Otis Owens e-mailed me in early April '98, putting
me straight about a few things, and I soon realised it would be
worth getting him to write something for the site. He agreed to
answer a few questions, though at the time I didn't expect the result
to be quite so fascinating.
First, some background info... You said that you worked for
Zappa... how long was this for and what did you do?
I worked for John Williams (Art Director) for Frank's Bizarre/Straight
records. I began in 1968 and was there until August 1970. John hired
me because my style was very similar to that of Cal Schenkel's,
who was working elsewhere at the time (and because, as John's wife
Suzy explained to my wife at the time, "John thinks Otis has a cool
name"). Projects included the Mothers of Invention, Wild Man
Fisher, the G.T.O.s, Tim Buckley, Lord Buckley, Linda Ronstadt,
Lenny Bruceand last but not least... Captain Beefheart and his Magic
Band. When John left Frank's employment, electing not to work on
200 Motels, I formed WingNut Graffix with a friend.
We did some album art and advertising with a famous Sunset Strip
clothiers, Head East, owned by Frank Rowena. While at Head
East we did some really incredible mural work which brought us a
tonne of work painting murals in homes of film and recording stars
from Bel Aire to Laurel Canyon. I spent a while in the aerospace
industry back in Palmdale before returning to L.A. and several years
as personal assistant to actor Nick Nolte. In the 90s I worked for
legendary Producer/Engineer Val Garay (Kim Carnes, the Motels among
others). It was while in his employment that I had the idea for
"Otis Delivers", which is where I am today (Otis Delivers is a "cartage"
company servicing the Los Angeles music industry).
Is this how you met Don and the Magic Band?
No. Actually I went to every high school the desert had at that
time, 5 in all (I was sort of a juvenile delinquent). So, I went
to school with most of the Trout Mask Magic Band members
at one time or another. I was closest to Bill Harkleroad, aka, Zoot
Horn Rollo. I spent the longest period of my high school years at
Palmdale High, Bill's alma mater. We played in various blues bands
at the same time.
The first time I saw Don perform was at the Antelope Valley Fairgrounds
with the earliest line-up of the Magic Band (Rich Hepner, Alex St.
Claire, Doug Moon, Jerry Handley and Paul "P.J." Blakely). They
were this amazing blend of high energy, in your face blues that
just knocked me out! Remember, this was 1966 and the height of "Beatlemania".
That was always my favourite line-up of the Magic Band. But what
happened was there sprang up this whole high desert blues subculture
and each of our bands had these "cliques". With Don as the reigning
kingpin.
Are you still in contact with any of them?
Occasional, I see John French, aka, Drumbo who still lives in Lancaster.
I see Jon Thomas (from a later Magic Band incarnation). Jon has
performed with a lot of big acts and is currently with Bruce Hornsby.
Jon lives in Malibu, now. I recently tried contacting Harkleroad,
but I guess he's preoccupied with his soon to be released book project.
How would you describe your relationship with Don?
I was never close friends if that's what you mean. I would see
him out and about. He liked to frequent the clubs in Palmdale and
Lancaster. He would wander in with his pipe and sketch pads. He'd
find a secluded spot in the corner or back and sit there all night
sketching or writing poetry. He would always take time to chat with
whomever might approach him. Sadly most of these boneheads approached
him as some kind of an oddity put there for their entertainment.
Then again, maybe he was just that. You never saw him without all
those journals and sketch pads. He was, as you know, always a very
prolific artist/writer. The last time I saw him was at Zappa's old
studio on Sunset Blvd. I'd stopped by for some reason and as I came
through the back door, there sat Don, pipe, sketch pad, et. al..
We talked for several hours and I can't recall a single word that
was said right now. I do remember it was a very pleasant visit.
No one else was there at the time, save for a couple of studio staff
people who were working in the control booth preparing for the session.
The later Magic Band members seem (generally) to speak more
respectfully of Don (not that the others are being disrespectful).
Was Don easier to work with as he got older?
You have to remember one important fact. During the Trout Mask
days, the band lived together in a rented house in Woodland Hills
(a suburb of L.A. in the San Fernando Valley). These guys had intimacy
forced on them that later band members never did.
