Artist of The Week | Don Van Vliet ‘Dragon Gown' 1989

Don van Vliet

"Dragon Gown", 1989

Oil on canvas

148 x 122 cm / 58.25 x 48 inches

Captain Beefheart and the Magic Band

Painting of the Day | Don Van Vliet - “untitled” 1990

Don Van Vliet 

“Untitled”, 1990

India ink, gold pigment on paper

20 x 14 1/4 inches

courtesy of :

Captain Beefheart and the Magic Band

 

Captain Beefheart & His Magic Band Safe As Milk - 'Safe As Milk' (Take 5) [1967]

Safe As Milk (Take 5) (Bonus)
Captain Beefheart & His Magic Band
Safe As Milk [1967]SAFE AS MILK (TAKE 5)
CAPTAIN BEEFHEART & HIS MAGIC BAND

[SAFE AS MILK, 1967]

 

https://www.tumblr.com/jt1674/774193905638031360/captain-beefheart-his-magic-band-shes-too

John French memorial tribute to ELLIOT INGBER (John’s Facebook page)

After Gary Lucas shared the news of the death of guitar legend Elliot Ingber (Beefheart's Winged Eel Fingerling) comes this wonderful tribute and memory from Magic Band drummer John French

Winged Eel Fingerling.

"Sad news today: Elliot Ingber just passed away. I first met Elliot a few days after Ry Cooder quit the band in June of 1967 after the Mt. Tamalpais Fantasy Fair incident. Don Van Vliet and I went to the famous “Log Cabin” on Laurel Canyon Blvd. There was a party going on, but we went into a room there that I think was Miss Christine’s room. It was filled with amps and drums, and a guy who looked a great deal like King Neptune was playing lead. Don and Elliot were already acquainted, apparently. The band was “Fraternity of Man.” Elliot asked Don to sing and invited me to sit in on drums. Don chose Howlin’ Wolf’s song “44 Blues.” Elliot was a lover of the blues, as I later found out. I had never played the song before, but I had heard it, so was able to fake my way through it. Don sang with his usual gusto. I only wish he would have had that same commitment when we had played the Fantasy Fair, as the audience would have been knocked off their feet. Instead, he freaked out and left the stage in the middle of “Electricity,” the first planned piece of the show. As a result, Ry quit the band a week before the Monterey Pop Festival, at which we were scheduled to perform.

After jamming, we and Elliot left the rehearsal room for a few minutes to discuss Elliot replacing Ry as the guitarist. I didn’t see how this could work even then, as Elliot was not at all a slide guitarist, as far as I could tell. He was more of a standard flat-picker whose repertoire contained a catalog of blues far beyond my knowledge. He had a very powerful sound that was all his own, but it didn’t seem to fit in at all with the “Safe as Milk” band.

My next encounter with Elliot was when his band opened for us in a small club in Studio City. We had, by this time, replaced Ry with guitarist Jerry McGee, and it was, as I recall, our first time performing with him. It was July 17th, as I recall, as Victor Hayden (The Mascara Snake) walked up to Don at the entrance to the club and told us that John Coltrane had passed away. My first thought was that perhaps he should have waited until after the performance to announce this sad NEWS, as Don was already going through horrible anxiety attacks and psycho-somatic symptoms that he thought were heart attacks.

I remember listening to part of “Fraternity of Man’s” set and hearing a song called “Pot’s Legal,” that seemed to be a prophecy that came true several decades later. There wasn’t anything that thrilling about what I heard, but they certainly seemed committed to their performance.  Later, when we performed, I swear that I saw Pamela Miller ( “Miss Pamela” of the GTOs) dancing under a strobe light that captured still-motion views of her various moves. Not sure, however, if it was her, but memory is sometimes tricky.

For a long time, I didn’t have any contact with Elliot. I did go see a movie with a friend of Miss Pamela’s whose name was Beverly. The movie was entitled, “I love You, Alice B. Toklas.” It contained a scene in which a straight lawyer got turned on to marijuana when he unknowingly ate pot-laced brownies. Later, his hippy girlfriend invites several freaks to his apartment and he comes in to find them all sitting around. One of the freaks was Elliot Ingber, who was sitting on a counter in the bathroom, meditating. I later asked him about this, and he said, “Oh yeah, I was a “Rent-A-Freak” in that….

