Archive

Captain Beefheart

1. Bob Dylan – Hold the Fort for What It’s Worth

Dylan HTFFWIW Dragonf 2

Dylan HTFFWIW Dragonf

First released by Hoffman Avenue Records #168 in 1976

Mediocre audience recording from Fort Worth,TX, 16 May , 1976 plus one track from New Haven, CT 13 November 1975 and two from Hartford, CT 24 November, 1975.  This show appeared later from a soundboard source and is now seen as the essential Rolling Thunder Tour recording.

This was the fourth issue of this release after: 1. black & white mcv  2. black & clear splatter.  3. red & orange mcv

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2. A number of Hendrix titles

Besides the Mushroom title Good Vibes also appearing with Dragonfly labels, there was:

a. SKY HIGH! aka ‘Woke Up This Morning And Found Myself Dead’ aka ‘Jam’

Hendrix Sky High

1968 Scene club, NY jam, featuring Jim Morrison and others, taken from personal tapes stolen after his death. “Although it presents a unique setting, critics and biographers have generally found fault with the sound quality and Morrison’s performance.” states wikipedia.

“Uncertainty has for a long time surrounded both the exact date for the Scene Club recordings and the personnel featured on them. Most sources lean towards 07.03.68 as the most likely date, and personnel is believed to be Jimi Hendrix (guitar / vocals), Jim Morrison (vocals) and Lester Chambers (harp) plus two unknown guitarists, unknown bass and unknown drums. Some of these may or may not have been members of The McCoys or The Young Rascals, but neither Johnny Winter nor Rick Derringer were among them.”

Earlier releases include (the year is unconfirmed):

Sky High ! (Sky Dog SGSH 2017378 / 1972 / 1LP) [Black & White “Pirate Skull” wraparound cover]
Sky High ! (Sky Dog SGSH 2017378 / 1972 / 1LP) [Black & White “Pirate Skull” cover]
Sky High ! (Kustom Rekords SPJH 1[matrix: SPJH+1 (the letters ‘SP’ have been hand etched and the ‘JH+1+A/B’ have been stamped)] / 1972 / 1LP)
Sky High ! ([White label] [matrix: SPJH+1] / 1972 / 1LP)

Supposedly also exists as TMoQ 73031 but I have found no evidence for this beyond the quoted Hot Wacks entry.

From an eBay ad: “i have compared this album with the ‘woke up this morning and found myself dead’ album and have found the ‘sky high’ album to be far better sound quality much louder and clearer, with no editing, there are also things on this album that won`t be heard on the ‘woke up this morning’ album. there is one song on the woke up this morning’ album where it fades out, but on ‘sky high’ there are a few more seconds with the guitar volume being turned up and down giving it a delay affect on finishing. another track on the ‘woke up this morning’ album has a fade in and the ‘sky high’ album breaks straight into it and plays for a few seconds longer.”

Matrix A/1: SP JH + 1 + A
Matrix B/2: SP JH + 1 + B  

Also available as Jam:

Seller description:

A1 Red House  (Unlike other versions of Red House Hendrix used a guitar figure  similar to Cream’s Crossroads”.
B1 People People, People
B2 Tomorrow Never Knows
B3 Sunshine Of Your Love

Run Out Groove Side 1: HH Jam Side 1
Run Out Groove Side 2: HH Jam – 2

“Based on the matrix it appears that this album is from by independent,  Herbie Howard out of Los Angeles. It is in the TMOQ style with the album cover is a flimsy gatefold typical of the bootleg and is in good condition having been stored in a plastic sleeve for the last  40 years. The track listing, recording info & pictures consists of nothing more than a photocopy and is an insert that has been taped to the front of the album cover.

Hendrix Jam RE

The LP descried above, obviously a re-issue, below is the original with b&w cover (I have also seen it with a color cover but am not sure if that is an original):

Hendrix Jam

For more information: http://rockonvinyl.blogspot.de/2010/05/jimi-hendrix-with-john-mclaughlin.html


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b. SMASHING AMPS

Hendrix Smashing Amps 2

Hendrix Smashing Amps

Originally, the third ever Hendrix release on the classic TMoQ label as # 1813/ 71028:

Hendrix SAmps gree

This copy, listed as being in “superb condition (barely played)” sold for $260 in November of 2013. It should be noted that an orange copy listed as “VG” only made it to $35 two months prior, so condition is of vital importance.

Hendrix S Amps red

I do wonder who made this rare variation?

