We here at Split Record Review hope the beginning of your semester is going well, but if it’s not, maybe listening to Captain Beefheart and his Magic Band will give you some energy to keep grinding, specifically their 1969 classic album, “Trout Mask Replica.” While there’s not much to be said about the album that hasn’t already been written on some blog, we thought reviewing it would be an interesting way to end the month. Despite Henry and James’ similar tastes in music, will they be more optimistic or pessimistic about this piece of music history?
Henry’s Review:
While many remember the likes of Frank Zappa’s cartoonish yet poignant insanity, Captain Beefheart almost always curtails conversations about 1970’s experimental rock. Though the two musicians are inextricably linked, Beefheart’s influence is almost always vastly understated.
While the mainstream might not be as privy to “Trout Mask Replica” compared to the work of Zappa or bands like The Velvet Underground, every poor soul who’s been unfortunate to find themselves on Rate Your Music knows this record in and out. Before there were cosmic goofballs like Ween, Butthole Surfers or Primus, there was Captain Beefheart.
Immediately, the record opens with zaniness in “Frownland.” Instruments sway and swell, making sounds that can only be produced by professional musicians pretending to be novices. My mind immediately goes to the cult favorite “Philosophy of the World” by The Shaggs with its innocent and discordant whimsy.
“Dauchau Blues” features a wailing saxophone over a slightly more contained band and a spoken word outro. Beefheart’s vocals range from completely spoken to growly, low register crooning that wouldn’t sound out of place in a 1950’s blues record.
The Magic Band’s distinctive style comes from its lack of all form, choosing to forgo their formative training in rock to embrace a wall of sound like no other. “Hair Pie – Bake One” is a perfect example of this, being a nearly five-minute exercise in complete madness. A complete instrumental, each band member enters at random, playing random notes with random rhythm. There’s a strange admiration to be found in this comedic lack of caring.
“Moonlight on Vermont” most resembles a normal song — whatever that means for this group. While the Magic Band still aren’t quite moving as a unit, Beefheart’s vocals and guitarist Bill Harkleroad’s searing tone make this track infectious. “Pachuco Cadaver” gives the listener another glimpse of hope. The group spends more time playing together than at any other point up to here.
“Hair Pie – Bake Two” answers the never-asked question: “What if a jazz fusion band dropped acid before a gig?” The group plays tighter than its predecessor, but with a psychotic pep that’s impossible to put to words.
“Sugar N’ Spikes” might be one of the catchiest tracks on the record, nearly broaching the threshold of casual listening. This song could be played quietly in the background at a social gathering and only a few people would turn their heads or cock their eyebrows.
“Wild Life” sees Beefheart return to his gravelly lower register, crooning the phrase “wild life” like an old school rhythm and blues singer shouting about their troubled past. Saxophonist John French plays an intermittent solo that closer resembles a real tune than strange ramblings.
The record chugs along, ending on a strong note with “Veteran’s Day Poppy.” Harkleroad’s guitar tone is at its best on this track. This song could’ve been made bar for bar by a 1990’s math rock band and be lauded by the underground masses.
“Trout Mask Replica” is an exercise in the weird and wacky, though it doesn’t get the same praise as “Apostrophe’” or “Joe’s Garage.” Though Beefheart was a flawed man, his influence on experimental rock and jazz fusion remains unchanged, nearly 60 years after its release.
3.5 beefs out of 5 hearts
James’ Review:
“Frownland” is notorious for setting the listener up with a microcosm of madness that is “Trout Mask Replica.” The members of the Magic Band seemingly play the drums, guitar and other instruments with no awareness of each other as Beefheart spits poetry in an echo chamber. The second track is purely vocals with audible static, and while Beefheart’s voice is generally charming, I would either listen to Tom Waits do this or hear other tracks off this album instead.