By John "Drumbo" French
Few names hold such ambitious mystique and rabid cult prestige as Captain Beefheart, who led a number of lineups of his Magic Band to make one of the most startling, ground-breaking albums of the final century. In 1982, he retired to pay attention to portray, leaving the mythology he’d stoked himself to develop untamed over the years.
John French is healthier certified than someone to discuss Beefheart, becoming a member of the Magic Band in 1966 on the age of 17 earlier than recording their secure As Milk debut album, discovering himself plunged right into a tyrannical regime which might dominate his lifestyles for the subsequent 14 years as he performed an important position in 8 next albums, together with translating the mindblowing avant-blues attack of 1969’s Trout masks reproduction into readable tune for the Magic Band from the Captain’s piano poundings lower than torturous stipulations he likens to a cult.
Spanning approximately 1000 pages, French’s striking memoir begins with a shiny description of the rarely-documented early 60s Lancaster garage-rock scene which additionally spawned names like Ry Cooder and Beefheart’s early life good friend and later nemesis Frank Zappa, whose appearances within the booklet will enthrall his personal legion of lovers. As his spellbinding, frequently surprising story unwinds, he encounters names together with jazz enormous Ornette Coleman, Jim Morrison and Paul McCartney, writing with dry, occasionally surreal humour and disarming honesty approximately his previous boss or even himself, sometimes bringing in his outdated Magic Band comrades to jog his memory.
The publication is choked with new revelations, many previously-unseen pictures and sufficient anecdotes to maintain the Beefheart devoted ruminating for years, French eventually crystallising and bringing to existence over forty years of legend and hypothesis in what needs to be the final word publication at the mercurial genius of Captain Beefheart.
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Extra info for Beefheart: Through the Eyes of Magic
He telephoned Richard Buhlig in Los Angeles. Now in his mid-forties, praised for his performances of Bach and Beethoven, Buhlig had been one of the first notable pianists to introduce Schoenberg’s music to concert audiences. Cage asked Buhlig if he would be willing to play Schoenberg piano pieces for his lecture audience. Buhlig declined, but they became friendly. ” Cage had no piano of his own but used the grand piano at the printing shop of his Majorca friend Ward Ritchie—an old ranch house once owned by the cowboy movie star William S.
According to the dancer/teacher Bonnie Bird, the concept came to Cage around March 1939 by accident. She was choreographing Jean Cocteau’s The Marriage at the Eiffel Tower, a saucy romp to which Cage contributed such musical bits as a “quadrille that is a barn dance,” for two pianos and toy instruments. Bird wanted her dancers to come down a brass pole. Its cost proved prohibitive, but she obtained a small piece of such a pole and brought it to the studio where she was about to teach, accompanied on the piano by Cage.
Still, Xenia seems to have found Cornish sedately dull, and felt out of place. She kept in touch with the marine biologist Ed Ricketts, her former lover. “Nobody up here likes to drink the way we do,” she wrote to him. ” She did see Ricketts again.