Source is the soundtrack of the concert movie Experience filmed at The Royal Albert Hall in London at the first – and “appalling” (according to Mitch Mitchell) – show (the second one was one week later but of course, that one was not filmed).

A great analysis of what is available from these shows is here: http://www.angelfire.com/hi/moku/rah.html  [Beware: pop-ups]

Hendrix RAH 69 stub

Hendrix RAH 69

Hendrix RAH CW

Young Charlie Weber stage invading at the show. Charlie has earned a place in Rolling Stones history as he and his brother Jake were used to carry “special presents taped to their bodies” for Mick’s 1971 wedding the South of France.

Charlie’s comment on the photo: “This is incredible. Of course I remember it but it was only because we’d met Jimi backstage and he’d picked me up, cool as could be and carried me around on his shoulders, so he was like a friend to a little boy, me. I don’t remember if I said anything. I think he was a little surprised at coming on the stage and he just said ‘Cool, groovy Charley’.

Charlie W Keith

Charlie (right) hanging out with Keith in the early 70s.

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3. ZAPPA & BEEFHEART – Metal Man Has Hornet’s Wings

Zappa metal man

Originally released as CONFIDENTIAL on Wizardo Records 385 and previously discussed on this blog “en detail”.

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4. Miscellaneous

I am sure there were more that I am currently overlooking – if you know of any, do leave a comment. There are probably also some false reports, like this TMoQ reissue Beatles LP, which was listed as having Dragonfly labels but I suspect it was a case of wrong disc in sleeve:

Beatles CCC

Zappa Beefh Confidential 1

Zappa Beefh Confidential disc

Source: A radio program Frank had put together by going through his archive and digging up early collaborations with the Captain.  In the LA market, the program aired on KWST-FM on 1 October 1975, the day before the album it was intended to promote was released: The live Bongo Fury LP.

From an eBay/discogs seller ad: “Released in very ltd numbers in 1976 on beautiful red splatter vinyl. Original ‘Wizardo’ Pressings were normally pressed in very Ltd No.s. (ie.100/200 – 100 on ‘Splatter Vinyl’ and 200 pressed normal.)”

Can anyone confirm these low numbers? I would think that the numbers changed depending on the status of the artist (cult vs. breaking vs. established)?

“The bootleggers have added a few tracks (the ones that seem out of place). Some of the
tracks (as indicated) have flutter-issues (slow pitch-variations).”

Track list:

A1  Metal Man Has Hornet’s Wings  – The Soots, Lead Guitar – Frank Zappa, Lead Vocals – Captain Beefheart

A2  Original Black Napkins  Lead Guitar – Frank Zappa

A3  Instrumental / The Story Of Electricity   Narrator, Performer – Frank Zappa Narrator, Vocals – Captain Beefheart – Zappa and Beefheart talking about a record company’s reaction to a demo tape, while two songs are playing in the background: “Power Trio from the Saints & Sinners” and “Bossa Nova Pervertamento”

A4  Unconditionally Guaranteed
Ensemble – Magic Band, The Voice [The Shout In Background] – Don Van Vliet

A5  Gone Behind The Sun / Mondo Hollywood  – Originally entitled “Louisiana Blues”. The first live recording of the Mothers, 1965

A6   Lightning Rod Man  Ensemble – Lowell George & The Factory Producer – Frank Zappa; 1966, has since been officially released on Lightning-Rod Man

A7   I Think My Guitar Wants To Kill Your Mama  Guitar – Frank Zappa


B1   Rock Around The Clock / Sandwich Song  Voice, Musician – Frank Zappa

B2   How Could I Be Such A Fool  – The Mothers Of Invention ca. 1965

B3   Boogie For Berkeley   – The Mothers

B4   Neon Meat Dream Of An Octafish   – Captain Beefheart And His Magic Band Originally released on Trout Mask Replica

B5   King Kong  Ensemble – The Mothers

 

Alternative track and source list:

Side 1

metal man has won his wings  [1]
black napkins  [2]
instrumental  [3] / the story of electricity  [4]
unconditionally guaranteed  [5]
gone behind the sun  [14]
mondo hollywood  [6]
lightning rod man  [7]
my guitar  [8]

Side 2

rock around the clock / sandwich song  [9]
how could i be such a fool  [10]
boogie for berkeley  [11]
neon meat dream of an octafish  [12]
king kong  [13]
speed freak boogie  [15]

SOURCES:

