Talk:Trout Mask Replica - Revision history

Jason.Kreitzer at 19:51, 10 October 2021

2021-10-10T19:51:32Z

Jason.Kreitzer at 19:34, 10 October 2021

2021-10-10T19:34:50Z

Jason.Kreitzer at 19:07, 10 October 2021

2021-10-10T19:07:38Z

Jason.Kreitzer at 19:07, 10 October 2021

2021-10-10T19:07:05Z

Jason.Kreitzer at 21:44, 18 July 2021

2021-07-18T21:44:43Z

Jason.Kreitzer at 23:25, 17 July 2021

2021-07-17T23:25:18Z

Spider of Destiny at 20:57, 26 October 2020

2020-10-26T20:57:03Z

Spider of Destiny at 20:54, 26 October 2020

2020-10-26T20:54:05Z

Maroual: /* An FZ-produced TMR single 'In France!' */

2011-02-13T16:56:03Z

An FZ-produced TMR single 'In France!'

Tonefish: /* An FZ-produced TMR single 'In France!' */ single, looking to share ;)

2011-02-09T00:17:34Z

An FZ-produced TMR single 'In France!': single, looking to share ;)

@@ Line 79: / Line 79: @@
 ==Liner Notes==
-'Glass finger guitar' suggests the [[bottleneck]]etc
+'Glass finger guitar' suggests the bottleneck etc
 *'''Comment:''' "suggests"?  Is this an actual Liner Note?

