1 february 2018
i will spare you the details, but after a year of hopelessly suffering my quickly degenerating web host i have decided to discontinue our collaboration - and spread the word: freewebs sucks!
which means that with immediate effect captain beefheart electricity will be flashing on at the new address
see you there, you're welcome...
DON'T ARGUE WITH THE CAPTAIN
history - interview
THOSE BEEFHEART BLUES...
from england 3 february 1968 MELODY MAKER
note: text reprinted as 'we got high in the desert' in england 1 october 2015 the history of ROCK #4 [year: 1968]
captain beefheart was sitting in the corner of his hotel room in london, running through a new song, as i entered. the magic band, alex st. clair and jeff cotton, playing acoustic guitars, and jerry handley plucking his bass guitar, were seated on beds working through the backing. when they finished the captain greeted me and told me the group hadn't slept since their gig at the middle earth, the night before. the magic band kept on playing and conversation with the captain was carried on between songs.
'frank zappa and i were making a movie and decided to start a band', he explained to my questions about the origins of the magic band. 'but we didn't. i went and started with alex, and frank started a band called 'the mothers'. we recorded a song 'diddy wah diddy' which was a turntable hit in the united states, then the turntable stopped turning and we stopped doing 'diddy wah diddy' - and started realising that everything was nothing. we had a year of isolation in the desert and got ourselves together. we got high in the high desert.... the numbers on the 'safe as milk' album were written about eighteen months ago and the album has been out in america for about eleven months (no: six - t.t.). we found bob krasnow, who didn't think our music was negative. he put out the record and it did ok in the united states.'
conversation was broken by another song and then i asked the captain about the blues influence in his music. 'i was unhappy as a child - now i'm happy and growing. i like to talk, too. when i'm talking i'm practising my singing and when i'm singing i'm practising my talking. and when i'm walking i'm practising my stalking....' the captain and his magic band have appeared at the avalon ballroom and the fillmore auditorium, san francisco - 'in fact, anywhere there are ears, man'. he was impressed with london's underground centre, middle earth. 'it was one of the warmest audiences we've played to recently. when i came off the stage, i nearly broke my leg. i put my foot through the stage and saw these two green eyes shining through the floor, it might have been a rat, but man, it was really avant-garde.'
pause for another song with words about 'blue cheese face, blue cheese lace' (part of the sóng 'safe as milk' - t.t.). he told me he had written two songs about england, one with pete anders of the anders and poncia duo, fellow kama sutra recording artists, who were travelling with the magic band. 'the love imagery is fantastic. the castles, the bricks, everything is positive here - unless it's made negative. but even after we've gone, we'll still be here.... i wrote a song with pete anders. i also wrote another one called 'fifth dimensional judy'. we physically love england', added the captain.
the magic band, meanwhile were grooving along nicely and john french, their tall, mysterious drummer had come in and was beating tattoos on a case with drumsticks. 'we're making a new album - it's really far out', continued the captain. 'i hope we don't get in vogue.' the new beefheart album is still being prepared but the cover has already been planned. the album itself will be titled 'it comes to you in a plain brown wrapper' and the cover will appear to be a wrinkled brown paper envelope addressed to captain beefheart and the magic band with the wording '5,000 microgrammes tubular planes estates, glassdom'. the stamps on the envelope will bear the heads of the magic band, engraved and superimposed on to old spanish stamps. it will be a double album and the captain would like to get it mixed in england (but eventually it became the single album 'strictly personal', mixed in the usa - teejo).
he then asked me, was i going to ask him who he liked? 'alright', i replied, 'who do you like?'. said the captain: 'i like zappa, ornette coleman, anders and poncia, and penny nicholls; and dimes, and quarters, and billy'. before i could find out who billy was, the captain was away into another song with pete anders of anders and poncia, songs unlimited, throwing lyric suggestions to the captain.
after that song the captain turned to me and said: 'what i would like to say is 'let the living live, and the dying die'. that's from one of our new songs, 'you gotta trust us'. man, i'd like to have sung that in front of the immigration bureau. those customs people who were so state-ly. yeah, it's with a hyphen', added the captain leaning over my pad.
it was at this point that bob krasnow, beefheart's record producer, entered to break up the session and get the captain beefheart magic band on the road for the speakeasy. the captain was saying something about sleep but went off instead to do another interview. anders and ponica picked up where the magic band left off and i walked into the cold, sunday night, slightly dazed, slightly amazed.