[1]   the soots 1963
[2]   the shrine auditorium, los angeles 1974
[3]   studio z 1964
[4]   the fm broadcast, beefheart talking over the song
[5]   captain beefheart live 1974
[6]   hollywood live 1965
[7]   the factory studio 1968 (or 1969)
[8]   the bizarre 0840 / reprise 20221 single
[9]   studio 1964
[10] studio rehearsal 1965
[11] studio 1968
[12] the “trout mask replica” lp set outtake
[13] london 1968
[14] the broadside bar, pamona, california 1964
[15] preview of the 10 lp set

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The bootleg achieved cult status within a year or two and was re-issued and copied all over the place:

usa 1976 orig. Wizardo label wrmb 365 – multi-coloured vinyl

usa late 1970s ruthless rhymes wrmb 365 on slip sheet – orange & black vinyl

usa late 1970s dragonfly records label wrmb 365 on slip sheet – black vinyl

usa 1980 unmitigated audacity records label  wrmb 365 on slip sheet stereo

usa 19?? raring records wrmb 365 on slip sheet

usa 19?? modern jazz records wrmb 365

brazil 19?? modern jazz records ebbef 4388 with “scrapmetal” sheet

Zappa wrmb-365-front

I have my doubts if this is an original Wizardo-designed slip sheet.

WRMB 337: Led Zeppelin ‘Plant Waves’ – previous review under the title link                            

WRMB 338: King Crimson ‘Groon’ – ditto

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Captain Beefheart WatBBMusic

All seen copied have the US sized Din A 4 slip sheets (216x279mm  vs Euro Din A 4: 210x297mm).

Captain Beefheart WatBBMusic detail

Captain Beefheart WatBBMusic disc

If you’ve been following the blog or you are reading all Wizardo entries in sequence, you will have already guessed that under the Wizardo law of bootleg manufacturing, this just had to be a colored wax release (although black wax copies exist as well).

The following descriptions come from Beefheart afficionados and seem much more trustworthy than any other source:

Side 1:  Suction Prints/ Golden Birdies/ Black Snake Blues/ I’m A King Bee/ Jimmy Bill’s In Town

Side 2:  Alice In Blunderland/ Abba Zaba/ Big Eyed Beans From Venus/ I’m Gonna Booglarize You Baby
“Recorded live at The Troubadour, Los Angeles on 5th(?) January 1973. This the very first Live Recording captured of THE MAGIC BAND on vinyl at their absolute finest!  The sheer speed and live dexterity of the magic band ripping thru’ their repertoire and enjoying themselves so much that Don and the Band played some bonus live Blues classics that cannot be heard anywhere else!

Original pressings were on black & red splatter vinyl  in ‘200 Copies Only’.”

“”A classic… with a basic white cover and paper insert. A great photo of Don on the front cover (from 1972?) but for some reason the song titles and names of the band are from the Knebworth Festival in 1975. Curious…”

“When I first heard this record I was a bit disappointed at the sound quality, being an audience tape. It didn’t take more than two or three listenings to appreciate the great performance that was captured on that tape. I now consider the only downside to be the wavering pitch on Jimmy Bill’s In Town. Guess the guy with the tape recorder didn’t change the batteries in time!”

Sold to the public as being from the Roundhouse, L.A. , listed on the slip sheet as being from the Roxy, L.A. on 7/16/75 but known to be from the Troubadour, LA. In 1973. With all of the literature available on the Ct. & his band, there doesn’t seem to be any consistency as far as the line-up on this recording. From what is audible on the LP there is Alex St. Clair (guitar), Zoot Horn Rollo (guitar), Rockette Morton (Mark Boston (bass and guitar?)), Ed Marimba (Arthur D. Tripp-drums) and someone I have never seen referenced anywhere, Eddie Horn (or at least that is what it sounds like in the introductions on bass.)