It wasn’t until after “Lick My Decals Off, Baby,” was recorded that I was suddenly part of Elliot’s world again. He had a bit of success with the country parody “Don’t Bogart that Joint, My Friend,” when it was used as part of the soundtrack in the movie “Easy Rider.” He had rented a little place on Santa Monica Blvd., across the street from all the X-Rated bookstores and theatres.  It was a two-story duplex and the entrance was behind a small mom and pop grocery store. At first, he lived on the top, as I recall, and then later underneath. He had a sports car that was no longer running that was stashed in a corner under a tarp. The door led through a small service porch and into the kitchen. The living room was, well, different, as he had covered the entire floor which what seemed to be 4” foam rubber and covered that with carpet. He explained to me that this was to pad him from the concussion of walking – or something to that extent. He had a little record player and a ton of albums, mostly blues records and seemed to me to be a bit of a recluse. There was a bulletin board covering a window that had various posters etc., and one was a poster from the fifties that said, in large bold letter, “DON’T BUY NEGRO RECORDS,” with finer print that explained the sexual implications of the lyrics were degrading our youth.

At this time, Elliot became the sixth member of the band. I never really understood Don’s motivation for this, as most of the music on “Lick My Decals” was NOT simple blues, but very complex polyrhythmic pieces that constantly changed direction, which Elliot did not seem to be able to grasp at all. Since Elliot didn’t have a car, I was elected as the one to serve as his driver to and from rehearsal which at the time, was in the Trout House in Woodland Hills.

Later, rehearsals were moved to the Warner Brothers sound stages in Burbank. Usually, Don would show up late and he and Elliot would sit around singing and playing old blues songs, so there was hardly any actual rehearsal getting done.

One night, Elliot had an epiphany of sorts, and suggested combining the intro to Mirror Man, and combining that with the intro to “Clouds are Full of Wine” to create a backdrop for a piece of poetry Don had written called “Those Little Golden Birdies.” Don objected, “I don’t know if I really want that music broken up like this.” Elliot insisted,  “No, no, just TRY it, man!” Elliot became very assertive, but it was obviously from a place of inspiration, not intimidation. He directed the group and marked the spots where Don should pause and cued the band in with total abandon and motivation. History would see this become one of the pieces on “Clear Spot.”

One night, when fires were raging in the San Fernando and Simi Valley’s we were up at Don’s house ( he had moved out of the Trout House and across the canyon road) and I listened as Elliot, with the same enthusiasm, described a short commercial for “Lick My Decals Off, Baby.” He started by saying, “Gotta get the Ginsu Knife guy to do the voice.” Then, he described, in detail, the film. “Start with a shot of a plain doormat and the words ‘in Tustin, it’s Rockette Morton,” … etc. He described the whole film to Don, who then got the funding to actually produce it.

Later, we toured as a six-piece band, and I shared a room with Elliot, but we had a dispute because I was really worried about getting busted for pot, which he seemed to always have with him. Back then, in 1971, it was considered a much more serious crime, a Felony in many states. Sadly, he left the tour in the middle, and I always thought that maybe our clash had something to do with that. Elliot flew home after Wilkesbarre, Pennsylvania as I recall. Later, he rejoined us at the Spotlight Kid sessions, playing a blistering and extended solo on “Alice in Blunderland.” My friend, Henry Kaiser, a big fan of Elliot, said that they actually edited the MASTER tape, so most of Elliot’s solo wound up on the cutting room floor. A foolish move, as it could have been later released in it’s entirely. It was one of the free-est moments in Beefheart’s archives. We also created a song in the studio, “I’m Gonna Booglarise Ya, Baby,” which was initiated by Elliot just playing a riff in the studio.

Elliot was in and out of the band. My next encounter with him was the 1975 tour – where Don, after experiencing a lot of criticism for his commercial attempts ( Unconditionally Guaranteed and Bluejeans and Moonbeams) decided to return to his roots. Elliot and Denny Walley were the guitarists, Bruce “Fossil” Fowler played “air-bass.” After nearly a seven-week tour of Europe ( the last half in the U.K.), Elliot left, not wanting to learn the new material, which was really not his forte anyway.

Over the years, I’ve had a few phone calls from him. One time, I told him I was writing music on my computer. He responded, “Hey man, you know about the boxes?” Another time, he wanted me to look up some stuff on the internet concerning past due royalties he may be due. The last time I spoke with him was about three years ago. I wanted to send him a copy of my unfinished album. “No, man!” he replied, “Not enough room on the hard drive.” I took it to mean that he had too much going on in his life to insert anything else. I was disappointed, as I really wanted him to hear it.

Through all his quirks and inconsistencies, I really appreciated Elliot’s soul a great deal. He had artistic inspirations that I thought were brilliant, which were attributed to Don Van Vliet. It never bothered him when I brought it up. “I got it for free, so I gave it for free.” seemed to be his mantra concerning these things.  Elliot, now you’re free. No one knows where the door leads through which you exited this life, though we all have our beliefs. I choose to believe you’re in a good place Elliot. R.I.P."

