CAPTAIN BEEFHEART.LICK MY DECALS OFF BABY.UK ORG.N MINT
£
53
$
70
Favourite Auctions
To save auctions to your favourites, please login
If you don't have an account, please register
Description
CAPTAIN BEEFHEART & MAGIC BAND..LICK MY DECALS OFF BABY..UK ORIGINAL.1ST PRESSING.RELEASED ON STRAIGHT RECORDS PREFEX STRAIGHT STS 1063..STS-1063-A1STS-1063-B1 RUN OF STAMPERS.RELEASED 1970.PLAYED ONCE FROM NEW!
Released 1971. Fifteen tracks, three of them instrumentals. In concert performances, instead of announcing 'the next number,' Beefheart would often preface matters by stating that he'd 'like to perform a composition...,' which frequently provoked a few sniggers in the process from those who thought he was aping some pompous classical type. In my opinion, nothing was further from the truth. Like most serious artists (on, and by the bye, if there's one single individual among you who would care to step outside and enter into prolonged and meaningful debate regarding the small matter of whether or nor Captain Beefheart constitutes a 'serious artist,' let's be having you) Beefheart was not averse to a smackerel of pomposity now and again, but here I always reckoned he was saying "Yes, these are my compositions - pay attention!"
With the instrumental pieces on this record, especially the one for Zoot Horn Rollo's solo guitar entitled "One Red Rose That I Mean," the music forces you to take it seriously, to really listen, almost more than at any other time on the album. At times during the aforementioned track the traditional UK folk music heritage is evoked alongside the Delta blues; shades of Martin Carthy popping over to Robert Pete Williams' place for a blast. "Peon," for guitar and bass duet, is darker, more intense and yet resolves itself in uncanny fashion (by no means the only composition on this record so to do) with the most gorgeous melodic finale. The other instrumental,"Japan In A Dishpan," closes side 1 of the vinyl and features breathless childlike saxophone over what a lazier reviewer than this one might deem a typically Beefheartian romp involving guitar, bass and drums.
Talking of drums, the drumming herein is astonishing; from lightning-fast dense sheet-metal thrashing and pounding to delicate brushwork (as on"The Buggy Boogie Woogie") and all percussive points in between, propelling and complimenting the other instruments in furious and inspired fashion. The liberal use of marimba throughout provides welcome tonal/atonal varieties as well as highlighting the awesome musicianship. Opinions seem to be divided as to whether it's John French or Art Tripp (or a combination of the two, individually and/or together) featured herein; you decide. The absence of a second guitar on this record as a result of Jeff Cotton's departure is in fact scarcely missed; indeed the performances of Mark Boston and Bill Harkelroad, better known as Rockette Morton and Zoot Horn Rollo, executing their leader's uncanny melodic and rhythmic exercises in syncopation on bass and six-string guitar as only they knew how, are if anything more clearly defined than on Trout Mask Replica. One thing these ears didn't pick up was the contribution of Victor Hayden (that's right, The Mascara Snake!) to this record; if he's on bass clarinet duties again, I can't hear him. Or is that him in the background on "Flash Gordon's Ape"? (That's him on the front cover though; I'd know that face anywhere.) Anyway, correct me if I'm wrong, but this would seem to be the only Beefheart recording to feature a solitary six-string guitar, and the effect on the guitar/bass balance between left and right stereo channels in the mix is most gratifying to these ears at any rate. "Got me?"
Although this record is so often linked thematically with its immediate predecessor, there are also those that would prefer to see it as a transitional album, incorporating degrees of both the free jazz influence and the more 'straight'(?) blues leanings of Trout Mask Replica and The Spotlight Kid respectively. Surely either view is a mite simplistic. This record has such character, force of purpose and individuality that it stands alone. The mood is dark and at times pessimistic, but personally I find that (a) with most Beefheart records and (b) not a problem at all. What I suspect a lot of people really latch onto in this music is the emotive aspect, the gut-wrenching sound of musicians who give a toss about stuff. For me, "Decals" has this quality as much as, if not more than, any of the other music made by Captain Beefheart, musically and lyrically:
CONDITION
This record is in near mint condition. The disc has only been played ONCE (its like just come out of a pressing plant) no scratches or general wear. The labels are in stunning condition, clear text, no unwanted writing and no wear of the spindle. The sleeve is in wonderful condition, no yellowing or ring-wear, no unwanted writing, clear text, razor sharpe spine, no splits and clear text. play graded on a project 3 turntable with no sound deterioration.super strict gradings.
THIS CONDITION WILL NOT BE SEEN AGAIN'
Check out my other items!
Be sure to add me to your favourites list!
THANK YOU FOR LOOKING
price rating