It is said that this disc is of particular interest because it contains the only known recording of the song Jimmy Bill’s In Town. As far as I know, it has the only recording of Old Black Snake, as well.

troubadour LA

 

“Midway through the Clear Spot tour, Alex St. Claire rejoined the Magic ranks after a five year hiatus, and this was the second show following his return. Bill Harkleroad, Roy Estrada, Mark Boston, and Art Tripp round out the Magic line-up. My particular copy sounds ok, however, the drums and bass are pretty muddy, and the dual bass attack is sadly sonically indistinguishable. St. Claire and Harkleroad, though lacking the usual Magic Band syncopation, provide really straight forward, down-home, butt kickin’ blues (listen to I’m A King Bee and Jimmy Bill’s Back In Town). Art Tripp, who was extremely well received during the introductions, was an adequate alternative to Drumbo (check out Suction Prints and Golden Birdies). The Captain was in top form, exercising his four and a half octave range and does a superb a Capella rendition of Old Black Snake. Although this line-up did nothing special on the standards (Big Eyed Beans, Abba Zaba, I’m Gonna Booglarise You), the appeal here is the sludgy blues tunes. In fact, if one didn’t know one’s Beefheart, this easily sounds somewhere between A&M and Mirror Man. One last point of interest: for some reason, Golden Birdies is listed from the 1-3 Troubadour set although its sound is consistent with the rest of the show. Methinks the Suction Prints may have been from another show because the drums and cymbals are more audible.” http://www.beefheart.com/datharp/reviews/boogajim.htm

“The rarest and most desirable Captain Beefheart bootleg ever, AFAIK. I only got a copy this year when Detlef Jurgens posted the show to Dime. Only ever version of ‘Jimmy Bill’s In Town’.” rushomancy, http://www.zappateers.com

winterland73 Capt Beefh

Photo taken by Ryk Ekedal during the Magic Band’s set supporting the Mahavishnu Orchestra at Winterland San Francisco, 31st March 1973

Some Comments:
Jim Ryan: Early January 74 (73!), Troubadour L.A. w/Martin Mull as opener for the first three nights of I think a five or six night run. Would have gone to all but had to fly home w/ Mom & Dad. What a happy accident to be in L.A. on vacation to find the Captain playing. Thanks to mom and dad for letting me stay in Hollywood, while they went south to San Diego.
Talked with Don at third Troubadour show. It seemed like he knew about me as he had chatted with a friend of mine on “Triad Radio Show” in Chicago some time between the Aragon show & the Troubadour shows. Introduced to Jan and got autograph “To Jim Love Over Gold”.
(Fireparty People)

Alan Saul: I met Jerry (Handley) while waiting in line at the Troubador in early 1973. I had a pleasant little conversation with him and don’t remember any hint of a British accent. He was living in Lancaster, had a business that had to do with cars (leasing?, maybe a body shop?, I forget now). I told him how much I admired his work on “Mirror Man” and he was pleased but modest. He wasn’t playing music at that point, because he needed to make a living. I would tend to doubt that people wouldn’t have left the band if they had been able to make a living at it! Remember that Don didn’t pay people anything – even after a little money started coming in. But Jerry greeted Don quite warmly when he arrived, and Don seemed happy to see him, though he was staggering around with a blonde to whom he referred as Captain Bottles.
Jerry had told the person at the ticket window that Don Vliet should have put him on the list, and at that time it surprised me to not hear the Van? That enabled me to discover who Jerry was, otherwise he was completely nondescript, just hanging out with everybody else in the line. I’m fairly sure that he was from Lancaster/Palmdale originally. Was he really playing with Don in 1965 though?
(Fireparty)

Alan Saul: I just wanted to relate that I met Jerry once. We were standing next to each other in line at the Troubador in 1972 or 73 until he got the tickets Mr. Vliet had left for him. Gerry Pratt had the impression that he was British, but as far as I could tell he was quite American, I presumed from the high desert. He was extremely nice, although I didn’t ask him much, mostly just complimented him on his tremendous playing on “Mirror Man” and asked what he was doing (I forget now, I think some automotive business) ….
That night at the Troubador, when Don arrived, he was staggering, supported by a tall blonde who he introduced as Captain Bottles. I didn’t catch whether her first name was Long Necked. Don proceeded to heckle Martin Mull (the opening act) mercilessly, then gave one of a series of fantastic concerts under the influence of Art Tripp, Roy Estrada, Mark Boston, and Bill Harkleroad.
(alt.fan.capt-beefheart)

Jeff Moris Tepper: I was up in the California redwoods to check out housing and schools, and I saw Don drive by in this orange pumpkin-coloured stingray and park at a Corvette dealership. I had met him in Los Angeles in ’72 during the Clear Spot tour, when we had talked and he had drawn me a picture, but I was kind of scared. I walked up to his car and went, very softly: “Don”, and he fucking jumped – hit his head on his car roof! He said: “Man, you scared the shit out of me! Hey, I know you!”. I go: “Yeah, we talked once at the Troubadour”. And he goes: “I gave you a piece of art, I don’t ever do that”. This was all within the first 10 seconds, it was really weird. Within two hours he was showing me a house next door to his that he wanted me to rent.
And so I got my housing.
(Mike Barnes: Hello Goodbye. Moris Tepper & Beefheart’s Magic Band. Mojo #51. February 1998)