John French

Winged Eel Fingerling described thus : "a chrome black eyebrow / rolled out real long” + "a paper brow magnifying glass / fried brown, edge scorched, yoked / like a squeak from a speaker / behind forehead of the time.” Captain Beefheart

Elliot Ingber from Beefheatr.com | The Radar Station

News of Elliot Ingber passing from Gary Lucas +

Dee D. Hope - California Surfer  (Elliot on guitar . . . of course!)

"Last Call for Alcohol" Fraternity of Man, June 1968

"Don't Bogart That Joint" Fraternity of Man, released June 1968

Sad News just in from Gary Lucas’ Facebook page - RIP ELLIOT INGBER [Captain Beefheart alum Winged Eel Fingerling]

 Now we have lost Winged Eel Fingerling . . . . . . 

No B.O. for this boy

it's like a winged eel fingerling

crawling thru lime jello

it's like a chrome black eyebrow

rolled out real long

a paper brow magnifying glass

fried brown, edge scorched, yoked

like a squeak from a speaker

behind forehead of the time

licorice schtick open tube

of valuable JuJuBees

--poem and drawing below of Elliot Ingber by Don Van Vliet,
on the back cover of "The Spotlight Kid" (1972, Warners)

Captain Beefheart and The Magic Band - Alice in Blunderland (Spotlight Kid)

Elliot at The Radar Station

Elliott Ingber - No, Excuse Me

Elliot Ingber - THE THE THE THE  [The 4)

Captain Beefheart & The Magic Band | Flavor Bud Living - performed by John French (Bat Chain Puller original)

John French posted this to his facebook page The Drumbo Club and I mistakenly thought it was Bill (Harkleroad) from the original Bat Chain Puller but it is in fact John himself as he corrected me it seemed only polite to post it again here

For anyone who didn’t know one of our master percussionists also transcribed most of the extent Beefheartoan music early on, to his playing guitar here,  pin back your ear holes. This is truly lovely!

Flavor Bud Living by John French

The Drumbo Club

John said “I ran across this tribute to Don on another wall and thought I'd share it as it also contains the original "Flavor Bud Living" from the original Bat Chain Puller album.” John French

Christmas loomed larger than we might have expected in the Beefheart household

Don Van Vliet  

"Riding Some Kind Of Unusual Skull Sleigh", 1987

Oil on canvas.

147 x 122 cm / 57.75 x 48 inches

CAPTAIN BEEFHEART - There Ain't No Santa Claus on the Evenin’ Stage 1972

Captain Beefheart Live in Manchester 1974 : FULL MOON HOT SUN

 CAPTAIN BEEFHEART

and THE TRAGIC BAND

so called

Now I have said (here prolly ) that I have bought and owned as much of Beefheart's output as I could ever find (official and unofficial) and this leads up to and includes the Magic Band on their own and Mallard too, band members separately as well, so am something of a completist, as to the Don Van Vliet creative output (including his paintings) 

It therefore comes as no surprise to find I am something of an apologist for the so called ‘tragic’ band formed hurriedly less than a year after I saw the Cap’n and the band in what I consider their finest incarnation the UK tour of ‘73

Don’t get me wrong I appreciate the hardcore fans who HATE this incarnation and I DO get it . . . . I just don’t agree. Quite. 

I was such a fan at the time I thought the 'love over gold' time of his romantically trying be more ‘successful', to make more money (sic?) and get hits post the Magic Band leaving him after the depths of his bullying and abuse which all the then band members faced (sic John French and Bill Harkleroad separate published accounts serve as public record) I thought Bluejeans and Moonbeams a delight, Unconditionally hilariously fun, I found Same Old Blues (JJ Cale cover) and that ilk a sheer delight and still do too. The signs were always there that Don would sing about the opposite sex whether in a horny sexual way (Sun Zoom Spark, Big Eyed Beans, Crazy Lil Thing, Long Necked Bottles to My Head is My Only House Unless It Rains, Peaches,  etc)

Here in mitigation I present the band in 1974 in Manchester and with Del Simmons on sax and the band rocking their very best to keep up, I maintain they did their very best to match and back the Captain. You may disagree and you are welcome to but I ask nay plead that you pause a moment and suspend your judgement as we revisit Full Moon Hot Sun!