@@ Line 259: / Line 259: @@
 '''What Zappa said of the album and working with Beefheart;'''<br>
-<blockquote>"...The high point of our relationship (according to [[wikipedia:Rolling Stone|Rolling Stone]] -- and aren't they some kind of authority on these matters?) was making the [[Trout Mask Replica]] album together in 1969. Don [van Vliet] is not technically oriented, so, first I had to help him figure out what he wanted to do, and then, from a practical standpoint, how to execute his demands. I wanted to do the album as if it were an anthropological field recording -- in his house. The whole band was living in a small house in the San Fernando Valley (we could use the word cult in here). I was working with [[Dick Kunc]], the recording engineer on [[Uncle Meat]] and [[Cruising With Ruben & The Jets]]. To make remote recordings in those days, Dick had a Shure eight-channel mixer remounted in a briefcase. He could sit in a corner at a live gig with earphones on and adjust the levels, and have the outputs of the briefcase mixer feeding a Uher portable tape recorder. I had been using that technique with the [[M.O.I.]] for road tapes. I thought it would be great to go to Don's house with this portable rig and put the drums in the bedroom, the bass clarinet in the kitchen and the vocals in the bathroom: complete isolation, just like in a studio -- except that the band members probably would feel more at home, since they were at home. We taped a few selections that way, and I thought they sounded terrific, but Don got paranoid, accused me of trying to do the album on the cheap, and demanded to go into a real recording studio. So we moved the whole operation to Glendale, into a place called Whitney, the studio I was using at that time -- owned by the Mormon church. The basic tracks were cut -- now it was time for Don's vocals. Ordinarily a singer goes in the studio, puts earphones on, listens to the track, tries to sing in time with it and away you go. Don couldn't tolerate the earphones. He wanted to stand in the studio and sing as loud as he could -- singing along with the audio leakage coming through the three panes of glass which comprised the control-room window. The chances of him staying in sync were nil -- but that's the way the vocals were done. Usually, when you record a drum set, the cymbals provide part of the 'air' at the top end of the mix. Without a certain amount of this frequency information, mixes tend to sound claustrophobic. Don demanded that the cymbals have pieces of corrugated cardboard mounted on them (like mutes), and that circular pieces of cardboard be laid over the drum heads, so Drumbo [ [[John French]] ] wound up flogging stuff that went "thump! boomph! doof!" After it was mixed, I did the editing and assembly in my basement. I finished at approximately 6:00 A.M. on Easter Sunday, 1969. I called them up and said, "Come on over; your album is done." They dressed up like they were going to Easter church and came over. They listened to the record and said they loved it. The last time I saw Don was 1980 or '81. He stopped by one of our rehearsals. He looked pretty beat. He had gone back and forth with some contracts at Warner Bros., and it just hadn't worked out. I suppose he is still living in Northern California, but not recording anymore. He bought some property up there -- someplace where he could see whales swim by.
+<blockquote>"...The high point of our relationship (according to [[wikipedia:Rolling Stone|Rolling Stone]] -- and aren't they some kind of authority on these matters?) was making the [[Trout Mask Replica]] album together in 1969. Don [van Vliet] is not technically oriented, so, first I had to help him figure out what he wanted to do, and then, from a practical standpoint, how to execute his demands. I wanted to do the album as if it were an anthropological field recording -- in his house. The whole band was living in a small house in the San Fernando Valley (we could use the word cult in here). I was working with [[Dick Kunc]], the recording engineer on [[Uncle Meat]] and [[Cruising With Ruben & The Jets]]. To make remote recordings in those days, Dick had a Shure eight-channel mixer remounted in a briefcase. He could sit in a corner at a live gig with earphones on and adjust the levels, and have the outputs of the briefcase mixer feeding a Uher portable tape recorder. I had been using that technique with the M.O.I. for road tapes. I thought it would be great to go to Don's house with this portable rig and put the drums in the bedroom, the bass clarinet in the kitchen and the vocals in the bathroom: complete isolation, just like in a studio -- except that the band members probably would feel more at home, since they were at home. We taped a few selections that way, and I thought they sounded terrific, but Don got paranoid, accused me of trying to do the album on the cheap, and demanded to go into a real recording studio. So we moved the whole operation to Glendale, into a place called Whitney, the studio I was using at that time -- owned by the Mormon church. The basic tracks were cut -- now it was time for Don's vocals. Ordinarily a singer goes in the studio, puts earphones on, listens to the track, tries to sing in time with it and away you go. Don couldn't tolerate the earphones. He wanted to stand in the studio and sing as loud as he could -- singing along with the audio leakage coming through the three panes of glass which comprised the control-room window. The chances of him staying in sync were nil -- but that's the way the vocals were done. Usually, when you record a drum set, the cymbals provide part of the 'air' at the top end of the mix. Without a certain amount of this frequency information, mixes tend to sound claustrophobic. Don demanded that the cymbals have pieces of corrugated cardboard mounted on them (like mutes), and that circular pieces of cardboard be laid over the drum heads, so Drumbo [ [[John French]] ] wound up flogging stuff that went "thump! boomph! doof!" After it was mixed, I did the editing and assembly in my basement. I finished at approximately 6:00 A.M. on Easter Sunday, 1969. I called them up and said, "Come on over; your album is done." They dressed up like they were going to Easter church and came over. They listened to the record and said they loved it. The last time I saw Don was 1980 or '81. He stopped by one of our rehearsals. He looked pretty beat. He had gone back and forth with some contracts at Warner Bros., and it just hadn't worked out. I suppose he is still living in Northern California, but not recording anymore. He bought some property up there -- someplace where he could see whales swim by.
 <div align=right>-Frank Zappa, [[The Real Frank Zappa Book]]</div align=right></blockquote>

