The Legends of Lancaster (California) converge. Two albums Produced by Frank Zappa are registered with the National Preservation Board (Library of Congress). This is one. Note: We here at UMRK determined that the TMR Master was damaged somewhere in the years of it's return orbit. The Vaultmeister created almost in its entirety a new Master from our own Vault safety copies. And as if that wasn't enough chocolate for your Sunday sundae, we had Bob Ludwig remaster the Work for you. What you now have available to you is the definitive TROUT MASK REPLICA. Be the judge. Be the jury. Be the bongo. Be the fury!!!
An unprecedented project in the rock field: a five-CD box set of unreleased material by a cult artist that never had anything close to a chart hit. Of course Captain Beefheart is the ultimate cult artist, and one with a following so rabid (if limited) that the compilation has a wider audience than many would anticipate. Despite the impressive chronological span and variety of demos, live performances, backing tracks, and outtakes, be cautioned that this is not a best-of or ad hoc career overview. A good deal of the tracks (some of which have long been available on bootleg) are of slightly substandard or low fidelity, and Beefheart's most significant work is ultimately contained on his numerous official releases.
A long-lost Captain Beefheart album is to finally be released, on what would have been Don Van Vliet's 71st birthday. Bat Chain Puller was recorded in 1976 but shelved later that year, due to a dispute between Frank Zappa and his former manager, Herb Cohen. Bat Chain Puller was originally intended to be the follow-up to 1974's maligned Bluejeans & Moonbeams, after Vliet recruited a new band. Zappa produced the sessions, and tracks like Owed t'Alex and The Floppy Boot Stomp made it all the way to Beefheart's label, Virgin, as well as several journalists. Unfortunately that's as far as things got. When Zappa sued Cohen, Bat Chain Puller was caught in the litigation and the album was shelved. Although many of Bat Chain Puller's songs were re-recorded for subsequent Beefheart releases, the original record has only been available among fans, as a popular bootleg.
3x RADIO BROADCASTS ON 3 CDs - CAPTURING DIFFERENT ERAS OF THE CAPTAIN S CAREER Noted for his powerful singing voice with its wide range, Van Vliet also played the harmonica, saxophone and numerous other wind instruments. The group drew attention with their cover of Bo Diddley's "Diddy Wah Diddy", which became a regional hit. It was followed by their acclaimed debut album Safe as Milk, released in 1967 on Buddah Records. The first disc in this set concentrates on this period of Beefheart s career, featuring a radio broadcast of a live performance at The Avalon Ballroom in 1966, and a number of other tracks from various radio sessions from 1967 and 1968. By 1974, six albums in and frustrated by a lack of commercial success, Beefheart released two records of more conventional rock music that at the time were critically panned.
On November 11, Rhino Records will celebrate the music of avant-garde iconoclast Don Van Vliet, a.k.a. Captain Beefheart, with a new four-CD box set. SUN ZOOM SPARK: 1970 to1972 focuses on the period following the release of his career-defining 1969 album Trout Mask Replica. During that creatively fertile patch, Beefheart released three albums that have long lingered in the shadow of Trout Mask and even of Beefheart’s Richard Perry-produced debut Safe as Milk. SUN ZOOM SPARK revisits these three albums – Lick My Decals Off, Baby, The Spotlight Kid, and Clear Spot- in freshly remastered editions, and adds a fourth disc containing fourteen previously unreleased outtakes and alternates from Beefheart and his Magic Band cohorts. Housed in a 7½ x 7½ picture box - still sealed in stickered shrinkwrap.
Fan Made Release - Not For Sale! Mono LP transfered & mastered by Prof Stoned. Mindblowing music from Captain Beefheart & The Magic Band – a record that's got plenty of garagey grit at the core, but which also has a heady freak rock vibe overall! The 1967 album really captures this perfect moment – one when so many artists like Don Van Vliet had their feet in older rockish modes, but were really tripping out with new ideas – able to get nice and freaky in the course of a short tune, yet still never lose a groove that really helped send the music home! In other words, there's nothing too hippieish about the record, and nothing that's ever too self-indulgent – yet the blend of organ, guitar, and drums is completely mindblowing – and as revolutionary today as it was back then.