The poster on YouTube slydogmania says :

Brilliant live footage of Captain Beefheart and his Magic Band in full cry, performing Full Moon in 1974 at Manchester. There are no half-measures here, an outstanding rhythm section laying down solid groove behind Beefheart wailing on harmonica and one out-of-this-world saxophonist. An enigmatic, mysterious and troubled artist, the whole band walked out on Beefheart at some point, but in terms of sheer artistry, this performance provides ample evidence of a legacy characterised by unique greatness.

Frankly I agree! 

in addition I add :

Barely a year after we saw them at Oxford Poly 2/05/1973 when it was the classic line up of John, Mark, Bill, Ed (and possibly Orejon on bass who I do not name as he is now a convicted pedophile serving life ) 

Featuring Del Simmons on sax with a towering solo (IMHO) here . . . .

• Robert 'Fuzzy' Fuscaldo – guitar
• Dean Smith – guitar
• Del Simmons – saxophone; flute
• Mike Smotherman – keyboards; vocals
• Paul Uhrig – bass
• Ty Grimes – drums

Friday mewsics | CAPTAIN BEEFHEART : ‘Click Clack’

Click Clack  Click Clack . . . .

About as straight a ‘My baby done left me on that evenin’ train’ blues as the Captain would ever get!

Gorgeous stuff

Have a great Friday all y’all!

Captain Beefheart and the Magic Band in Paris, 1980

 So to make up for that truly dreadful version of Orange Claw Hammer with Frank Zappa strumming along easy listnin’ stylie! we will have some pure Cap'n

 

Captain Beefheart and the Magic Band - 7 NOV 1980 - Théatre De L’Empire, Paris

Don Van Vliet - vocals, harmonica, sax

Jeff Moris Tepper - guitar

Richard Midnight Hatsize Snyder - guitar

Eric Drew Feldman - bass, synthesizer, mellotron, piano

Robert Arthur Williams - drums

Gary Lucas - guitar*

Intro 0:00

Nowadays A Woman's Gotta Hit A Man 0:18

Best Batch Yet 3:43

Dirty Blue Gene 8:47

Safe as Milk 12:42

Flavor Bud Living* 16:33

Bat Chain Puller 17:47

Big Eyed Beans From Venus 22:58

Captain Beefheart and his Magic Band - Hot Head, on SNL 1980/ Ashtray Heart SNL 22/11/80 (intro Malcolm 'Lil Alex’ McDowell)

 Meanwhile some time even later on a Saturday night in downtown Brooklyn, Rockefeller Plaza . . . . . .

go on click it anyway . . . click clack

Captain Beefheart and his Magic Band - Hot Head, on SNL 1980. 

Also of note is Malcolm McDowell hosting that night . . . . EXTRAORDINARY!

She can burn you up in bed
Just like she said
Cos she’s a Hot Head, Hot Head, Hot Head

She can throw uh pot t’show(?)
She can start a fire aglow
Cos she’s a Hot Head, Hot Head, Hot Head

She puts her head into the fire
Makes you red hot perspire
Cos she’s a Hot Head, Hot Head, Hot Head

She was burnt before she was born
Burnin’ up a storm
Cos she’s a Hot Head, Hot Head, Hot Head

Lick out like flame
‘n’ burn you to a shame
‘n’ bite the burnin’ flame

Things are burnin’ big
She’s a red hot pig
She’s a hobo wire toaster
She’s a circle on a spit

She’s a Hot Head, Hot Head, Hot Head

She can stitch you to a wheel
Take you to her fire
‘n’ spin you round ‘n’ round
Boy, you take you down

Fire Fire Fire

She’s a Hot Head, Hot Head, Hot Head

Burn you up in bed
Just like she said
Cos she’s a Hot Head, Hot Head, Hot Head

She can lick out like a flame
Burn you to a shame
Yeah, bite a burnin’ flame

She can burn you up in bed
Coil you up instead
Cos she’s a Hot Head, Hot Head, Hot Head

She can throw uh pot t’show (?)
She can start a fire aglow

(1980)

Based on lyric sheet from the Japanese release of Doc at the Radar Station. Amendments by Steve Froymendments by Steve Froy

go on click it anyway . . . Webcore, webcore

The second performance from Captain Beefheart and the Magic Band from 22nd November 1980, Ashtray Heart off Doc at the Radar Station 

You used me like an ashtray heart
Case of the punks
Right from the start
I feel like a glass shrimp in a pink panty
With a saccharine chaperone
Make invalids out of supermen
Call in a “shrink”
And pick you up in a girdle
You used me like an ashtray heart
Right from the start
Case of the punks
Another day, another way
Somebody’s had too much to think
Open up another case of the punks
Each pillow is touted like a rock
The mother / father figure
Somebody’s had too much to think
Send your mother home your navel
Case of the punks
New hearts to the dining rooms
Violet heart cake
Dissolve in new cards, boards, throats, underwear
Ashtray heart
You picked me out, brushed me off
Crushed me while I was burning out
Then you picked me out
Like an ashtray heart
Hid behind the curtain
Waited for me to go out
A man on a porcupine fence
Used me for an ashtray heart
Hit me where the lover hangs out
Stood behind the curtain
While they crushed me out
You used me for an ashtray heart
You looked in the window when I went out
You used me like an ashtray heart.