@@ Line 267: / Line 267: @@
 Before the album release an incident involving Beefheart's replacement of drummer [[John French]] resulted in French- much to his chagrin- not being credited on the album. French's input was fundamental in the structure of the tracks, both in his drumming skills and in his ability to transcribe Beefheart's often scribbled ideas into playable pieces for other band members. Much of the album's musical development was captured daily on a domestic tape machine and portions of these recordings by Beefheart and French have been used directly on the album, adding to the [[wikipedia:Musique concrète|musique concrète]] effect Zappa had envisaged of the project.
-Zappa's concept of 'atmospherically' recording 26 of the tracks at the Magic Band house with Dick Kunc caused contention with Beefheart, so a six and a half hour session was booked by FZ at [[Whitney Studios]]. The band were so well rehearsed that, according to French, "We actually did the basics in four and a half hours". The two remaining tracks 'Moonlight On Vermont' and 'Veteran's Day Poppy' had been recorded by [[Biography|FZ]] late in the previous year at Sunset Sound, with Gary Marker standing in for a departed Magic Band bass-player. Marker helped develop these tracks at the house and his involvement came about by virtue of his work in The Rising Sons with Ry Cooder, who had also departed the Magic Band. French says of these two tracks "There is a different sound on those songs which can be attributed to the fact that the studio had recently been refurbished to 'solid state' electronics, and Frank [Zappa] was still a little unfamiliar with the equipment". Neither Marker or the studio gained credit on the album.
+Zappa's concept of 'atmospherically' recording 26 of the tracks at the Magic Band house with Dick Kunc caused contention with Beefheart, so a six and a half hour session was booked by FZ at Whitney Studios. The band were so well rehearsed that, according to French, "We actually did the basics in four and a half hours". The two remaining tracks 'Moonlight On Vermont' and 'Veteran's Day Poppy' had been recorded by [[Biography|FZ]] late in the previous year at Sunset Sound, with Gary Marker standing in for a departed Magic Band bass-player. Marker helped develop these tracks at the house and his involvement came about by virtue of his work in The Rising Sons with Ry Cooder, who had also departed the Magic Band. French says of these two tracks "There is a different sound on those songs which can be attributed to the fact that the studio had recently been refurbished to 'solid state' electronics, and Frank [Zappa] was still a little unfamiliar with the equipment". Neither Marker or the studio gained credit on the album.
 '''What The Media said of the album;'''

@@ Line 228: / Line 228: @@
 '''The LP;'''
-Recorded at [[Whitney Studios]], Glendale, CA; April 1969<br>
+Recorded at [[Whitney Recording Studio]], Glendale, CA; April 1969<br>
 Released 1969 (US Original) on [[Straight Records|Straight]] Label (STS 1053)<br>
 Produced by [[Biography|Frank Zappa]]<br>

