please let us know. All songs (unless noted differently): Produced by Richard Perry and Robert Krasnow Engineered by Hank Cicalo/Gary Marker Arranged by Don Van Vliet “Sure ‘Nuff” and “Grown So Ugly” arranged by Ry Cooder Recorded at RCA Studios, Hollywood, CA, April 1967 All words and music by Don Van Vliet and Herb Bermann Note from Jasper: This is probably one of the most inaccurate lists I’ve compliled. It has been reported by many band members that studio musicians were brought in by
Recording details Date – April 1967 Studio – Sunset Sound, Hollywood; RCA Studios, Hollywood Producer – Richard Perry, Bob Krasnow Engineer – Hank Cicalo, Gary Marker Musicians Don Van Vliet – vocals, harmonica, bass marimba Ry Cooder – guitar, bass Alex St Clair Snouffer – guitar, backing vocals Jerry Handley – bass John French – drums, backing vocals Doug Moon – guitar (Sure Nuff only) Milt Holland – percussion Russ Titelman – guitar Taj Mahal – percussion Sam Hoffman – theremin unknown horn players, harpsichord player and harpist. See Leach’s Listings for a thorough guide to who did what on Safe As Milk, compiled for the
[alert_box type=”info”]The following text is from the “Repertoire” release of Safe As Milk, sent to Justin Sherill by Elijah Popov.[/alert_box] Captain Beefheart Under the philosophy that “life is art and art is life” (CREAM), DON VAN VLIET alias CAPTAIN BEEFHEART went down as one of the most dazzling personalities in rock history. This stubborn musician, painter and sculptor, whose voice ranged seven and a half octaves, allowed his extraordinary creativity run totally free, to the extent that categorisation attempts of any kind simply bounced off his productive genius. “Delta blues, avantgarde jazz and rock & roll” (ROLLING STONE) entwined themselves to become a twentieth-century music