Don would come in and usually whistle (he was a phenomenal whistler)
a tune or musical passage/idea. Sometimes he would try and bang
it out on the piano. Then John French would scurry about transposing
the notes into playable sheet music and all the members would try
to figure out their respective parts. Sometimes it worked, sometimes
it would not. It was very frustrating for Don. He could not grasp
the fact that that what he could conceive could not be executed.
Once the parts were there, they would rehearse, rehearse and rehearse
some more. 16, 18, 20 hours a day. They became very disillusioned
as they'd be hold up in that house for months on end without performing
live, thinking 'what the fuck are we doing this for?'
Do you think the later Magic Band members were more aware and
accepting of their requirements (i.e. play what I goddamn tell you)?
As I explained, there was an element of that in Don's demeanour,
but again, it came from his frustration of being so brilliant conceptually.
He simply could not grasp the notion that others could not visualise
his own "realities" and bring them to fruition in musical terms.
I think that's one reason he put the music behind him to pursue
his art. With his art, it goes straight from his head to the canvas
and or sketch pad. No performers as middle men to translate what
he wanted. No one from the label manipulating the final product
(ref. "Twenty First Century Quaker").
Frank suffered through a lot of the same frustrations as Don with
the early Mothers. He would write these complex, multi layered melodies
then stand over them, who save for Ian Underwood, Don Preston and
the Gardner brothers, Bunk and Buzz, did not read sheet music. That
is ultimately why he disbanded them to opt for "pro's" who could
not only read but write music. He didn't have to beat it (not literally
as some people have heard) out of them. But the rehearsal technique
was the same. Write music. Teach the music. Then rehearse, rehearse,
rehearse and then rehearse some more. Like the Magic Band the early
Mothers felt over worked at the hands of their employer. At least
the Mothers performed and toured relentlessly. While the Magic Band
felt frustration in this regard.
Would you say that this (play what I goddamn tell you) was
Don's expectation of his musicians?
It absolutely was. And that is the reason his music performed by
later band members became more playable/accessible. It was always
"Beefheart", but never as complex as the Trout Mask or Lick
My Decals Off, stuff.
Don never lived on the same plane that you and I do. His day to
day realities were "are the ants on my patio getting their daily
requirements of nutrients?". Or, "my god, the eucalyptus trees in
my backyard are choking to death in all this smog!." In the case
of the latter, Don actually summoned a tree surgeon to the house
in Woodland Hills to save his trees from certain doom at the hands
of the L.A. smog (the bill was sent to Zappa's label and Herb Cohen
was not impressed with Don's compassion for his eucalyptus trees!).
The kinds of pressures we all assume in our day-to-day lives found
no place in Don's perception of reality.
What is your favourite Beefheart?
No doubt, that first group I heard in "Exposition Hall" at the
Fairgrounds in Lancaster on a freezing December night in 1966.
How do you feel about his paintings?
I think they are brilliant! As an artist in my own early career,
I was always more impressed with his art work than his music. Don
was, quite simply put, decades and generations ahead of the world
in both mediums! He needed an understanding stage from which to
perform. The Werner galleries have provided him with it. In the
art world Don navigates comfortably with out some bonehead asking,
"what in the hell is this guy talking about?"! There are no record
company executives (industry weasels) comparing his art with the
"bottom line". Art lovers fit better into Don's perception of reality
and vice versus.
You said (in a previous e-mail) that Don wasn't ill, do you
have anything more to say about rumours concerning his illness?
Recent press reports have stated that he is unable to paint anymore.
Is there any truth in this to your knowledge?
Just that he was always something of a Hypochondriac. I've heard
that he prefers to be wheeled around in a wheelchair. But as I keep
saying, Don doesn't live on the same planet as you and I. He's away
in his own galaxy. But from where I stand it fits him well and seems
like a pretty cool place! This is the guy who at one point had directory
assistance access blocked from his home phone as he would call the
information operators and engage them in conversation for 45 minutes
at a time! I've heard he recently built a new large studio at his
home for painting, you might draw some conclusions from that.
I'm just glad he's been fortunate enough to realise some success
for his remarkable talents while he is still around. I believe he'll
be recognised for his genius for generations down the line.
Don is basically a very sweet man and a gentle soul who was placed
out of time in a sceptical world. His own father, "artists and musicians
are weirdoes and faggots", being a great example. Can you picture
Don selling insurance? I can't.