@@ Line 16: / Line 16: @@
 One question, do you own the LP? If yes, may I suggest you to write the timings printed on the LP cover in the LP column, I can put the actual CD timings in the CD column (see also the remarks after the [[Talk:Freak Out!#Tracks Timing]] tab).
-Regarding [[User:Duncan|Duncan]]'s comments, I could not find "Beefheart's House" or the "bottleneck style of playing" mentionned in my CD liner notes.
+Regarding [[User:Duncan|Duncan]]'s comments, I could not find "Beefheart's House" or the "bottleneck style of playing" mentioned in my CD liner notes.
 [[User:Maroual|Maroual]] 13:13, 22 May 2008 (PDT)
@@ Line 64: / Line 64: @@
 == Trout Mask Replica ==
-A [[:Category:Side Projects|Side Project]] in collaboration with [[FZ]] as executive producer, [[Trout Mask Replica]] is perhaps
+A [[:Category:Side Projects|Side Project]] in collaboration with [[Biography|FZ]] as executive producer, [[Trout Mask Replica]] is perhaps
 * '''Comment:'''  we don't do "perhaps" and "seems".  It either is or is not.  Why is it "incredible"? But we do not need an introductory comment anyway.
@@ Line 88: / Line 88: @@
 At the time of recording etc<br>
-Other than Captain Beefheart there is a lineage of Magic Band members who have also had a working relationship in [[FZ]] bands: [[Elliot Ingber]] (aka Winged Eel Fingerling), [[Arthur Tripp|Art Tripp]] (aka Artie Tripp III/Ed Marimba/Ted Cactus), [[Roy Estrada]] (aka Orejon) & [[Denny Walley]] (aka Feelers Reebo).
+Other than Captain Beefheart there is a lineage of Magic Band members who have also had a working relationship in [[Biography|FZ]] bands: [[Elliot Ingber]] (aka Winged Eel Fingerling), [[Arthur Tripp|Art Tripp]] (aka Artie Tripp III/Ed Marimba/Ted Cactus), [[Roy Estrada]] (aka Orejon) & [[Denny Walley]] (aka Feelers Reebo).
 ==Conceptual Continuity==
@@ Line 151: / Line 151: @@
 *Drumbo [ [[John French]] ] - (drums, percussion)
 *Gary Marker - (bass guitar on 'Moonlight' & 'Veteran')
-*[[FZ]] (comments on [[The Blimp]])
+*[[Biography|FZ]] (comments on [[The Blimp]])
 ==Tracks==
@@ Line 245: / Line 245: @@
 '''Uncredited (for both LP & CD);'''
-Tracks 1:6 & 4:8 - recorded & engineered by [[FZ]] at Sunset Sound, Hollywood, CA; c. late 1968<br>
+Tracks 1:6 & 4:8 - recorded & engineered by [[Biography|FZ]] at Sunset Sound, Hollywood, CA; c. late 1968<br>
 Tracks 1:2, 1:5, 2:5, 3:3 & 4:1 - from recordings made by Beefheart/French on a 5"-reel Uher stereo tape machine at the [[Magic Band]] house.<br>
 Track 2:5 - produced & engineered by Don Van Vliet<br>
@@ Line 263: / Line 263: @@
 <div align=right>-Frank Zappa, [[The Real Frank Zappa Book]]</div align=right></blockquote>
-On this [[:Category:Side Projects|Side Project]] album the home of [[Captain Beefheart]]  in Woodland Hills, known as the [[Magic Band]] house, became the makeshift  'studio' in which the album was written and rehearsed. Due to both the closeted nature of this living room environment and Beefheart's off-the-wall method of working, there were many fractious moments in this period, details of which can be found collectively in the booklets contained within the [[Captain Beefheart]] compilation CDs '[[The Dust Blows Forward: An Anthology]]' & '[[Grow Fins: Rarities 1965-1982]]', both released in 1999.  (The latter containing a previously unreleased version of a song taken from this Trout Mask Replica album, [[Orange Claw Hammer]], with [[FZ]] on guitar).
+On this [[:Category:Side Projects|Side Project]] album the home of [[Captain Beefheart]]  in Woodland Hills, known as the [[Magic Band]] house, became the makeshift  'studio' in which the album was written and rehearsed. Due to both the closeted nature of this living room environment and Beefheart's off-the-wall method of working, there were many fractious moments in this period, details of which can be found collectively in the booklets contained within the [[Captain Beefheart]] compilation CDs '[[The Dust Blows Forward: An Anthology]]' & '[[Grow Fins: Rarities 1965-1982]]', both released in 1999.  (The latter containing a previously unreleased version of a song taken from this Trout Mask Replica album, [[Orange Claw Hammer]], with [[Biography|FZ]] on guitar).
 Before the album release an incident involving Beefheart's replacement of drummer [[John French]] resulted in French- much to his chagrin- not being credited on the album. French's input was fundamental in the structure of the tracks, both in his drumming skills and in his ability to transcribe Beefheart's often scribbled ideas into playable pieces for other band members. Much of the album's musical development was captured daily on a domestic tape machine and portions of these recordings by Beefheart and French have been used directly on the album, adding to the [[wikipedia:Musique concrète|musique concrète]] effect Zappa had envisaged of the project.
-Zappa's concept of 'atmospherically' recording 26 of the tracks at the Magic Band house with Dick Kunc caused contention with Beefheart, so a six and a half hour session was booked by FZ at [[Whitney Studios]]. The band were so well rehearsed that, according to French, "We actually did the basics in four and a half hours". The two remaining tracks 'Moonlight On Vermont' and 'Veteran's Day Poppy' had been recorded by [[FZ]] late in the previous year at Sunset Sound, with Gary Marker standing in for a departed Magic Band bass-player. Marker helped develop these tracks at the house and his involvement came about by virtue of his work in The Rising Sons with Ry Cooder, who had also departed the Magic Band. French says of these two tracks "There is a different sound on those songs which can be attributed to the fact that the studio had recently been refurbished to 'solid state' electronics, and Frank [Zappa] was still a little unfamiliar with the equipment". Neither Marker or the studio gained credit on the album.
+Zappa's concept of 'atmospherically' recording 26 of the tracks at the Magic Band house with Dick Kunc caused contention with Beefheart, so a six and a half hour session was booked by FZ at [[Whitney Studios]]. The band were so well rehearsed that, according to French, "We actually did the basics in four and a half hours". The two remaining tracks 'Moonlight On Vermont' and 'Veteran's Day Poppy' had been recorded by [[Biography|FZ]] late in the previous year at Sunset Sound, with Gary Marker standing in for a departed Magic Band bass-player. Marker helped develop these tracks at the house and his involvement came about by virtue of his work in The Rising Sons with Ry Cooder, who had also departed the Magic Band. French says of these two tracks "There is a different sound on those songs which can be attributed to the fact that the studio had recently been refurbished to 'solid state' electronics, and Frank [Zappa] was still a little unfamiliar with the equipment". Neither Marker or the studio gained credit on the album.
 '''What The Media said of the album;'''