(1980)

Some of the lyrics as written out by Don:

Thanks as ever n always to The Radar Station

This just in from the legendary INTERNATIONAL TIMES : SON OF DUST SUCKER

 CAPTAIN BEEFHEART - 1010th Day Of The Human Totem Pole

Captain Beefheart - Topic

International Times

ROCKETTE MORTON - this from the Captain Beefheart and The Magic Band facebook page

 Nice entry on one of my very favourite bass players bar none . . . . . . Mark Boston

Rockette Morton, Drumbo, Zoot Horn Rollo, Antennae Jimmy Semens and The Captain!

Mark Boston aka Rockette Morton on joining Captain Beefheart and His Magic Band in late 1968: 

'From the get-go, I had to start learning that really complicated, bizarre music. But I recognized it as a true art form. And I really wanted to be a part of it. That's why I stuck with it, even though it could get unbearable, some of the crap we had to go through with Don. I wouldn't call it mind control. He was just domineering, and everything had to be his way.

But he was right-on. Everything he did was creative. I even helped him with some of his paintings -- mixing the paints, keeping the brushes clean, and changing the easel. He would go out to the yard and do a bunch of new ones.

When we were practicing, John (French) took over as musical director. Don would ramble on the piano for hours, and John would stand over him with a notepad. Don always came up with interesting patterns and rhythms, and John would sit there and jot it down, because he was good at music notation. He had to sit down and teach the parts to each one of us. Then we would practice on our own. We had a little shed out back for a laundry room, and we would take turns going there to practice. Then we would all come together and try to play the songs.'

'Wisdom from a Beefheart bassist'.

Mark Boston aka Rockette Morton Interview by Austin Woods

(December 2023)

'Perfect Sound Forever recently spoke to him about recording Trout Mask Replica, as well as his time in Mallard (a short-lived group made up of former Magic Band members), and his own solo work.' 

Mark Boston: 

"Anybody that's got a chance to do something different from everybody else -- do it. Work at it. It takes a lot of work, and you've got to be determined. But I think music is a good thing. The gift of humanity is art... (Art) is the universe expressing itself. That's the way I see it."

Captain Beefheart and The Magic Band - Facebook page

Rockette Morton is FURIOUS!!

 Well that’s a weird day and couldn’t find anything from any of the sites I visit that was new!? Where is everybody?

All on a break? Half term? Holidays? . . . . still, time for a catch up on some piccies maybe and if I find some music along the way I’ll let ya know!

Jimmie Rodgers - The Singing Brakeman

Paul and Heather on holiday in Portugal (prolly taken by Linda)

Grace and Spenser Dryden Golden Gate Park SF 

copyright the legendary photographer Jim Marshall 1967

Wonder what the atmosphere was like? A rare photo of George dropping in to see his ex with Eric and the guys! George Harrison visiting Pattie Boyd and Eric Clapton at Hurtwood Edge with Jenny Boyd and Carl Radle, late 1974. Ahem!

Linda and Paul strutting their London stuff - happy days, glad he’s found those happy days again!

Blind Willie McTell in case you wondered what he looked like

We miss these guys and if ever we were in need of the peacemakers its now!

Jim Morrison in Griffith Park, Los Angeles. 1969

Oor Wullie

Bob [‘Alias'] on set with Sam Peckinpah - Pat Garrett and Billy the Kid

More Alias

Frank!

my favourite line up of Captain Beefheart and the Magic Band - Art Tripp III, Captain, Mark Boston, Bill Harkleroad, John French. 

We featured Paramore t’other day and this is their singer and founder and really only constant member Hayley Williams, in action - we like her!

more Hayley in Paramore

Tom Waits by perhaps my favourite rock photographer and fellow artist Anton Corbijn, Santa Rosa, 2004. 

As per usual, if you own the picture and want a copyright tag or acknowledgment just drop by and let me know, happy to credit (or remove if you must insist!?) just don’t be threatening with Web Sherriffs and Marshalls and all! It’s demeaning!