Captain Beefheart Easy Teeth

Captain Beefheart ET b

a1. Hair Pie: Bake III (2:27) mis-titled ‘Flavor Bud Living’
a2. Suction Prints (5.12)
a3. Electricity (4:54)
a4. Click Clack (8:21)
a5. A Carrot Is As Close As A Rabbit Gets To A Diamond (2:07)
a6. Floppy Boot Stomp (4:23)
b1. Bat Chain Puller (6:16)
b2. Nowadays A Woman’s Gotta Hit A Man (4:52)
b3. Crazy Little Thing (3:12)
b4. When I See Mommy I Feel Like A Mummy (5:22)
b5. Owed T’Alex (4:53)
c1. I Love You, You Big Dummy (0:16) [poem]
c2. Low Yo Yo Stuff (4:06)
c3. Pachuco Cadaver (5:02)
c4. Abba Zaba (4:57)
c5. Grow Fins (7:43)
c6. Dali’s Car (1:35)
d1. China Pig (8:34)
d2. Sure ’nuff ‘n Yes I Do (3:22)
d3. Sun Zoom Spark (2:30)
d4. When You Smile (0:46)
d5. Big Eyed Beans From Venus (6:11)
d6. Golden Birdies (2:37)

Total length: 1:39:38

Line-Up:
Captain Beefheart/Don Van Vliet: vocals, tenor saxophone, soprano saxophone,
bass clarinet
Eric Drew ‘Black Jew/Kitabo’ Feldman: bass guitar, keyboards, synthesizer
Robert ‘Wait For Me’ Williams: drums, percussion
Jeff ‘Tapir/White Jew’ Moris Tepper: guitar, slide-guitar
Feeler’s Reedo/Walla Walla/Denny Walley: guitar, slide guitar
Harry Duncan: harmonica
Paul ‘Eazy Teeth’ Young: vocals (on: When You Smile)

From “Glass Finger’s Big Bad But Beautiful Book of Beefheart Bootlegs – Volume #1” (Apocalypse) / 1994 :
Easy Teeth on Impossible Recordworks 2-27 (of Légerdemain, usa!). Recorded February 18th 1978 at the Golden Bear, Huntington Beach, California, USA – “A two-records set”. Stereo – US(?) bootleg with deluxe b+w cover with Don Vliet sitting on a sofa in sunglasses on the front cover. Nice black on yellow labels with spiral pattern. Has band line up. The sound of this is not particularly good, muffled and bass-y, so I guess it is a poor “audience recording” [rated ‘Gm’ in Hot Wacks, yet when shared on a live recordings only torrent site it was described as “Clear-sounding and powerful performance, excellent recording, Quality: 8,5/10 – so take your pick”]. It does feature a great amount of “audience participation” which Beefheart appears to enjoy in a sort of “might go out of control any minute” kind of way. He attempts to calm them down by reciting short sections of song lyrics between tracks – giving them a bit of “Big Dummy” and “China Pig”. Then he tries to elicit some sympathy from them with “they put these damned lights on me and give me no water!” and tells them about once meeting Roland Kirk in the middle of the night out looking for “ribs” and advising him to try “the bible”. Before Owed T’Alex he tells them, in a good-natured way, how it is about Alex Snouffer and his tendency to “blame everything on his motorbike” while after Electricity he says “that song is twenty years old… it’s a square dance… that’s right… it’s a dance for squares”. At the end of one song he suddenly finds that Bruce Fowler is in the audience! – he then introduces him to the crowd who, being American of course, start to whoop excessively, and then Beefheart tries to convince Bruce to join them on stage and play, vaguely asking someone in the audience or off-stage “do you have a trombone?”. The show as per usual ends with Big Eyed Beans From Venus but they return for an encore of Golden Birdies to more wild whooping.”

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A few listener comments from the above mentioned torrent site:

“I’m afraid that would be me opening side two with a hearty and frenzied shout of ‘FREE BAT CHAIN PULLER!” ”

“i was there! i talked to him for about two hours after the show – one of the high points of my life. my hero…”

“The Captain & Gang seem to be enjoying themselves here, as am I while listening”

“Thx! This one’s really good!”