PirateBay Download | captain beefheart amp his magic band lick my decals off bab

captain beefheart amp his magic band lick my decals off bab

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Files:: 24
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Uploaded On:: Jan. 23, 2013, 7:07 a.m.
Added By:: dickspic
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Info Hash:: E02B00428FBF32F5C4972DF3AFC0D92AC0D8E8FA

One of the The 50 Greatest Lost Albums (Uncut Magazine May, 2010) 1. Lick My Decals Off, Baby 2. Doctor Dark 3. I Love You, You Big Dummy 4. Peon 5. Bellerin' Plain 6. Woe-is-uh-Me-Bop 7. Japan in a Dishpan 8. I Wanna Find a Woman That'll Hold My Big Toe Till I Have To Go 9. Petrified Forest 10. One Red Rose That I Mean 11. The Buggy Boogie Woogie 12. The Smithsonian Institute Blues (or the Big Dig) 13. Space-age Couple 14. The Clouds Are Full of Wine (not Whiskey or Rye) 15. Flash Gordon's Ape . Gazing across pop music's stale horizons, past all the cynical ineptitude, pseudo-intellectual solemnity, neurotic regression and dismal deadends for great bands, there is one figure who stands above the murk forging an art at once adventurous and human: Don Van Vliet, known to a culture he's making anachronistic as Captain Beefheart. Though there are still lots of people around who just don't read the Cap at all, who think his music is some kind of private joke or failed experiment (or as a local teen band told me, "Most of that's the kind of stuff musicians do when they're just fucking around") or merely a porridge of noise, the appearance of Trout Mask Replica last year was a real musical event, a signal that there was finally something new in the air. And even people averse to contemporary "avant-garde" music might find in Beefheart a continuation of traditions they loved and a sensibility refreshingly healthy in these days, when so many experimental artists feel compelled to shroud their innovations in manifestations of madness and destruction. Beefheart may be verbally obtuse and look like a trasher of everything "beautiful" (or euphonious) in centuries of Western musical tradition, but what he's really doing, along with people like Cecil Taylor and Albert Ayler and the early Velvet Underground and the Tony Williams Lifetime, is creating a whole new musical vocabulary out of the ashes and dead air left by a crumbling empire of exhausted styles. Instead of destroying, Cap is taking forms with no seeming mileage left and reworking them into prophesies of tomorrow which will be as far-reaching for rock and the new free post-idiomatic music as Ornette Coleman's radical divergence was for jazz a decade ago. http://dickthespic.org/

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