@@ Line 140: / Line 140: @@
 ==Players==
-*Captain Beefheart [ [[Don Van Vliet]] ] - (bass clarinet, tenor sax, soprano sax, simran horn, musette, vocal)
+*[[Captain Beefheart]] [ (Don Van Vliet) - (bass clarinet, tenor sax, soprano sax, simran horn, musette, vocal)
 *Rockette Morton [Mark Boston] - (bass, narration)
 *Antennae Jimmy Semens [Jeff Cotton] - (steel-appendage guitar, flesh horn, vocal on Pena)
@@ Line 230: / Line 230: @@
 Recorded at [[Whitney Studios]], Glendale, CA; April 1969<br>
 Released 1969 (US Original) on [[Straight Records|Straight]] Label (STS 1053)<br>
-Produced by [[Frank Zappa]]<br>
+Produced by [[Biography|Frank Zappa]]<br>
-Arranged by [[Don van Vliet]]<br>
+Arranged by [[Captain Beefheart|Don van Vliet]]<br>
 Engineered by [[Dick Kunc]]<br>
 Album design: [[Cal Schenkel]]<br>

← Older revision		Revision as of 16:56, 13 February 2011
Line 389:		Line 389:

	Realized, unless you are registered at Discogs you can't link to pix. I have swathes of Zap labels - most UK - on Discogs & on file - if you need me to punt a pic to a site of choice, let me know.<br>regards --[[User:Tonefish\|Tonefish]] 00:17, 9 February 2011 (UTC)		Realized, unless you are registered at Discogs you can't link to pix. I have swathes of Zap labels - most UK - on Discogs & on file - if you need me to punt a pic to a site of choice, let me know.<br>regards --[[User:Tonefish\|Tonefish]] 00:17, 9 February 2011 (UTC)
		+
		+	Yes, you can. It's just a different link when you are not logged in.
		+
		+	You just need to use http://s.dsimg.com/image/R-2653807-1295120558.jpeg instead of http://www.discogs.com/image/R-2653807-1295120558.jpeg
		+
		+	Anyway I prefer to link to the main page for the release picture which is http://www.discogs.com/viewimages?release=2653807
		+
		+	[[User:Maroual\|Maroual]] 16:56, 13 February 2011 (UTC)

← Older revision		Revision as of 00:17, 9 February 2011
Line 382:		Line 382:

	[[User:Maroual\|Maroual]] 21:34, 8 February 2011 (UTC)		[[User:Maroual\|Maroual]] 21:34, 8 February 2011 (UTC)
		+
		+
		+	Aaaahh So you were a Lego-addicted child, cum wargamer!
		+
		+	The Pachuco single is commanding silly money [http://www.popsike.com/BEEFHEART-Zappa-PACHUCO-CADAVER-WILD-LIFE-Psych-7-PS/160314848635.html Pachuco Cadaver = home remortgage]
		+
		+	Realized, unless you are registered at Discogs you can't link to pix. I have swathes of Zap labels - most UK - on Discogs & on file - if you need me to punt a pic to a site of choice, let me know.<br>regards --[[User:Tonefish\|Tonefish]] 00:17, 9 February 2011 (UTC)